143 files changed, 6827 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/31183-0.txt b/31183-0.txt
new file mode 100644
index 0000000..b0e74d9
--- /dev/null
+++ b/31183-0.txt
@@ -0,0 +1,1687 @@
+The Project Gutenberg EBook of Rembrandt, With a Complete List of His
+Etchings by Arthur Mayger Hind
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: Rembrandt, With a Complete List of His Etchings
+
+
+Author: Arthur Mayger Hind
+
+Release Date: February 5, 2010 [Ebook #31183]
+
+Language: English
+
+Character set encoding: UTF‐8
+
+
+***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS
+***
+
+
+
+
+
+Rembrandt, With a Complete List of his Etchings
+
+
+
+
+Arthur M. Hind
+
+
+
+Fredk. A. Stokes Company
+1912
+
+
+
+
+
+                                 [image]
+
+
+
+
+
+          [144, II. Rembrandt and his Wife, Saskia, 1636, B. 19]
+
+           144, II. Rembrandt and his Wife, Saskia, 1636, B. 19
+
+
+
+
+
+CONTENTS
+
+
+REMBRANDT
+BOOKS OF REFERENCE
+A CHRONOLOGICAL LIST OF REMBRANDT’S ETCHINGS
+
+
+
+
+
+ILLUSTRATIONS
+
+
+144, II. Rembrandt and his Wife, Saskia, 1636, B. 19
+1, I. REMBRANDT’S MOTHER, Unfinished state. 1628: B. 354.
+7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164
+20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66
+23, I. BALD-HEADED MAN (REMBRANDT’S FATHER?) In profile _r.;_ head only,
+bust added afterwards. 1630. B. 292. First state, the body being merely
+indicated in ink
+38, II. THE BLIND FIDDLER. 1631. B. 138
+40. THE LITTLE POLANDER. 1631. B. 142.  139. THE QUACKSALVER. 1635. B.
+129.  164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B.
+133
+52, III. REMBRANDT’S MOTHER SEATED. (1631.) B. 343.
+54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the
+body added.
+57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2
+97, I. THE RAT-KILLER. 1632. B. 121
+110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was
+afterwards cut down to a bust in an oval.
+112. REMBRANDT’S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347
+127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state
+129. OLD WOMAN SLEEPING. (1635-7.) B. 350.
+147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91
+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
+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
+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
+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
+179. THE WINDMILL. 1641. B. 233
+184. THE SPANISH GIPSY. (1641.) B. 120
+198, I. THE RAISING OF LAZARUS. 1642. B. 72
+205. THE THREE TREES. (1643.) B. 212
+209, I. SIX’S BRIDGE. 1645. B. 208
+215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84
+216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58
+228, II. JAN SIX. 1647. B. 285
+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
+232, I. ST. JEROME BESIDE A POLLARD WILLOW.  1648. B. 103
+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
+239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236
+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
+249. THE GOLDWEIGHER’S FIELD. 1651. B. 234
+251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272
+252. THE BLINDNESS OF TOBIT: THE LARGER PLATE.  1651. B. 42
+254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113
+256. CHRIST PREACHING (“LA PETITE TOMBE”). 1652 B. 67
+257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65
+261. TITUS VAN RYN, REMBRANDT’S SON. (1656.) B. 11
+264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221
+267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104
+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,
+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
+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.
+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
+286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29
+287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274
+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)
+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
+
+
+
+
+
+
+REMBRANDT
+
+
+    Rembrandt Harmensz van Ryn, son of Harmen Gerritsz van Ryn, miller
+    (d. 1630), and Neeltge Willemsdochter (d. 1640), daughter of a
+    baker of Zuytbroeck; born at Leyden, July 15, 1606; entered Leyden
+    University as a student of letters, May 20, 1620, but left before
+    the end of the year; studied painting for about three years in his
+    native town under Jacob Isaaksz van Swanenburgh, and at the age of
+    seventeen for about six months under Pieter Lastman in Amsterdam;
+    settled in Leyden from 1624 until 1631, removing with his sister
+    Lysbeth to Amsterdam in the latter half of 1631; married Saskia
+    van Ulenburch, June 1634; from 1639 to 1658 lived in the
+    Breestraat (in the house which is now open to the public); lost
+    his wife in 1642; from about 1652 Hendrikje Stoffels, who had been
+    his servant, lived with him as his wife, until her death about
+    1664; Rembrandt’s material success as a painter was
+    counterbalanced by his zeal for collecting works of art, and in
+    1656 he was forced by his creditors to declare bankrupt; an
+    inventory of the contents of his house, made in view of the sales
+    which took place in 1657 and 1658, is still preserved; the last
+    part of his life was spent in a lodging on the Rozengracht, and
+    all the money that he earned went to his creditors whom he never
+    satisfied; he died and was buried in the Westerkerk, Amsterdam,
+    October 4, 1669.
+
+
+The formal style of art, the essence of line-engraving, reached its zenith
+in Albrecht Dürer.  And Dürer was so great a master that human feeling
+told through the medium of the severest formalism.  But it was not till a
+century later that human expression found its full outlet in an artist
+whose sympathy was at once penetrating and comprehensive, who perfected a
+medium capable of the most spontaneous rendering of the deepest as well as
+the most fleeting emotions of life.
+
+As a painter Rembrandt was chiefly devoted to portraiture, a devotion no
+doubt largely due to the conviction that its study gives the most
+immediate opportunity for depicting human character. But it must also be
+confessed that the overwhelmingly large proportion of portraits to other
+subjects in his painted work may be partly owing to the demands of
+clients.  That it was not entirely so is immediately evident when one
+considers the master’s untiring industry in painting portraits of himself
+after his popularity had waned, and commissions nearly ceased.
+Nevertheless as works for the most part uncommissioned and less lucrative
+than the paintings, we may take it that the etchings are a true reflection
+of the actual tendency of Rembrandt’s genius when least affected by
+demands from outside.  In his etched work we find that portraits are much
+less numerous, and by far the largest place is given to the subjects from
+scripture, treated with the same reality that characterises his sketches
+from daily life.
+
+Rembrandt’s affection for scriptural subjects is a striking fact in face
+of the general character of Dutch art in the seventeenth century.  The
+reformation in Holland seems to have helped towards the exclusion of art
+from the domain of religion; and the merely formal and superficial
+rendering of biblical stories by the classicists of the late sixteenth
+century may have also had much to account for the secular reaction of the
+succeeding period.  But Rembrandt had no need to seek new ground to escape
+from a formal rendering of well-known themes.  Like most masters of
+supreme genius, his originality consisted in the realisation of his own
+deepest and most personal emotion in his treatment of the old stories.
+They appealed to him as the vehicle of the noblest thoughts of man in
+relation to himself and God, and he was practically the first artist who
+dared approach the Scriptures in the spirit of reality that implied a
+living faith rather than an official creed.
+
+It is perhaps still not superfluous to emphasise the fact that the
+etchings of Rembrandt (as of nearly all the painter-engravers or etchers)
+are original works distinct in methods and aims from the paintings or
+works in any other medium.  In Rembrandt’s work of rather more than three
+hundred etchings there are scarcely half a dozen subjects that correspond
+with his pictures.  In general the original engraver or etcher conceives
+and carries out his design in specific relation to its medium; its
+expression in another would demand an entirely different treatment.
+
+Rembrandt worked on copper in pure etching and dry-point.  In pure etching
+the plate is first covered with a thin layer or ground of wax composition;
+the etcher draws through this ground (which offers scarcely any
+resistance) with an etching needle, opening up the surface of the copper
+where he wishes his lines to appear.  The plate is then put in a bath of
+acid which bites the furrows in the unprotected parts of the plate, i.e.
+wherever the needle has been drawn through the ground.  Dry-point, though
+generally regarded as a branch of etching, as it is so constantly used on
+the same plate as bitten work, is in reality more akin to line-engraving.
+No acid is used, and the lines are scratched on the surface of the copper
+by a strong steel point.  The artist does not push this point before the
+hand like the graver, but uses it in the same way as a pencil.  The curl
+of metal thrown up at the side of the line is not scraped away as in
+line-engraving, where the aim is clearness of designs, but left to hold
+the ink, enwrapping the line, as printed from the furrows, in a rich
+cloudy tone.  This curl of metal, or “burr” (a term also applied to the
+velvety tone which it causes), is extremely delicate, and a comparatively
+few impressions suffice to level it with the surface of the copper, and
+leave the effect a mere ghost of the artist’s intention.  So that rich
+impressions from dry-points are infinitely rarer than good ones from the
+pure etchings, which often yield hundreds of prints without greatly
+deteriorating in quality.  But the more delicate the etching and the
+closer the mesh of line, the sooner will deterioration of quality set in,
+so that a glance at the character of an etching, granting that the plate
+was not destroyed after a very limited issue, will almost immediately
+reveal one important point, i.e. the comparative rarity of good
+impressions.  It is clear and strong open line prints such as the _Christ
+at Emmaus_ of 1654 (_282_) of which moderate impressions are not so
+valuable, for such plates were still in fair condition for printing as
+late as the eighteenth century.
+
+Pure etching is often combined with dry-point, the latter being used to
+give emphasis and strength to an etching of greater uniformity of tone.
+Rembrandt did not begin to use dry-point until about 1639, e.g. in the
+_Death of the Virgin_ (_161_), but it is not handled with any richness of
+effect until such works as the _Triumph of Mordecai_ (_172_) which
+probably dates several years later.  A print like the _Three Trees_
+(_205_) might seem from the reproduction to have the rich tone that comes
+from dry-point, but in this case the dark effect is almost entirely due to
+a close mesh of pure etched lines.  The real quality of dry-point may be
+better studied in some of the lightly sketched lines in the foreground of
+the _Artist drawing from a model_ (_231_), e.g. the palm branch on the
+right.
+
+In his early period up till about 1640, Rembrandt’s etching is
+characterised by a clear lineal manner with little tendency to the
+chiaroscuro which gradually became the characteristic feature of his
+artistic style in etching as well as in painting.  Later he tends to a
+greater breadth of treatment in line, and a less imitative treatment of
+physical form.  At first his experiments in chiaroscuro were produced by
+the close mesh of etched lines, but it must be confessed that etching as
+such rather loses its character when the line is so entirely lost in tone.
+Even the _Hundred Guilder Print_ (_236_) holds its unrivalled place in the
+art of etching rather for the genius that overcame supreme difficulties
+than for the supreme fitness of the style in relation to the medium.
+Rembrandt never showed the breadth of his sympathy and his powers of
+observation better than in this plate, but for grandeur of conception,
+concentration of material, and a vigorous handling more in keeping with
+the scale of his subject, he attained a nobler—I think his
+noblest—creation in the _Three Crosses_ (_270_).  The changes introduced
+in this plate in a later state are remarkable, and show how completely the
+etcher can transform his subject.  Here the changes are astonishingly
+drastic, and may have been intended to direct us to an entirely different
+moment in the drama of the Crucifixion.  In other examples, such as the
+_Christ presented to the People_  (_271_) and the _Landscape with trees,
+farm-buildings, and a tower_ (_244_), one sees how Rembrandt was
+constantly striving in the progress of his states towards greater
+concentration of idea, effecting it in the former by the removal of an
+entire group of figures, in the latter by the lopping of a cupola on the
+church tower.  Except for an occasional plate like the _Clement de Jonghe_
+(_251_) with its open line after the manner of Van Dyck, Rembrandt kept to
+the method of close painter-like shading throughout the latter part of his
+life, but in his subject prints he almost entirely discarded this method
+of chiaroscuro for a more luminous and mysterious shadow effected by the
+surface tinting of a more broadly etched plate. The various states of the
+_Entombment_ (_281_), first with the line quite open, then with some added
+shading partially aided by a surface tint, exemplify the manner of his
+progress. In this wonderful plate, and nearly all the subjects of his
+later period, Rembrandt had attained a dignity of composition which we
+find in few painters outside Venice.  In spite of his thoroughly Dutch
+temperament, Rembrandt had learnt much from the Italians, and in nothing
+more than in space composition.  A very large proportion of his early
+etchings are studies of seperate figures.  Only by this constant study of
+pieces of life was perfected the power by which his greater conceptions
+were realised with such unity of effect.
+
+Rembrandt took longer than many a weaker artist to reach his maturity, not
+that his progress was slower, but the maturity much higher, and even his
+old age seemed like youth in its perennial receptivity and power of
+vigorous growth.  A well-known connoisseur of the time, Constantin
+Huygens, writing in 1631, was more impressed by Lievens’s brilliant
+flights of invention than by Rembrandt’s vivid power of expressing
+character and emotion.  But while the former and so many of his
+contemporaries were content with their own facility and the convention
+they had reached, Rembrandt never remitted the ardour of the great quest
+which was the very blood of his life.  Constantly breaking new paths, and
+losing at each new turn his earlier patrons, who failed to follow the
+progress of his genius, he died in comparative neglect, only to be
+rediscovered by the moderns as one who still belongs to the most living
+style of art.
+
+A few etchers of the last two or three generations have taken a step
+further or aside in this or that direction, more particularly in the art
+of landscape, but even Whistler, at once the supreme virtuoso and the
+greatest individuality of nineteenth-century etching, falls far short of
+Rembrandt in the one thing which makes or mars genius of the highest
+order, i.e. depth of humanity, without surpassing him in the technical
+mastery of expressive line.  Rembrandt remains for us the greatest etcher
+who has ever lived, as well as one of the noblest exponents in art of the
+deepest and most generous emotions of life.
+
+
+
+
+
+BOOKS OF REFERENCE
+
+
+
+
+                                CATALOGUES
+
+
+      Gersaint, E. F. Paris 1751
+      Yver, P. Amsterdam 1756 (supplement to Gersaint)
+      Bartsch, Adam. Vienna 1797
+      Claussin, J. J. de. Paris 1824 (supplement 1828)
+      Wilson, T. London 1836
+      Blanc, C. Paris 1859-61 (1873, and with a complete series of
+      reproductions, 1880)
+      Middleton-Wake, C. H. London 1878
+      Dutuit, E. Paris 1881-4 (with a complete series of reproductions in
+      heliogravure); Manuel de l’Amateur V (1882), and VI (1885).
+      Rovinski, D. St. Petersburg 1890 (with atlas of reproductions
+      covering all the etchings in practically every state)
+      Rovinski, D. Les Élèves de Rembrandt. St. Petersburg 1894
+      Seidlitz, W. von. Leipzig 1895
+      Dodgson, C. In Hamerton. the Etchings of Rembrandt, London 1904
+      Singer, H. W. Stuttgart 1906 (and 1910)
+      Hind, A. M. London 1912
+
+
+
+
+                                 GENERAL
+
+
+Also including the most important works on Rembrandt’s paintings and
+drawings
+
+      Vosmaer, C. Rembrandt, sa vie et ses œuvres. The Hague 1868 (and
+      1877)
+      Haden, (Sir) F. Seymour. The Etched Work of Rembrandt. London 1879
+      Michel, E. Rembrandt, sa vie, son œuvre, et son temps. Paris 1893
+      Hamerton, P. G. The Etchings of Rembrandt. London 1894 (and 1904,
+      with catalogue by C. Dodgson)
+      Bode, W., and Groot, C. H. de. The Complete Work of Rembrandt
+      (reproduced in photogravure). 8 vols. Paris 1897—1906
+      Groot, C. H. de. Die Urkunden über Rembrandt (1575-1721). The Hague
+      1906. (English version in vol. 8 of Bode)
+      Groot, C. H. de. Die Handzeichnungen Rembrandts. Versuch eines
+      beschreibenden und kritischen Katalogs. Haarlem 1906
+      Hamann, R. Rembrandt’s Radierungen. Berlin 1906
+      Holmes, C. J. The Development of Rembrandt as an Etcher. _Burlington
+      Magazine_ IX (1906), 87, 245, 313, 383
+      Holmes, C. J.  Notes on the Art of Rembrandt. London 1911
+      Brown, C. Baldwin. London 1907
+      Six, J. Gersaint’s lÿst van Rembrandts Prenten. _Oud-Holland_ XXVII
+      (1909), 65
+
+
+
+
+
+A CHRONOLOGICAL LIST OF REMBRANDT’S ETCHINGS
+
+
+Arranged according to the author’s complete catalogue in _Rembrandt’s
+Etchings, an Essay and a Catalogue_ (Methuen, 1912), which follows the
+chronological arrangement of the collection in the British Museum.
+Numbers that are obelised (†) are plates of doubtful authenticity; starred
+numbers (*) refer to plates not represented in the British Museum.
+Conjectural dates are cited within brackets.  Except for Nos. 144
+(frontispiece), 139 and 164 (on same plate as No. 40), and 196 (on same
+plate as No. 175), the etchings reproduced (entirely from the British
+Museum collection) are given in the order of this catalogue, so that plate
+numbers have been dispensed with.  The Roman numerals following the
+catalogue numbers in the underlines to the plates refer to the states of
+the etchings as described in the complete catalogue.  B. = Bartsch.
+
+      1. Rembrandt’s Mother: Head Bust, three-quarters r. 1628. B. 354.
+      2. Rembrandt’s Mother: Head only, full face. 1628. B. 352
+      2.* Rembrandt with a Broad Nose. (1628) B. 4
+      3. Rembrandt Bareheaded, with High Curly Hair: Head and Bust.
+      (1628.) B. 27
+      4. Rembrandt Bareheaded: A Large Plate Roughly Etched: Head and
+      Bust. 1629. B. 338
+      4.* Aged Man of Letters. (1629.) B. 149
+      5. Peter and John at the Gate of the Temple: Roughly Etched.
+      (1629-30.) B. 95
+      6. The Small Lion Hunt (with one Lion). (1629-30.) B. 116
+      7. Beggar Man and Beggar Woman Conversing. 1630. B. 164
+      8. Beggar Seated Warming his Hands at a Chafing Dish. (1630.) B. 173
+      9. Beggar Leaning on a Stick, facing l. (1630.) B. 163
+      10. Beggar in a Long Cloak, Sitting in an Arm-chair. (1630.) B. 160
+      11. Beggar Seated on a Bank. 1630. B. 174
+      12. Beggar with a Wooden Leg. (1630.) B. 179
+      13. Beggar Man and Beggar Woman Behind a Bank. (1630) B. 165
+      14. Man in a Cloak and Fur Cap Leaning against a Bank. (1630.) B.
+      151
+      15. Beggar in a High Cap, Standing and Leaning on a Stick. (1630.)
+      B. 162
+      16. Ragged Peasant with his Hands Behind Him, Holding a Stick.
+      (1630.) B. 172
+      17. The Flight into Egypt: A Sketch. (1630.) B. 54
+      18. The Presentation in the Temple (with the Angel): small plate.
+      1630. B. 51
+      19. The Circumcision: small plate. (1630.) B. 48
+      20. Christ Disputing with the Doctors: small plate. 1630. B. 66
+      21. Bust of a Man (Rembrandt’s Father?) in full face, wearing a
+      Close Cap. 1630. B. 304
+      22. Bust of a Man (Rembrandt’s Father?) wearing a High Cap,
+      three-quarters r. 1630. B. 321
+      23. Bald-headed Man (Rembrandt’s Father?) in Profile r; head only;
+      bust added afterwards. 1630. B. 292
+      24. Bald-headed Man (Rembrandt’s Father?) in Profile r.; small bust.
+      1630. B. 294
+      25. Three Studies of Old Men’s Heads. (1630.) B. 374
+      26. Bust of an Old Man with Flowing Beard and White Sleeve. (1630.)
+      B. 291
+      27. Bust of an Old Man with Flowing Beard: the Head Bowed Forward:
+      l. shoulder unshaded. 1630. B. 325
+      28. Bust of an Old Man with Flowing Beard: the head inclined
+      three-quarters r. 1630. B. 309
+      29. Rembrandt in a Fur Cap: the Dress Light: bust. 1630. B. 24
+      30. Rembrandt Bareheaded, in Sharp Light from r.; Looking over his
+      Shoulder: bust. 1630. B. 10
+      31. Rembrandt Bareheaded and Open-mouthed, as if Shouting: bust.
+      1630. B. 13
+      32. Rembrandt in a Cap, Open-mouthed and Staring: bust in outline.
+      1630. B. 320
+      33. Rembrandt Bareheaded, with Thick Curling Hair and Small White
+      Collar: bust. (1630.) B. 1
+      34. Rembrandt in a Cap, Laughing: Bust. 1630. B. 316
+      35. Rembrandt Bareheaded, Leaning Forwards as if Listening: bust.
+      (1630.) B. 9
+      36. Rembrandt Bareheaded, Leaning Forward: bust lightly indicated.
+      (1630-1.) B. 5
+      37. Head of a Man in a Fur Cup, Crying Out. (1631.) B. 327
+      38. The Blind Fiddler.  1631. B. 138
+      39. Head of a Man in a High Cap: three-quarters r. (1631.) B. 302
+      40. A Polander standing with Stick: profile to r. (the “Little
+      Polander”). 1631. B. 142
+      41. Sheet of Studies of Men’s Heads (the plate afterwards cut into
+      five parts). (1631.) B. 366
+      42. Diana at the Bath. (1631.) B. 201
+      43. Naked Woman Seated on a Mound. (1631.) B. 198
+      44. Jupiter and Antiope: the smaller Plate. (1631.) B. 204
+      45. A Man Making Water. 1631. B. 190
+      46. A Woman Making Water. 1631. B. 191
+      47. Bust of an Old Bearded Man Looking Down, three-quarters r. 1631.
+      B. 260
+      48. Bust of an Old Man with Flowing Beard: Head Nearly Erect: Eyes
+      Cast Down: Looking Slightly l. 1631. B. 315
+      49. Bust of an Old Man with Fur Cap and Flowing Beard: nearly full
+      face: Eyes Direct. (1631.) B. 312
+      50. Rembrandt’s Mother with Hand on Chest: small bust. 1631. B. 349
+      51. Rembrandt’s Mother Seated Facing r., in an Oriental Headdress:
+      half length, Showing Hands. 1631. B. 348
+      52. Rembrandt’s Mother Seated at a Table Looking r.: three-quarter
+      length. (1631.) B. 343
+      53. Bearded Man (Rembrandt’s Father?) in Furred Oriental Cap and
+      Robe: half length. 1631. B. 263
+      54. Rembrandt Wearing a Soft Hat, Cocked: head only: body added
+      afterwards. 1631. B. 7
+      55. Rembrandt with Long Bushy Hair: head only. (1631.) B. 8
+      56. Rembrandt in a Heavy Fur Cap: full face: bust. 1631. B. 16
+      57. Rembrandt Wearing a Soft Cap: full face: head only. (1631.) B. 2
+      58. Rembrandt with Cap Pulled Forward: bust. (1631.) B. 319
+      59. Rembrandt with Fur Cap, in an Oval Border: bust. (1631.) B. 12
+      †60.  Rembrandt with Bushy Hair and Contracted Eyebrows: bust. 1631.
+      B. 25
+      61. Rembrandt  Bareheaded, the Light Falling from the r.: bust.
+      (1631.) B. 332
+      †62. Rembrandt in a Slant Fur Cap: bust.  1631.  B. 14
+      63. Rembrandt in a Cloak with Falling Collar: bust. 1631. B. 15
+      †64. Rembrandt with a Jewel in his Cap. (1631.) Middleton, 18
+      †65. Bust of a Young Man in a Cap. (1631.) B. 322
+      66. Rembrandt in a Dark Cloak and Cap: bust. (1631.) B. 6
+      67. Rembrandt(?), Scowling, in an Octagon: head only. (1631.) B. 336
+      68. Grotesque Profile: Man in High Cap. (1631.) B. 326
+      69. Peasant with his Hands Behind his Back. 1631. B. 135
+      †70. Bust of a Snub-nosed Man in a Cap: Profile r. 1631. B. 317
+      †71. Bust of a Man in a Cap, Bound Round the Ears and Chin. (1631.)
+      B. 323
+      72. Beggar with a Stick, Walking l. 1631. B. 167
+      73. Beggar with his l. Hand Extended. 1631. B. 150
+      74. The Blindness of Tobit: A Sketch. (1631.) B. 153
+      75. Seated Beggar and his Dog. 1631. B. 175
+      75.* A Stout Man in a Large Cloak. (1631.) B. 184
+      †76. Old Woman Seated in a Cottage, with a String of Onions on the
+      Wall. 1631. B. 134
+      77. The Leper (“Lazarus Klap”). 1631. B. 171
+      77.* Beggar Man and Beggar Woman. (1631.) B. 183
+      78. Two Beggars Tramping towards the r. (1631.) B. 154
+      78.* Two Studies of Beggars. (1631.) B. 182
+      79. Beggar with a Crippled Hand Leaning on a Stick r. (1631.) B. 166
+      80. Old Beggar Woman with a Gourd. (1631.) B. 168
+      †8l. Beggar Standing Leaning on a Stick l.: small plate. (1631.) B.
+      169
+      †82. Bust of an Old Woman in Furred Cloak and Heavy Headdress. 1631.
+      B. 355
+      †83. Bust of an Old Woman in a High Head-dress Bound Round the Chin.
+      (1631.) B. 358
+      †84. Bust of a Beardless Man (Rembrandt’s Father?) in a Fur Cloak
+      and Cap: Looking Down: three-quarters l. 1631. B. 307
+      †85. Bust of a Bald Man (Rembrandt’s Father?) in a Fur Cloak Looking
+      r. 1631. B. 324
+      †86. Bust of a Bald Man Looking Down, Grinning. 1631. B. 298
+      †87. Bust of Bearded Old Man with High Forehead and Close Cap. 1631.
+      B. 314
+      †88. Bust of an Old Man Looking Down, with Wavy Hair and Beard:  cap
+      added afterwards. (1631.)  B. 337
+      †89. Small Bust of Bearded Man Looking Down, with Eyes Nearly
+      Closed. (1631.) B. 296
+      90. Sheet of Studies:  Head of Rembrandt, Beggar Couple, Heads of
+      Old Man and Old Woman, etc. (1632.)  B. 363
+      †91. Rembrandt’s  Mother  in Widow’s Dress and Black Gloves. (1632)
+      B. 344
+      92. Old Man Seated, with Flowing Beard, Fur Cap and Velvet Cloak.
+      (1632.) B. 262
+      93. Man Standing in Oriental Costume and Plumed Fur Cap. 1632. B.
+      152
+      94. St. Jerome Playing: Arched Print. 1632. B. 101
+      95. The Holy Family. (1632.) B. 62
+      96. The Raising of Lazarus: the larger Plate. (1632.) B. 73
+      97. The Rat-Killer. 1632. B. 121
+      98. Polander Leaning on a Stick: Profile l. (1632.) B. 141
+      99. A Turbaned Soldier on Horseback. (1632.) B. 139
+      100. A Cavalry Fight. (1632-3.) B. 117
+      101. The Good Samaritan. 1633. B. 90
+      102. The Descent from the Cross: first plate. 1633. B. 81, I
+      103. The Descent from the Cross: second plate. 1633. B. 81, II, etc.
+      104. Joseph’s Coat Brought to Jacob. (1633.) B. 38
+      105. The Flight into Egypt: small plate. 1633. B. 52
+      106. The Ship of Fortune. 1633. B. 111
+      107. Rembrandt’s Mother in a Cloth Head-dress, Looking Down: head
+      only. 1633. B. 351
+      108. Rembrandt in Cap and Scarf: the Face Dark: bust. 1633. B. 17
+      109. Rembrandt with Raised Sabre: half-length. 1634. B. 18
+      110. Rembrandt with Plumed Cap and Lowered Sabre: three-quarter
+      length: afterwards bust in oval. 1634. B. 23
+      111. Jan Cornelis Sylvius, Preacher (r). 1634. B. 266
+      112. Rembrandt’s Wife Saskia, with Pearls in her Hair, bust. 1634.
+      B. 347
+      113. Woman Reading.  1634. B. 345
+      114. A Peasant: One of a Pair, Calling Out. 1634. B. 177
+      115. A Peasant: the Other of the Pair, Replying. 1634. B. 178
+      116. Two Tramps, a Man and a Woman. (1634.) B. 144
+      117. Sheet of Two Slight Studies: One of Two Peasants. (1634.) B.
+      373
+      118. Joseph and Potiphar’s Wife. 1634. B. 39
+      119. St. Jerome Reading. 1634. B. 100
+      120. The Angel Appearing to the Shepherds. 1634. B. 44
+      121. Christ at Emmaus: the smaller plate. 1634. B. 88
+      122. Christ and the Woman of Samaria: among Ruins. 1634. B. 71
+      123. The Crucifixion: small plate. (1634.) B. 80
+      124. The Tribute-Money. (1634.) B. 68
+      125. The Stoning of S. Stephen. 1635. B. 97
+      126. Christ Driving the Money-Changers from the Temple. 1635. B. 69
+      127. Girl with Hair Falling on her Shoulders (the “Great Jewish
+      Bride”). 1635. B. 340
+      128. Jan Uytenbogaert, Preacher of the Sect of Arminian
+      Remonstrants. 1635. B. 279
+      129. Old Woman Sleeping. (1635-7.) B. 350
+      130. Old Bearded Man in a High Fur Cap, with Closed Eyes. (1635.) B.
+      290
+      131. The First Oriental Head (Rembrandt’s Father?). 1635. B. 286
+      132. The Second Oriental Head (Rembrandt’s Father?). (1635.) B. 287
+      133. The Third Oriental Head. 163;. B. 288
+      134. The Fourth Oriental Head. (1635.)  B. 289
+      †l35. Head of an Old Man in a High Fur Cap. (1635.) B. 299
+      136. Bald Old Man with a Short Beard, in profile r.  0635.) B. 306
+      †137. Curly-headed Man with a Wry Mouth.  (1635.)  B. 305
+      138. Polander Standing with Arms Folded. (1635.) B. 140
+      139. The Quacksalver. 1635. B. 129
+      140. St. Jerome Kneeling in Prayer, Looking Down. 1635. B. 102
+      141. The Pan-cake Woman. 1635. B. 124
+      †142. The Strolling Musicians. (1635.) B. 119
+      143. Christ before Pilate: large plate. 1635-6. B. 77
+      144. Rembrandt and his Wife Saskia: busts. 1636. B. 19
+      145. Studies of the Head of Saskia and others. 1636. B. 365
+      146. Samuel Manasseh Ben Israel, Jewish Author. 1636. B. 269
+      147. The Return of the Prodigal Son. 1636. B. 91
+      148. Abraham  Caressing Isaac. (1637.) B. 33
+      149. Abraham Casting Out Hagar and Ishmael. 1637. B. 30
+      150. Bearded Man Wearing a Velvet Cap with a Jewel Clasp. 1637. B.
+      313
+      151. Young Man in a Velvet Cap with Books Beside Him. 1637. B. 268
+      152. Three Heads of Women, one Asleep. 1637. B. 368
+      153. Three Heads of Women, one Lightly Etched. (1637.) B. 367
+      154. Study of Saskia as S. Catherine (the “Little Jewish Bride”).
+      1638. B. 342
+      155. Sheet with Two Studies: a Tree, and the Upper Part of a Head
+      Wearing a Velvet Cap. (1638.) B. 372
+      156. Rembrandt in Velvet Cap and Plume, with an Embroidered Dress:
+      bust. 1638. B. 20
+      157. Rembrandt in a Flat Cap with a Shawl About His Shoulders.
+      (1638.) B. 26
+      158. Man in a Broad-Brimmed Hat and Ruff. (1630.) B. 311
+      159. Adam and Eve. 1638. B. 28
+      160. Joseph Telling His Dreams. 1638. B. 37
+      161. The Death of the Virgin. 1639. B. 99
+      162. The Presentation in the Temple: an oblong print. (1639.) B. 49
+      163. Sheet of Studies, with a Woman Lying Ill in Bed, etc. (1639.)
+      B. 369
+      164. A Peasant in a High Cap, Standing Leaning on a Stick. 1639. B.
+      133
+      165. Death Appearing to a Wedded Couple From An Open Grave. 1639. B.
+      109
+      166. The Skater. (1639.) B. 156
+      167. Jan Uytenbogaert, Receiver-General (the “Gold-Weigher”). 1639.
+      B. 281
+      168. Rembrandt Leaning on a Stone Sill: half length. 1639. B. 21
+      169. Old Man Shading His Eyes with His Hand. (1639.) B. 259
+      170. Old Man with a Divided Fur Cap. 1640. B. 265
+      171. The Beheading of John the Baptist. 1640. B. 92
+      172. The Triumph of Mordecai. (1640.) B. 40
+      173. Christ Crucified Between the Two Thieves: an oval plate.
+      (1640.) B. 79
+      174. Sleeping Puppy. (1640.) B. 158
+      175. Small Grey Landscape: A House and Trees Beside a Pool. (1640.)
+      B. 207
+      176. View of Amsterdam. (1640.) B. 210
+      177. Landscape with a Cottage and Hay Barn: oblong. 1641. B. 225
+      178. Landscape with a Cottage and a Large Tree. 1641. B. 226
+      179. The Windmill.  1641.  B. 233
+      180. The Small Lion Hunt (with Two Lions). (1641.) B. 115
+      181. The Large Lion Hunt. 1641. B. 114
+      182. The Baptism of the Eunuch. 1641. B. 98
+      183. Jacob and Laban(?). 1641. B. 118
+      184. The Spanish Gipsy (Preciosa). (1641.) B. 120
+      185. The Angel Departing from the Family of Tobias. 1641. B. 185.
+      186. Virgin and Child in the Clouds. 1641. B. 61
+      187. Cornelis Claesz Anslo, Mennonite Preacher. 1641. B. 271
+      188. Portrait of a Boy, in profile. 1641. B. 310
+      189. Man at Desk, Wearing Cross and Chain. 1641. B. 261.
+      190. The Card-Player. 1641. B. 136
+      191. Man Drawing from a Cast. (1641.) B. 130
+      192. Woman at a Door-hatch Talking to a Man and Children (the
+      “Schoolmaster”). 1641. B. 128
+      193. The Virgin with the Instruments of the Passion. (1641.) B. 85
+      194. Man in an Arbour. 1642. B. 257
+      195. Girl with a Basket. (1642.) B. 356
+      196. Sick Woman with Large White Head-dress (Saskia). (1642.) B. 359
+      197. Woman in Spectacles, Reading. (1642.) B. 362
+      198. The Raising of Lazarus: the smaller plate.  1642.  B. 72
+      199. The Descent from the Cross: a Sketch.  1642. B. 82
+      200. The Flute-Player (L’Espiegle). 1642.  B. 188
+      201. St. Jerome in a Dark Chamber. 1642.  B. 105
+      202. Student at a Table by Candlelight. (1642.) B. 148
+      203. Cottage with a White Paling. 1642. B. 232
+      204. The Hog.  1643.  B. 157
+      205. The Three Trees.  1643. B. 212
+      206. The Shepherd and his Family. 1644. B. 220
+      207. The Sleeping Herdsman. (1644.) B. 189
+      208. The Rest on the Flight: a Night Piece. (1644.) B. 57
+      209. Six’s Bridge.  1645.  B. 208
+      210. The Omval.  1645.  B. 209
+      211. The Boat-house. 1645. B. 231
+      212. Cottages beside a Canal: with a Church and Sailing Boat.
+      (1645.) B. 228
+      213. Cottages and Farm Buildings with a Man Sketching. (1645.) B.
+      219
+      214. Abraham and Isaac.  1645. B. 34
+      215. Christ Carried to the Tomb. (1645.) B. 84
+      216. The Rest on the Flight: lightly etched. 1645. B. 58
+      217. S. Peter in Penitence. 1645. B. 96
+      218. Old Man in Meditation, Leaning on a Book. (1645.) B. 147
+      219. Beggar Woman Leaning on a Stick. 1646. B. 70
+      220. Study from the Nude: Man Seated Before a Curtain. 1646. B. 193
+      221.  Study from the Nude: Man Seated on the Ground with One Leg
+      Extended. 1646. B. 196
+      222. Studies from the Nude: One Man Seated and Another Standing:
+      with a Woman and Baby lightly etched in the background. (1646.) B.
+      194
+      223. Le Lit à la Française (Ledekant). 1646. B. 186
+      224. The Monk in the Cornfield. (1646.) B. 187
+      225. Jan Cornells Sylvius, Preacher: posthumous portrait. 1646. B.
+      280
+      226. Ephraim Bonus, Jewish Physician. 1647. B. 278
+      227. Jan Asselyn, Painter. (1647.) B. 277
+      228. Jan Six. 1647.  B. 285
+      229. Rembrandt Drawing at a Window. 1648. B. 22
+      230. Sheet of Studies with the Head of Rembrandt, a Beggar Man,
+      Woman and Child. (1648.) B. 370
+      231. The Artist Drawing from a Model: unfinished plate. (1648.) B.
+      192
+      232. S. Jerome Beside a Pollard Willow. 1648. B. 103
+      233. Beggars Receiving Alms at the Door of a House. 1648. B. 176
+      234. Jews in a Synagogue. 1648. B. 126
+      235. Medea: or the Marriage of Jason and Creusa. 1648. B. 112
+      236. Christ, with the Sick Around Him, receiving Little Children
+      (the “Hundred Guilder Print”). (1649.) B. 74
+      237. The Incredulity of Thomas. 1650. B. 89
+      238. Canal with an Angler and Two Swans. 1650. B. 235
+      239. Canal with a Large Boat and Bridge. 1650. B. 236
+      240. Landscape with a Cow Drinking. (1650.) B. 237
+      241. Landscape with a Hay Barn and a Flock of Sheep. 1650. B. 224
+      242. Landscape with a Milk-man. (1650.) B. 213
+      243. Landscape with an Obelisk. (1650.) B. 227
+      244. Landscape with Trees, Farm-buildings and a Tower. 1650. B. 223
+      245. Landscape with a Square Tower. 1650. B. 218
+      246. Landscape with Three Gabled Cottages Beside a Road. 1650. B.
+      217
+      247. The Bull. (1650.) B. 253
+      248. The Shell.  1650. B. 159
+      249. The  Goldweigher’s  Field. 1651. B. 234
+      250. The Bathers. 1651. B. 195
+      251. Clement de Jonghe, Printseller. 1651. B. 272
+      252. The Blindness of Tobit: the larger plate. 1651. B. 42
+      253. The Flight into Egypt: a Night Piece. 1651. B. 53
+      254. The Star of the Kings: a Night Piece. (1652.) B. 113
+      255. Adoration of the Shepherds; a Night Piece. (1652.) B. 46
+      256. Christ Preaching (“la Petite Tombe”). (1652.) B. 57
+      257. Christ Disputing with the Doctors: a sketch. 1652. B. 65
+      258. David in Prayer.  1652. B. 41
+      259. Peasant Family on the Tramp. (1652.) B. 131
+      260. Faust in His Study, Watching a Magic Disk. (1652.) B. 270
+      261. Titus Van Ryn, Rembrandt’s Son. (1656.) B. 11
+      262. Sheet of Studies, with a Wood and Paling, Part of Two Heads,
+      and a Horse and Cart. (1652.) B. 364
+      263. Clump of Trees with a Vista. 1652.  B. 222
+      264. Landscape with a Road Beside a Canal. (1652.) B. 221
+      265. Landscape with Sportsman and Dogs. (1653.) B. 211
+      266. The Flight into Egypt: altered from Tobias and the Angel by
+      Hercules Seghers. (1653.) B. 56
+      267. S. Jerome Reading, in an Italian Landscape.  (1653.) B. 104
+      268. Jan Antonides van der Linden, Professor of Medicine.  1665. B.
+      264
+      269. Lieven Willemsz Van Coppenol, Writing-Master: the smaller
+      plate. (1653.) B. 282 270. Christ Crucified between the Two Thieves:
+      large oblong plate (the “Three Crosses”).  1653. B. 78
+      271. Christ Presented to the People: large oblong plate.  1655.  B.
+      76
+      272. The Golf-Player.  1654. B. 125
+      273. The Adoration of the Shepherds (with the Lamp). (1654.) B. 45
+      274. The Circumcision (in the Stable). 1654. B. 47
+      275. The Virgin and Child with the Cat: and Joseph at the Window.
+      1654. B. 63
+      276. The Flight into Egypt: Holy Family Crossing a Brook. 1654. B.
+      55.
+      277. Christ Seated Disputing with the Doctors. 1654. B. 64
+      278. Christ Between His Parents, Returning from the Temple. 1654. B.
+      60
+      279. The Presentation in the Temple: in the Dark Manner. (1654.) B.
+      50
+      280. The Descent from the Cross: by Torchlight. 1654. B. 83
+      281. The Entombment. (1654.) B. 86
+      282. Christ at Emmaus: the larger plate. 1654. B. 87.
+      283. Abraham’s Sacrifice.  1655. B. 35
+      284. Four Illustrations to a Spanish Book. (A. The Image seen by
+      Nebuchadnezzar. B. Jacob’s Ladder. C. David and Goliath. D. Daniel’s
+      Vision of Four Beasts.) 1655. B. 36
+      285. The Goldsmith. 1655. B. 123
+      286. Abraham Entertaining the Angels. 1656. B. 29
+      287. Jacob Haaring (the “Old Haaring”). (1655.) B. 274
+      288. Thomas Jacobsz Haaring (the “Young Haaring.”) 1655. B. 275
+      289. Arnold Tholinx, Inspector of Medical Colleges at Amsterdam.
+      (1656.) B. 284
+      290. Jan Lutma, the Elder, Goldsmith and Sculptor. 1656. B. 276
+      291. Abraham Francen, Art Dealer. (1656.) B. 273
+      292. S. Francis Beneath a Tree, Praying. 1657. B. 107
+      293. The Agony in the Garden. (1657.) B. 75
+      294. Christ and the Woman of Samaria: an Arched Print. 1658. B. 70
+      295. The Phrenix; or the Statue Overthrown: an Allegory of Doubtful
+      Meaning. 1658. B. 110
+      296. Woman Sitting Half Dressed Beside a Stove. 1658. B. 197
+      297. Woman at the Bath, with a Hat Beside Her. 1658. B. 199
+      298. Woman Bathing Her Feet at a Brook. 1658. B. 200
+      299. Negress Lying Down. 1658. B. 205
+      300. Lieven Willemsz Van Coppenol, Writing-Master: the larger plate.
+      (1658.) B. 283
+      300*. Rembrandt Etching. 1658. Seidlitz, 379
+      301. Peter and John Healing the Cripple at the Gate of the Temple.
+      1659. B. 94
+      302. Jupiter and Antiope: the larger plate. 1659. B. 103
+      303. The Woman with the Arrow. 1661. B. 202
+
+The title-page border is taken from a portrait etching by Juriaen Ovens,
+of Frederick III of Holstein Gottdorp.
+
+
+
+
+
+       [1, I, REMBRANDT’S MOTHER, Unfinished state. 1628: B. 354.]
+
+        1, I. REMBRANDT’S MOTHER, Unfinished state. 1628: B. 354.
+
+
+       [7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164]
+
+        7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164
+
+
+   [20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66]
+
+    20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66
+
+
+[23, I. BALD-HEADED MAN (REMBRANDT’S FATHER?) In profile _r.;_ head only,
+ bust added afterwards. 1630. B. 292. First state, the body being merely
+                            indicated in ink]
+
+ 23, I. BALD-HEADED MAN (REMBRANDT’S FATHER?) In profile _r.;_ head only,
+ bust added afterwards. 1630. B. 292. First state, the body being merely
+                             indicated in ink
+
+
+                [38, II. THE BLIND FIDDLER. 1631. B. 138]
+
+                 38, II. THE BLIND FIDDLER. 1631. B. 138
+
+
+[40139164. THE LITTLE POLANDER. 1631. B. 142.  139. THE QUACKSALVER. 1635.
+B. 129.  164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639.
+                                 B. 133]
+
+  40. THE LITTLE POLANDER. 1631. B. 142.  139. THE QUACKSALVER. 1635. B.
+129.  164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B.
+                                   133
+
+
+          [52, III. REMBRANDT’S MOTHER SEATED. (1631.) B. 343.]
+
+           52, III. REMBRANDT’S MOTHER SEATED. (1631.) B. 343.
+
+
+ [54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state,
+                             the body added.]
+
+54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the
+                               body added.
+
+
+             [57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2]
+
+              57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2
+
+
+                  [97, I. THE RAT-KILLER. 1632. B. 121]
+
+                   97, I. THE RAT-KILLER. 1632. B. 121
+
+
+[110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was
+                afterwards cut down to a bust in an oval.]
+
+110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was
+                afterwards cut down to a bust in an oval.
+
+
+  [112. REMBRANDT’S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347]
+
+   112. REMBRANDT’S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347
+
+
+     [127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state]
+
+      127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state
+
+
+               [129. OLD WOMAN SLEEPING. (1635-7.) B. 350.]
+
+                129. OLD WOMAN SLEEPING. (1635-7.) B. 350.
+
+
+            [147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91]
+
+             147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91
+
+
+[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
+
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS
+***
+
+
+
+CREDITS
+
+
+February 5, 2010
+
+            Project Gutenberg Edition
+            Martin Schub
+
+
+
+A WORD FROM PROJECT GUTENBERG
+
+
+This file should be named 31183‐0.txt or 31183‐0.zip.
+
+This and all associated files of various formats will be found in:
+
+
+    http://www.gutenberg.org/dirs/3/1/1/8/31183/
+
+
+Updated editions will replace the previous one — the old editions will be
+renamed.
+
+Creating the works from public domain print editions means that no one
+owns a United States copyright in these works, so the Foundation (and
+you!) can copy and distribute it in the United States without permission
+and without paying copyright royalties. Special rules, set forth in the
+General Terms of Use part of this license, apply to copying and
+distributing Project Gutenberg™ electronic works to protect the Project
+Gutenberg™ concept and trademark. Project Gutenberg is a registered
+trademark, and may not be used if you charge for the eBooks, unless you
+receive specific permission. If you do not charge anything for copies of
+this eBook, complying with the rules is very easy. You may use this eBook
+for nearly any purpose such as creation of derivative works, reports,
+performances and research. They may be modified and printed and given away
+— you may do practically _anything_ with public domain eBooks.
+Redistribution is subject to the trademark license, especially commercial
+redistribution.
+
+
+
+THE FULL PROJECT GUTENBERG LICENSE
+
+
+_Please read this before you distribute or use this work._
+
+To protect the Project Gutenberg™ mission of promoting the free
+distribution of electronic works, by using or distributing this work (or
+any other work associated in any way with the phrase “Project Gutenberg”),
+you agree to comply with all the terms of the Full Project Gutenberg™
+License (available with this file or online at
+http://www.gutenberg.org/license).
+
+
+Section 1.
+
+
+General Terms of Use & Redistributing Project Gutenberg™ electronic works
+
+
+1.A.
+
+
+By reading or using any part of this Project Gutenberg™ electronic work,
+you indicate that you have read, understand, agree to and accept all the
+terms of this license and intellectual property (trademark/copyright)
+agreement. If you do not agree to abide by all the terms of this
+agreement, you must cease using and return or destroy all copies of
+Project Gutenberg™ electronic works in your possession. If you paid a fee
+for obtaining a copy of or access to a Project Gutenberg™ electronic work
+and you do not agree to be bound by the terms of this agreement, you may
+obtain a refund from the person or entity to whom you paid the fee as set
+forth in paragraph 1.E.8.
+
+
+1.B.
+
+
+“Project Gutenberg” is a registered trademark. It may only be used on or
+associated in any way with an electronic work by people who agree to be
+bound by the terms of this agreement. There are a few things that you can
+do with most Project Gutenberg™ electronic works even without complying
+with the full terms of this agreement. See paragraph 1.C below. There are
+a lot of things you can do with Project Gutenberg™ electronic works if you
+follow the terms of this agreement and help preserve free future access to
+Project Gutenberg™ electronic works. See paragraph 1.E below.
+
+
+1.C.
+
+
+The Project Gutenberg Literary Archive Foundation (“the Foundation” or
+PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg™ electronic works. Nearly all the individual works in the
+collection are in the public domain in the United States. If an individual
+work is in the public domain in the United States and you are located in
+the United States, we do not claim a right to prevent you from copying,
+distributing, performing, displaying or creating derivative works based on
+the work as long as all references to Project Gutenberg are removed. Of
+course, we hope that you will support the Project Gutenberg™ mission of
+promoting free access to electronic works by freely sharing Project
+Gutenberg™ works in compliance with the terms of this agreement for
+keeping the Project Gutenberg™ name associated with the work. You can
+easily comply with the terms of this agreement by keeping this work in the
+same format with its attached full Project Gutenberg™ License when you
+share it without charge with others.
+
+
+1.D.
+
+
+The copyright laws of the place where you are located also govern what you
+can do with this work. Copyright laws in most countries are in a constant
+state of change. If you are outside the United States, check the laws of
+your country in addition to the terms of this agreement before
+downloading, copying, displaying, performing, distributing or creating
+derivative works based on this work or any other Project Gutenberg™ work.
+The Foundation makes no representations concerning the copyright status of
+any work in any country outside the United States.
+
+
+1.E.
+
+
+Unless you have removed all references to Project Gutenberg:
+
+
+1.E.1.
+
+
+The following sentence, with active links to, or other immediate access
+to, the full Project Gutenberg™ License must appear prominently whenever
+any copy of a Project Gutenberg™ work (any work on which the phrase
+“Project Gutenberg” appears, or with which the phrase “Project Gutenberg”
+is associated) is accessed, displayed, performed, viewed, copied or
+distributed:
+
+
+    This eBook is for the use of anyone anywhere at no cost and with
+    almost no restrictions whatsoever. You may copy it, give it away
+    or re-use it under the terms of the Project Gutenberg License
+    included with this eBook or online at http://www.gutenberg.org
+
+
+1.E.2.
+
+
+If an individual Project Gutenberg™ electronic work is derived from the
+public domain (does not contain a notice indicating that it is posted with
+permission of the copyright holder), the work can be copied and
+distributed to anyone in the United States without paying any fees or
+charges. If you are redistributing or providing access to a work with the
+phrase “Project Gutenberg” associated with or appearing on the work, you
+must comply either with the requirements of paragraphs 1.E.1 through 1.E.7
+or obtain permission for the use of the work and the Project Gutenberg™
+trademark as set forth in paragraphs 1.E.8 or 1.E.9.
+
+
+1.E.3.
+
+
+If an individual Project Gutenberg™ electronic work is posted with the
+permission of the copyright holder, your use and distribution must comply
+with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed
+by the copyright holder. Additional terms will be linked to the Project
+Gutenberg™ License for all works posted with the permission of the
+copyright holder found at the beginning of this work.
+
+
+1.E.4.
+
+
+Do not unlink or detach or remove the full Project Gutenberg™ License
+terms from this work, or any files containing a part of this work or any
+other work associated with Project Gutenberg™.
+
+
+1.E.5.
+
+
+Do not copy, display, perform, distribute or redistribute this electronic
+work, or any part of this electronic work, without prominently displaying
+the sentence set forth in paragraph 1.E.1 with active links or immediate
+access to the full terms of the Project Gutenberg™ License.
+
+
+1.E.6.
+
+
+You may convert to and distribute this work in any binary, compressed,
+marked up, nonproprietary or proprietary form, including any word
+processing or hypertext form. However, if you provide access to or
+distribute copies of a Project Gutenberg™ work in a format other than
+“Plain Vanilla ASCII” or other format used in the official version posted
+on the official Project Gutenberg™ web site (http://www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original “Plain Vanilla ASCII” or other form.
+Any alternate format must include the full Project Gutenberg™ License as
+specified in paragraph 1.E.1.
+
+
+1.E.7.
+
+
+Do not charge a fee for access to, viewing, displaying, performing,
+copying or distributing any Project Gutenberg™ works unless you comply
+with paragraph 1.E.8 or 1.E.9.
+
+
+1.E.8.
+
+
+You may charge a reasonable fee for copies of or providing access to or
+distributing Project Gutenberg™ electronic works provided that
+
+    - You pay a royalty fee of 20% of the gross profits you derive from
+      the use of Project Gutenberg™ works calculated using the method you
+      already use to calculate your applicable taxes. The fee is owed to
+      the owner of the Project Gutenberg™ trademark, but he has agreed to
+      donate royalties under this paragraph to the Project Gutenberg
+      Literary Archive Foundation. Royalty payments must be paid within 60
+      days following each date on which you prepare (or are legally
+      required to prepare) your periodic tax returns. Royalty payments
+      should be clearly marked as such and sent to the Project Gutenberg
+      Literary Archive Foundation at the address specified in Section 4,
+      “Information about donations to the Project Gutenberg Literary
+      Archive Foundation.”
+
+    - You provide a full refund of any money paid by a user who notifies
+      you in writing (or by e-mail) within 30 days of receipt that s/he
+      does not agree to the terms of the full Project Gutenberg™ License.
+      You must require such a user to return or destroy all copies of the
+      works possessed in a physical medium and discontinue all use of and
+      all access to other copies of Project Gutenberg™ works.
+
+    - You provide, in accordance with paragraph 1.F.3, a full refund of
+      any money paid for a work or a replacement copy, if a defect in the
+      electronic work is discovered and reported to you within 90 days of
+      receipt of the work.
+
+    - You comply with all other terms of this agreement for free
+      distribution of Project Gutenberg™ works.
+
+
+1.E.9.
+
+
+If you wish to charge a fee or distribute a Project Gutenberg™ electronic
+work or group of works on different terms than are set forth in this
+agreement, you must obtain permission in writing from both the Project
+Gutenberg Literary Archive Foundation and Michael Hart, the owner of the
+Project Gutenberg™ trademark. Contact the Foundation as set forth in
+Section 3 below.
+
+
+1.F.
+
+
+1.F.1.
+
+
+Project Gutenberg volunteers and employees expend considerable effort to
+identify, do copyright research on, transcribe and proofread public domain
+works in creating the Project Gutenberg™ collection. Despite these
+efforts, Project Gutenberg™ electronic works, and the medium on which they
+may be stored, may contain “Defects,” such as, but not limited to,
+incomplete, inaccurate or corrupt data, transcription errors, a copyright
+or other intellectual property infringement, a defective or damaged disk
+or other medium, a computer virus, or computer codes that damage or cannot
+be read by your equipment.
+
+
+1.F.2.
+
+
+LIMITED WARRANTY, DISCLAIMER OF DAMAGES — Except for the “Right of
+Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg
+Literary Archive Foundation, the owner of the Project Gutenberg™
+trademark, and any other party distributing a Project Gutenberg™
+electronic work under this agreement, disclaim all liability to you for
+damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE
+NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH
+OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE
+FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT
+WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
+PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY
+OF SUCH DAMAGE.
+
+
+1.F.3.
+
+
+LIMITED RIGHT OF REPLACEMENT OR REFUND — If you discover a defect in this
+electronic work within 90 days of receiving it, you can receive a refund
+of the money (if any) you paid for it by sending a written explanation to
+the person you received the work from. If you received the work on a
+physical medium, you must return the medium with your written explanation.
+The person or entity that provided you with the defective work may elect
+to provide a replacement copy in lieu of a refund. If you received the
+work electronically, the person or entity providing it to you may choose
+to give you a second opportunity to receive the work electronically in
+lieu of a refund. If the second copy is also defective, you may demand a
+refund in writing without further opportunities to fix the problem.
+
+
+1.F.4.
+
+
+Except for the limited right of replacement or refund set forth in
+paragraph 1.F.3, this work is provided to you ’AS-IS,’ WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+
+1.F.5.
+
+
+Some states do not allow disclaimers of certain implied warranties or the
+exclusion or limitation of certain types of damages. If any disclaimer or
+limitation set forth in this agreement violates the law of the state
+applicable to this agreement, the agreement shall be interpreted to make
+the maximum disclaimer or limitation permitted by the applicable state
+law. The invalidity or unenforceability of any provision of this agreement
+shall not void the remaining provisions.
+
+
+1.F.6.
+
+
+INDEMNITY — You agree to indemnify and hold the Foundation, the trademark
+owner, any agent or employee of the Foundation, anyone providing copies of
+Project Gutenberg™ electronic works in accordance with this agreement, and
+any volunteers associated with the production, promotion and distribution
+of Project Gutenberg™ electronic works, harmless from all liability, costs
+and expenses, including legal fees, that arise directly or indirectly from
+any of the following which you do or cause to occur: (a) distribution of
+this or any Project Gutenberg™ work, (b) alteration, modification, or
+additions or deletions to any Project Gutenberg™ work, and (c) any Defect
+you cause.
+
+
+Section  2.
+
+
+           Information about the Mission of Project Gutenberg™
+
+
+Project Gutenberg™ is synonymous with the free distribution of electronic
+works in formats readable by the widest variety of computers including
+obsolete, old, middle-aged and new computers. It exists because of the
+efforts of hundreds of volunteers and donations from people in all walks
+of life.
+
+Volunteers and financial support to provide volunteers with the assistance
+they need, is critical to reaching Project Gutenberg™’s goals and ensuring
+that the Project Gutenberg™ collection will remain freely available for
+generations to come. In 2001, the Project Gutenberg Literary Archive
+Foundation was created to provide a secure and permanent future for
+Project Gutenberg™ and future generations. To learn more about the Project
+Gutenberg Literary Archive Foundation and how your efforts and donations
+can help, see Sections 3 and 4 and the Foundation web page at
+http://www.pglaf.org.
+
+
+Section 3.
+
+
+   Information about the Project Gutenberg Literary Archive Foundation
+
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the state of
+Mississippi and granted tax exempt status by the Internal Revenue Service.
+The Foundation’s EIN or federal tax identification number is 64-6221541.
+Its 501(c)(3) letter is posted at
+http://www.gutenberg.org/fundraising/pglaf. Contributions to the Project
+Gutenberg Literary Archive Foundation are tax deductible to the full
+extent permitted by U.S. federal laws and your state’s laws.
+
+The Foundation’s principal office is located at 4557 Melan Dr.
+S. Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations. Its business office is located at 809 North
+1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org. Email contact links and up to date contact information
+can be found at the Foundation’s web site and official page at
+http://www.pglaf.org
+
+For additional contact information:
+
+
+    Dr. Gregory B. Newby
+    Chief Executive and Director
+    gbnewby@pglaf.org
+
+
+Section 4.
+
+
+  Information about Donations to the Project Gutenberg Literary Archive
+                                Foundation
+
+
+Project Gutenberg™ depends upon and cannot survive without wide spread
+public support and donations to carry out its mission of increasing the
+number of public domain and licensed works that can be freely distributed
+in machine readable form accessible by the widest array of equipment
+including outdated equipment. Many small donations ($1 to $5,000) are
+particularly important to maintaining tax exempt status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United States.
+Compliance requirements are not uniform and it takes a considerable
+effort, much paperwork and many fees to meet and keep up with these
+requirements. We do not solicit donations in locations where we have not
+received written confirmation of compliance. To SEND DONATIONS or
+determine the status of compliance for any particular state visit
+http://www.gutenberg.org/fundraising/donate
+
+While we cannot and do not solicit contributions from states where we have
+not met the solicitation requirements, we know of no prohibition against
+accepting unsolicited donations from donors in such states who approach us
+with offers to donate.
+
+International donations are gratefully accepted, but we cannot make any
+statements concerning tax treatment of donations received from outside the
+United States. U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation methods
+and addresses. Donations are accepted in a number of other ways including
+checks, online payments and credit card donations. To donate, please
+visit: http://www.gutenberg.org/fundraising/donate
+
+
+Section 5.
+
+
+      General Information About Project Gutenberg™ electronic works.
+
+
+Professor Michael S. Hart is the originator of the Project Gutenberg™
+concept of a library of electronic works that could be freely shared with
+anyone. For thirty years, he produced and distributed Project Gutenberg™
+eBooks with only a loose network of volunteer support.
+
+Project Gutenberg™ eBooks are often created from several printed editions,
+all of which are confirmed as Public Domain in the U.S. unless a copyright
+notice is included. Thus, we do not necessarily keep eBooks in compliance
+with any particular paper edition.
+
+Each eBook is in a subdirectory of the same number as the eBook’s eBook
+number, often in several formats including plain vanilla ASCII, compressed
+(zipped), HTML and others.
+
+Corrected _editions_ of our eBooks replace the old file and take over the
+old filename and etext number. The replaced older file is renamed.
+_Versions_ based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+
+    http://www.gutenberg.org
+
+
+This Web site includes information about Project Gutenberg™, including how
+to make donations to the Project Gutenberg Literary Archive Foundation,
+how to help produce our new eBooks, and how to subscribe to our email
+newsletter to hear about new eBooks.
+
+
+
+
+
+
+***FINIS***
+
\ No newline at end of file
diff --git a/31183-0.zip b/31183-0.zip
new file mode 100644
index 0000000..7c2a0e4
--- /dev/null
+++ b/31183-0.zip
diff --git a/31183-8.txt b/31183-8.txt
new file mode 100644
index 0000000..124b350
--- /dev/null
+++ b/31183-8.txt
@@ -0,0 +1,1687 @@
+The Project Gutenberg EBook of Rembrandt, With a Complete List of His
+Etchings by Arthur Mayger Hind
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: Rembrandt, With a Complete List of His Etchings
+
+
+Author: Arthur Mayger Hind
+
+Release Date: February 5, 2010 [Ebook #31183]
+
+Language: English
+
+Character set encoding: ISO 8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS
+***
+
+
+
+
+
+Rembrandt, With a Complete List of his Etchings
+
+
+
+
+Arthur M. Hind
+
+
+
+Fredk. A. Stokes Company
+1912
+
+
+
+
+
+                                 [image]
+
+
+
+
+
+          [144, II. Rembrandt and his Wife, Saskia, 1636, B. 19]
+
+           144, II. Rembrandt and his Wife, Saskia, 1636, B. 19
+
+
+
+
+
+CONTENTS
+
+
+REMBRANDT
+BOOKS OF REFERENCE
+A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS
+
+
+
+
+
+ILLUSTRATIONS
+
+
+144, II. Rembrandt and his Wife, Saskia, 1636, B. 19
+1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.
+7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164
+20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66
+23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile _r.;_ head only,
+bust added afterwards. 1630. B. 292. First state, the body being merely
+indicated in ink
+38, II. THE BLIND FIDDLER. 1631. B. 138
+40. THE LITTLE POLANDER. 1631. B. 142.  139. THE QUACKSALVER. 1635. B.
+129.  164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B.
+133
+52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.
+54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the
+body added.
+57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2
+97, I. THE RAT-KILLER. 1632. B. 121
+110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was
+afterwards cut down to a bust in an oval.
+112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347
+127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state
+129. OLD WOMAN SLEEPING. (1635-7.) B. 350.
+147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91
+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
+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
+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
+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
+179. THE WINDMILL. 1641. B. 233
+184. THE SPANISH GIPSY. (1641.) B. 120
+198, I. THE RAISING OF LAZARUS. 1642. B. 72
+205. THE THREE TREES. (1643.) B. 212
+209, I. SIX'S BRIDGE. 1645. B. 208
+215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84
+216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58
+228, II. JAN SIX. 1647. B. 285
+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
+232, I. ST. JEROME BESIDE A POLLARD WILLOW.  1648. B. 103
+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
+239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236
+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
+249. THE GOLDWEIGHER'S FIELD. 1651. B. 234
+251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272
+252. THE BLINDNESS OF TOBIT: THE LARGER PLATE.  1651. B. 42
+254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113
+256. CHRIST PREACHING ("LA PETITE TOMBE"). 1652 B. 67
+257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65
+261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11
+264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221
+267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104
+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,
+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
+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.
+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
+286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29
+287, II. JACOB HAARING (THE "OLD HAARING"). (1655.) B. 274
+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)
+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
+
+
+
+
+
+
+REMBRANDT
+
+
+    Rembrandt Harmensz van Ryn, son of Harmen Gerritsz van Ryn, miller
+    (d. 1630), and Neeltge Willemsdochter (d. 1640), daughter of a
+    baker of Zuytbroeck; born at Leyden, July 15, 1606; entered Leyden
+    University as a student of letters, May 20, 1620, but left before
+    the end of the year; studied painting for about three years in his
+    native town under Jacob Isaaksz van Swanenburgh, and at the age of
+    seventeen for about six months under Pieter Lastman in Amsterdam;
+    settled in Leyden from 1624 until 1631, removing with his sister
+    Lysbeth to Amsterdam in the latter half of 1631; married Saskia
+    van Ulenburch, June 1634; from 1639 to 1658 lived in the
+    Breestraat (in the house which is now open to the public); lost
+    his wife in 1642; from about 1652 Hendrikje Stoffels, who had been
+    his servant, lived with him as his wife, until her death about
+    1664; Rembrandt's material success as a painter was
+    counterbalanced by his zeal for collecting works of art, and in
+    1656 he was forced by his creditors to declare bankrupt; an
+    inventory of the contents of his house, made in view of the sales
+    which took place in 1657 and 1658, is still preserved; the last
+    part of his life was spent in a lodging on the Rozengracht, and
+    all the money that he earned went to his creditors whom he never
+    satisfied; he died and was buried in the Westerkerk, Amsterdam,
+    October 4, 1669.
+
+
+The formal style of art, the essence of line-engraving, reached its zenith
+in Albrecht D�rer.  And D�rer was so great a master that human feeling
+told through the medium of the severest formalism.  But it was not till a
+century later that human expression found its full outlet in an artist
+whose sympathy was at once penetrating and comprehensive, who perfected a
+medium capable of the most spontaneous rendering of the deepest as well as
+the most fleeting emotions of life.
+
+As a painter Rembrandt was chiefly devoted to portraiture, a devotion no
+doubt largely due to the conviction that its study gives the most
+immediate opportunity for depicting human character. But it must also be
+confessed that the overwhelmingly large proportion of portraits to other
+subjects in his painted work may be partly owing to the demands of
+clients.  That it was not entirely so is immediately evident when one
+considers the master's untiring industry in painting portraits of himself
+after his popularity had waned, and commissions nearly ceased.
+Nevertheless as works for the most part uncommissioned and less lucrative
+than the paintings, we may take it that the etchings are a true reflection
+of the actual tendency of Rembrandt's genius when least affected by
+demands from outside.  In his etched work we find that portraits are much
+less numerous, and by far the largest place is given to the subjects from
+scripture, treated with the same reality that characterises his sketches
+from daily life.
+
+Rembrandt's affection for scriptural subjects is a striking fact in face
+of the general character of Dutch art in the seventeenth century.  The
+reformation in Holland seems to have helped towards the exclusion of art
+from the domain of religion; and the merely formal and superficial
+rendering of biblical stories by the classicists of the late sixteenth
+century may have also had much to account for the secular reaction of the
+succeeding period.  But Rembrandt had no need to seek new ground to escape
+from a formal rendering of well-known themes.  Like most masters of
+supreme genius, his originality consisted in the realisation of his own
+deepest and most personal emotion in his treatment of the old stories.
+They appealed to him as the vehicle of the noblest thoughts of man in
+relation to himself and God, and he was practically the first artist who
+dared approach the Scriptures in the spirit of reality that implied a
+living faith rather than an official creed.
+
+It is perhaps still not superfluous to emphasise the fact that the
+etchings of Rembrandt (as of nearly all the painter-engravers or etchers)
+are original works distinct in methods and aims from the paintings or
+works in any other medium.  In Rembrandt's work of rather more than three
+hundred etchings there are scarcely half a dozen subjects that correspond
+with his pictures.  In general the original engraver or etcher conceives
+and carries out his design in specific relation to its medium; its
+expression in another would demand an entirely different treatment.
+
+Rembrandt worked on copper in pure etching and dry-point.  In pure etching
+the plate is first covered with a thin layer or ground of wax composition;
+the etcher draws through this ground (which offers scarcely any
+resistance) with an etching needle, opening up the surface of the copper
+where he wishes his lines to appear.  The plate is then put in a bath of
+acid which bites the furrows in the unprotected parts of the plate, i.e.
+wherever the needle has been drawn through the ground.  Dry-point, though
+generally regarded as a branch of etching, as it is so constantly used on
+the same plate as bitten work, is in reality more akin to line-engraving.
+No acid is used, and the lines are scratched on the surface of the copper
+by a strong steel point.  The artist does not push this point before the
+hand like the graver, but uses it in the same way as a pencil.  The curl
+of metal thrown up at the side of the line is not scraped away as in
+line-engraving, where the aim is clearness of designs, but left to hold
+the ink, enwrapping the line, as printed from the furrows, in a rich
+cloudy tone.  This curl of metal, or "burr" (a term also applied to the
+velvety tone which it causes), is extremely delicate, and a comparatively
+few impressions suffice to level it with the surface of the copper, and
+leave the effect a mere ghost of the artist's intention.  So that rich
+impressions from dry-points are infinitely rarer than good ones from the
+pure etchings, which often yield hundreds of prints without greatly
+deteriorating in quality.  But the more delicate the etching and the
+closer the mesh of line, the sooner will deterioration of quality set in,
+so that a glance at the character of an etching, granting that the plate
+was not destroyed after a very limited issue, will almost immediately
+reveal one important point, i.e. the comparative rarity of good
+impressions.  It is clear and strong open line prints such as the _Christ
+at Emmaus_ of 1654 (_282_) of which moderate impressions are not so
+valuable, for such plates were still in fair condition for printing as
+late as the eighteenth century.
+
+Pure etching is often combined with dry-point, the latter being used to
+give emphasis and strength to an etching of greater uniformity of tone.
+Rembrandt did not begin to use dry-point until about 1639, e.g. in the
+_Death of the Virgin_ (_161_), but it is not handled with any richness of
+effect until such works as the _Triumph of Mordecai_ (_172_) which
+probably dates several years later.  A print like the _Three Trees_
+(_205_) might seem from the reproduction to have the rich tone that comes
+from dry-point, but in this case the dark effect is almost entirely due to
+a close mesh of pure etched lines.  The real quality of dry-point may be
+better studied in some of the lightly sketched lines in the foreground of
+the _Artist drawing from a model_ (_231_), e.g. the palm branch on the
+right.
+
+In his early period up till about 1640, Rembrandt's etching is
+characterised by a clear lineal manner with little tendency to the
+chiaroscuro which gradually became the characteristic feature of his
+artistic style in etching as well as in painting.  Later he tends to a
+greater breadth of treatment in line, and a less imitative treatment of
+physical form.  At first his experiments in chiaroscuro were produced by
+the close mesh of etched lines, but it must be confessed that etching as
+such rather loses its character when the line is so entirely lost in tone.
+Even the _Hundred Guilder Print_ (_236_) holds its unrivalled place in the
+art of etching rather for the genius that overcame supreme difficulties
+than for the supreme fitness of the style in relation to the medium.
+Rembrandt never showed the breadth of his sympathy and his powers of
+observation better than in this plate, but for grandeur of conception,
+concentration of material, and a vigorous handling more in keeping with
+the scale of his subject, he attained a nobler--I think his
+noblest--creation in the _Three Crosses_ (_270_).  The changes introduced
+in this plate in a later state are remarkable, and show how completely the
+etcher can transform his subject.  Here the changes are astonishingly
+drastic, and may have been intended to direct us to an entirely different
+moment in the drama of the Crucifixion.  In other examples, such as the
+_Christ presented to the People_  (_271_) and the _Landscape with trees,
+farm-buildings, and a tower_ (_244_), one sees how Rembrandt was
+constantly striving in the progress of his states towards greater
+concentration of idea, effecting it in the former by the removal of an
+entire group of figures, in the latter by the lopping of a cupola on the
+church tower.  Except for an occasional plate like the _Clement de Jonghe_
+(_251_) with its open line after the manner of Van Dyck, Rembrandt kept to
+the method of close painter-like shading throughout the latter part of his
+life, but in his subject prints he almost entirely discarded this method
+of chiaroscuro for a more luminous and mysterious shadow effected by the
+surface tinting of a more broadly etched plate. The various states of the
+_Entombment_ (_281_), first with the line quite open, then with some added
+shading partially aided by a surface tint, exemplify the manner of his
+progress. In this wonderful plate, and nearly all the subjects of his
+later period, Rembrandt had attained a dignity of composition which we
+find in few painters outside Venice.  In spite of his thoroughly Dutch
+temperament, Rembrandt had learnt much from the Italians, and in nothing
+more than in space composition.  A very large proportion of his early
+etchings are studies of seperate figures.  Only by this constant study of
+pieces of life was perfected the power by which his greater conceptions
+were realised with such unity of effect.
+
+Rembrandt took longer than many a weaker artist to reach his maturity, not
+that his progress was slower, but the maturity much higher, and even his
+old age seemed like youth in its perennial receptivity and power of
+vigorous growth.  A well-known connoisseur of the time, Constantin
+Huygens, writing in 1631, was more impressed by Lievens's brilliant
+flights of invention than by Rembrandt's vivid power of expressing
+character and emotion.  But while the former and so many of his
+contemporaries were content with their own facility and the convention
+they had reached, Rembrandt never remitted the ardour of the great quest
+which was the very blood of his life.  Constantly breaking new paths, and
+losing at each new turn his earlier patrons, who failed to follow the
+progress of his genius, he died in comparative neglect, only to be
+rediscovered by the moderns as one who still belongs to the most living
+style of art.
+
+A few etchers of the last two or three generations have taken a step
+further or aside in this or that direction, more particularly in the art
+of landscape, but even Whistler, at once the supreme virtuoso and the
+greatest individuality of nineteenth-century etching, falls far short of
+Rembrandt in the one thing which makes or mars genius of the highest
+order, i.e. depth of humanity, without surpassing him in the technical
+mastery of expressive line.  Rembrandt remains for us the greatest etcher
+who has ever lived, as well as one of the noblest exponents in art of the
+deepest and most generous emotions of life.
+
+
+
+
+
+BOOKS OF REFERENCE
+
+
+
+
+                                CATALOGUES
+
+
+      Gersaint, E. F. Paris 1751
+      Yver, P. Amsterdam 1756 (supplement to Gersaint)
+      Bartsch, Adam. Vienna 1797
+      Claussin, J. J. de. Paris 1824 (supplement 1828)
+      Wilson, T. London 1836
+      Blanc, C. Paris 1859-61 (1873, and with a complete series of
+      reproductions, 1880)
+      Middleton-Wake, C. H. London 1878
+      Dutuit, E. Paris 1881-4 (with a complete series of reproductions in
+      heliogravure); Manuel de l'Amateur V (1882), and VI (1885).
+      Rovinski, D. St. Petersburg 1890 (with atlas of reproductions
+      covering all the etchings in practically every state)
+      Rovinski, D. Les �l�ves de Rembrandt. St. Petersburg 1894
+      Seidlitz, W. von. Leipzig 1895
+      Dodgson, C. In Hamerton. the Etchings of Rembrandt, London 1904
+      Singer, H. W. Stuttgart 1906 (and 1910)
+      Hind, A. M. London 1912
+
+
+
+
+                                 GENERAL
+
+
+Also including the most important works on Rembrandt's paintings and
+drawings
+
+      Vosmaer, C. Rembrandt, sa vie et ses oeuvres. The Hague 1868 (and
+      1877)
+      Haden, (Sir) F. Seymour. The Etched Work of Rembrandt. London 1879
+      Michel, E. Rembrandt, sa vie, son oeuvre, et son temps. Paris 1893
+      Hamerton, P. G. The Etchings of Rembrandt. London 1894 (and 1904,
+      with catalogue by C. Dodgson)
+      Bode, W., and Groot, C. H. de. The Complete Work of Rembrandt
+      (reproduced in photogravure). 8 vols. Paris 1897--1906
+      Groot, C. H. de. Die Urkunden �ber Rembrandt (1575-1721). The Hague
+      1906. (English version in vol. 8 of Bode)
+      Groot, C. H. de. Die Handzeichnungen Rembrandts. Versuch eines
+      beschreibenden und kritischen Katalogs. Haarlem 1906
+      Hamann, R. Rembrandt's Radierungen. Berlin 1906
+      Holmes, C. J. The Development of Rembrandt as an Etcher. _Burlington
+      Magazine_ IX (1906), 87, 245, 313, 383
+      Holmes, C. J.  Notes on the Art of Rembrandt. London 1911
+      Brown, C. Baldwin. London 1907
+      Six, J. Gersaint's l�st van Rembrandts Prenten. _Oud-Holland_ XXVII
+      (1909), 65
+
+
+
+
+
+A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS
+
+
+Arranged according to the author's complete catalogue in _Rembrandt's
+Etchings, an Essay and a Catalogue_ (Methuen, 1912), which follows the
+chronological arrangement of the collection in the British Museum.
+Numbers that are obelised ({~DAGGER~}) are plates of doubtful authenticity; starred
+numbers (*) refer to plates not represented in the British Museum.
+Conjectural dates are cited within brackets.  Except for Nos. 144
+(frontispiece), 139 and 164 (on same plate as No. 40), and 196 (on same
+plate as No. 175), the etchings reproduced (entirely from the British
+Museum collection) are given in the order of this catalogue, so that plate
+numbers have been dispensed with.  The Roman numerals following the
+catalogue numbers in the underlines to the plates refer to the states of
+the etchings as described in the complete catalogue.  B. = Bartsch.
+
+      1. Rembrandt's Mother: Head Bust, three-quarters r. 1628. B. 354.
+      2. Rembrandt's Mother: Head only, full face. 1628. B. 352
+      2.* Rembrandt with a Broad Nose. (1628) B. 4
+      3. Rembrandt Bareheaded, with High Curly Hair: Head and Bust.
+      (1628.) B. 27
+      4. Rembrandt Bareheaded: A Large Plate Roughly Etched: Head and
+      Bust. 1629. B. 338
+      4.* Aged Man of Letters. (1629.) B. 149
+      5. Peter and John at the Gate of the Temple: Roughly Etched.
+      (1629-30.) B. 95
+      6. The Small Lion Hunt (with one Lion). (1629-30.) B. 116
+      7. Beggar Man and Beggar Woman Conversing. 1630. B. 164
+      8. Beggar Seated Warming his Hands at a Chafing Dish. (1630.) B. 173
+      9. Beggar Leaning on a Stick, facing l. (1630.) B. 163
+      10. Beggar in a Long Cloak, Sitting in an Arm-chair. (1630.) B. 160
+      11. Beggar Seated on a Bank. 1630. B. 174
+      12. Beggar with a Wooden Leg. (1630.) B. 179
+      13. Beggar Man and Beggar Woman Behind a Bank. (1630) B. 165
+      14. Man in a Cloak and Fur Cap Leaning against a Bank. (1630.) B.
+      151
+      15. Beggar in a High Cap, Standing and Leaning on a Stick. (1630.)
+      B. 162
+      16. Ragged Peasant with his Hands Behind Him, Holding a Stick.
+      (1630.) B. 172
+      17. The Flight into Egypt: A Sketch. (1630.) B. 54
+      18. The Presentation in the Temple (with the Angel): small plate.
+      1630. B. 51
+      19. The Circumcision: small plate. (1630.) B. 48
+      20. Christ Disputing with the Doctors: small plate. 1630. B. 66
+      21. Bust of a Man (Rembrandt's Father?) in full face, wearing a
+      Close Cap. 1630. B. 304
+      22. Bust of a Man (Rembrandt's Father?) wearing a High Cap,
+      three-quarters r. 1630. B. 321
+      23. Bald-headed Man (Rembrandt's Father?) in Profile r; head only;
+      bust added afterwards. 1630. B. 292
+      24. Bald-headed Man (Rembrandt's Father?) in Profile r.; small bust.
+      1630. B. 294
+      25. Three Studies of Old Men's Heads. (1630.) B. 374
+      26. Bust of an Old Man with Flowing Beard and White Sleeve. (1630.)
+      B. 291
+      27. Bust of an Old Man with Flowing Beard: the Head Bowed Forward:
+      l. shoulder unshaded. 1630. B. 325
+      28. Bust of an Old Man with Flowing Beard: the head inclined
+      three-quarters r. 1630. B. 309
+      29. Rembrandt in a Fur Cap: the Dress Light: bust. 1630. B. 24
+      30. Rembrandt Bareheaded, in Sharp Light from r.; Looking over his
+      Shoulder: bust. 1630. B. 10
+      31. Rembrandt Bareheaded and Open-mouthed, as if Shouting: bust.
+      1630. B. 13
+      32. Rembrandt in a Cap, Open-mouthed and Staring: bust in outline.
+      1630. B. 320
+      33. Rembrandt Bareheaded, with Thick Curling Hair and Small White
+      Collar: bust. (1630.) B. 1
+      34. Rembrandt in a Cap, Laughing: Bust. 1630. B. 316
+      35. Rembrandt Bareheaded, Leaning Forwards as if Listening: bust.
+      (1630.) B. 9
+      36. Rembrandt Bareheaded, Leaning Forward: bust lightly indicated.
+      (1630-1.) B. 5
+      37. Head of a Man in a Fur Cup, Crying Out. (1631.) B. 327
+      38. The Blind Fiddler.  1631. B. 138
+      39. Head of a Man in a High Cap: three-quarters r. (1631.) B. 302
+      40. A Polander standing with Stick: profile to r. (the "Little
+      Polander"). 1631. B. 142
+      41. Sheet of Studies of Men's Heads (the plate afterwards cut into
+      five parts). (1631.) B. 366
+      42. Diana at the Bath. (1631.) B. 201
+      43. Naked Woman Seated on a Mound. (1631.) B. 198
+      44. Jupiter and Antiope: the smaller Plate. (1631.) B. 204
+      45. A Man Making Water. 1631. B. 190
+      46. A Woman Making Water. 1631. B. 191
+      47. Bust of an Old Bearded Man Looking Down, three-quarters r. 1631.
+      B. 260
+      48. Bust of an Old Man with Flowing Beard: Head Nearly Erect: Eyes
+      Cast Down: Looking Slightly l. 1631. B. 315
+      49. Bust of an Old Man with Fur Cap and Flowing Beard: nearly full
+      face: Eyes Direct. (1631.) B. 312
+      50. Rembrandt's Mother with Hand on Chest: small bust. 1631. B. 349
+      51. Rembrandt's Mother Seated Facing r., in an Oriental Headdress:
+      half length, Showing Hands. 1631. B. 348
+      52. Rembrandt's Mother Seated at a Table Looking r.: three-quarter
+      length. (1631.) B. 343
+      53. Bearded Man (Rembrandt's Father?) in Furred Oriental Cap and
+      Robe: half length. 1631. B. 263
+      54. Rembrandt Wearing a Soft Hat, Cocked: head only: body added
+      afterwards. 1631. B. 7
+      55. Rembrandt with Long Bushy Hair: head only. (1631.) B. 8
+      56. Rembrandt in a Heavy Fur Cap: full face: bust. 1631. B. 16
+      57. Rembrandt Wearing a Soft Cap: full face: head only. (1631.) B. 2
+      58. Rembrandt with Cap Pulled Forward: bust. (1631.) B. 319
+      59. Rembrandt with Fur Cap, in an Oval Border: bust. (1631.) B. 12
+      {~DAGGER~}60.  Rembrandt with Bushy Hair and Contracted Eyebrows: bust. 1631.
+      B. 25
+      61. Rembrandt  Bareheaded, the Light Falling from the r.: bust.
+      (1631.) B. 332
+      {~DAGGER~}62. Rembrandt in a Slant Fur Cap: bust.  1631.  B. 14
+      63. Rembrandt in a Cloak with Falling Collar: bust. 1631. B. 15
+      {~DAGGER~}64. Rembrandt with a Jewel in his Cap. (1631.) Middleton, 18
+      {~DAGGER~}65. Bust of a Young Man in a Cap. (1631.) B. 322
+      66. Rembrandt in a Dark Cloak and Cap: bust. (1631.) B. 6
+      67. Rembrandt(?), Scowling, in an Octagon: head only. (1631.) B. 336
+      68. Grotesque Profile: Man in High Cap. (1631.) B. 326
+      69. Peasant with his Hands Behind his Back. 1631. B. 135
+      {~DAGGER~}70. Bust of a Snub-nosed Man in a Cap: Profile r. 1631. B. 317
+      {~DAGGER~}71. Bust of a Man in a Cap, Bound Round the Ears and Chin. (1631.)
+      B. 323
+      72. Beggar with a Stick, Walking l. 1631. B. 167
+      73. Beggar with his l. Hand Extended. 1631. B. 150
+      74. The Blindness of Tobit: A Sketch. (1631.) B. 153
+      75. Seated Beggar and his Dog. 1631. B. 175
+      75.* A Stout Man in a Large Cloak. (1631.) B. 184
+      {~DAGGER~}76. Old Woman Seated in a Cottage, with a String of Onions on the
+      Wall. 1631. B. 134
+      77. The Leper ("Lazarus Klap"). 1631. B. 171
+      77.* Beggar Man and Beggar Woman. (1631.) B. 183
+      78. Two Beggars Tramping towards the r. (1631.) B. 154
+      78.* Two Studies of Beggars. (1631.) B. 182
+      79. Beggar with a Crippled Hand Leaning on a Stick r. (1631.) B. 166
+      80. Old Beggar Woman with a Gourd. (1631.) B. 168
+      {~DAGGER~}8l. Beggar Standing Leaning on a Stick l.: small plate. (1631.) B.
+      169
+      {~DAGGER~}82. Bust of an Old Woman in Furred Cloak and Heavy Headdress. 1631.
+      B. 355
+      {~DAGGER~}83. Bust of an Old Woman in a High Head-dress Bound Round the Chin.
+      (1631.) B. 358
+      {~DAGGER~}84. Bust of a Beardless Man (Rembrandt's Father?) in a Fur Cloak
+      and Cap: Looking Down: three-quarters l. 1631. B. 307
+      {~DAGGER~}85. Bust of a Bald Man (Rembrandt's Father?) in a Fur Cloak Looking
+      r. 1631. B. 324
+      {~DAGGER~}86. Bust of a Bald Man Looking Down, Grinning. 1631. B. 298
+      {~DAGGER~}87. Bust of Bearded Old Man with High Forehead and Close Cap. 1631.
+      B. 314
+      {~DAGGER~}88. Bust of an Old Man Looking Down, with Wavy Hair and Beard:  cap
+      added afterwards. (1631.)  B. 337
+      {~DAGGER~}89. Small Bust of Bearded Man Looking Down, with Eyes Nearly
+      Closed. (1631.) B. 296
+      90. Sheet of Studies:  Head of Rembrandt, Beggar Couple, Heads of
+      Old Man and Old Woman, etc. (1632.)  B. 363
+      {~DAGGER~}91. Rembrandt's  Mother  in Widow's Dress and Black Gloves. (1632)
+      B. 344
+      92. Old Man Seated, with Flowing Beard, Fur Cap and Velvet Cloak.
+      (1632.) B. 262
+      93. Man Standing in Oriental Costume and Plumed Fur Cap. 1632. B.
+      152
+      94. St. Jerome Playing: Arched Print. 1632. B. 101
+      95. The Holy Family. (1632.) B. 62
+      96. The Raising of Lazarus: the larger Plate. (1632.) B. 73
+      97. The Rat-Killer. 1632. B. 121
+      98. Polander Leaning on a Stick: Profile l. (1632.) B. 141
+      99. A Turbaned Soldier on Horseback. (1632.) B. 139
+      100. A Cavalry Fight. (1632-3.) B. 117
+      101. The Good Samaritan. 1633. B. 90
+      102. The Descent from the Cross: first plate. 1633. B. 81, I
+      103. The Descent from the Cross: second plate. 1633. B. 81, II, etc.
+      104. Joseph's Coat Brought to Jacob. (1633.) B. 38
+      105. The Flight into Egypt: small plate. 1633. B. 52
+      106. The Ship of Fortune. 1633. B. 111
+      107. Rembrandt's Mother in a Cloth Head-dress, Looking Down: head
+      only. 1633. B. 351
+      108. Rembrandt in Cap and Scarf: the Face Dark: bust. 1633. B. 17
+      109. Rembrandt with Raised Sabre: half-length. 1634. B. 18
+      110. Rembrandt with Plumed Cap and Lowered Sabre: three-quarter
+      length: afterwards bust in oval. 1634. B. 23
+      111. Jan Cornelis Sylvius, Preacher (r). 1634. B. 266
+      112. Rembrandt's Wife Saskia, with Pearls in her Hair, bust. 1634.
+      B. 347
+      113. Woman Reading.  1634. B. 345
+      114. A Peasant: One of a Pair, Calling Out. 1634. B. 177
+      115. A Peasant: the Other of the Pair, Replying. 1634. B. 178
+      116. Two Tramps, a Man and a Woman. (1634.) B. 144
+      117. Sheet of Two Slight Studies: One of Two Peasants. (1634.) B.
+      373
+      118. Joseph and Potiphar's Wife. 1634. B. 39
+      119. St. Jerome Reading. 1634. B. 100
+      120. The Angel Appearing to the Shepherds. 1634. B. 44
+      121. Christ at Emmaus: the smaller plate. 1634. B. 88
+      122. Christ and the Woman of Samaria: among Ruins. 1634. B. 71
+      123. The Crucifixion: small plate. (1634.) B. 80
+      124. The Tribute-Money. (1634.) B. 68
+      125. The Stoning of S. Stephen. 1635. B. 97
+      126. Christ Driving the Money-Changers from the Temple. 1635. B. 69
+      127. Girl with Hair Falling on her Shoulders (the "Great Jewish
+      Bride"). 1635. B. 340
+      128. Jan Uytenbogaert, Preacher of the Sect of Arminian
+      Remonstrants. 1635. B. 279
+      129. Old Woman Sleeping. (1635-7.) B. 350
+      130. Old Bearded Man in a High Fur Cap, with Closed Eyes. (1635.) B.
+      290
+      131. The First Oriental Head (Rembrandt's Father?). 1635. B. 286
+      132. The Second Oriental Head (Rembrandt's Father?). (1635.) B. 287
+      133. The Third Oriental Head. 163;. B. 288
+      134. The Fourth Oriental Head. (1635.)  B. 289
+      {~DAGGER~}l35. Head of an Old Man in a High Fur Cap. (1635.) B. 299
+      136. Bald Old Man with a Short Beard, in profile r.  0635.) B. 306
+      {~DAGGER~}137. Curly-headed Man with a Wry Mouth.  (1635.)  B. 305
+      138. Polander Standing with Arms Folded. (1635.) B. 140
+      139. The Quacksalver. 1635. B. 129
+      140. St. Jerome Kneeling in Prayer, Looking Down. 1635. B. 102
+      141. The Pan-cake Woman. 1635. B. 124
+      {~DAGGER~}142. The Strolling Musicians. (1635.) B. 119
+      143. Christ before Pilate: large plate. 1635-6. B. 77
+      144. Rembrandt and his Wife Saskia: busts. 1636. B. 19
+      145. Studies of the Head of Saskia and others. 1636. B. 365
+      146. Samuel Manasseh Ben Israel, Jewish Author. 1636. B. 269
+      147. The Return of the Prodigal Son. 1636. B. 91
+      148. Abraham  Caressing Isaac. (1637.) B. 33
+      149. Abraham Casting Out Hagar and Ishmael. 1637. B. 30
+      150. Bearded Man Wearing a Velvet Cap with a Jewel Clasp. 1637. B.
+      313
+      151. Young Man in a Velvet Cap with Books Beside Him. 1637. B. 268
+      152. Three Heads of Women, one Asleep. 1637. B. 368
+      153. Three Heads of Women, one Lightly Etched. (1637.) B. 367
+      154. Study of Saskia as S. Catherine (the "Little Jewish Bride").
+      1638. B. 342
+      155. Sheet with Two Studies: a Tree, and the Upper Part of a Head
+      Wearing a Velvet Cap. (1638.) B. 372
+      156. Rembrandt in Velvet Cap and Plume, with an Embroidered Dress:
+      bust. 1638. B. 20
+      157. Rembrandt in a Flat Cap with a Shawl About His Shoulders.
+      (1638.) B. 26
+      158. Man in a Broad-Brimmed Hat and Ruff. (1630.) B. 311
+      159. Adam and Eve. 1638. B. 28
+      160. Joseph Telling His Dreams. 1638. B. 37
+      161. The Death of the Virgin. 1639. B. 99
+      162. The Presentation in the Temple: an oblong print. (1639.) B. 49
+      163. Sheet of Studies, with a Woman Lying Ill in Bed, etc. (1639.)
+      B. 369
+      164. A Peasant in a High Cap, Standing Leaning on a Stick. 1639. B.
+      133
+      165. Death Appearing to a Wedded Couple From An Open Grave. 1639. B.
+      109
+      166. The Skater. (1639.) B. 156
+      167. Jan Uytenbogaert, Receiver-General (the "Gold-Weigher"). 1639.
+      B. 281
+      168. Rembrandt Leaning on a Stone Sill: half length. 1639. B. 21
+      169. Old Man Shading His Eyes with His Hand. (1639.) B. 259
+      170. Old Man with a Divided Fur Cap. 1640. B. 265
+      171. The Beheading of John the Baptist. 1640. B. 92
+      172. The Triumph of Mordecai. (1640.) B. 40
+      173. Christ Crucified Between the Two Thieves: an oval plate.
+      (1640.) B. 79
+      174. Sleeping Puppy. (1640.) B. 158
+      175. Small Grey Landscape: A House and Trees Beside a Pool. (1640.)
+      B. 207
+      176. View of Amsterdam. (1640.) B. 210
+      177. Landscape with a Cottage and Hay Barn: oblong. 1641. B. 225
+      178. Landscape with a Cottage and a Large Tree. 1641. B. 226
+      179. The Windmill.  1641.  B. 233
+      180. The Small Lion Hunt (with Two Lions). (1641.) B. 115
+      181. The Large Lion Hunt. 1641. B. 114
+      182. The Baptism of the Eunuch. 1641. B. 98
+      183. Jacob and Laban(?). 1641. B. 118
+      184. The Spanish Gipsy (Preciosa). (1641.) B. 120
+      185. The Angel Departing from the Family of Tobias. 1641. B. 185.
+      186. Virgin and Child in the Clouds. 1641. B. 61
+      187. Cornelis Claesz Anslo, Mennonite Preacher. 1641. B. 271
+      188. Portrait of a Boy, in profile. 1641. B. 310
+      189. Man at Desk, Wearing Cross and Chain. 1641. B. 261.
+      190. The Card-Player. 1641. B. 136
+      191. Man Drawing from a Cast. (1641.) B. 130
+      192. Woman at a Door-hatch Talking to a Man and Children (the
+      "Schoolmaster"). 1641. B. 128
+      193. The Virgin with the Instruments of the Passion. (1641.) B. 85
+      194. Man in an Arbour. 1642. B. 257
+      195. Girl with a Basket. (1642.) B. 356
+      196. Sick Woman with Large White Head-dress (Saskia). (1642.) B. 359
+      197. Woman in Spectacles, Reading. (1642.) B. 362
+      198. The Raising of Lazarus: the smaller plate.  1642.  B. 72
+      199. The Descent from the Cross: a Sketch.  1642. B. 82
+      200. The Flute-Player (L'Espiegle). 1642.  B. 188
+      201. St. Jerome in a Dark Chamber. 1642.  B. 105
+      202. Student at a Table by Candlelight. (1642.) B. 148
+      203. Cottage with a White Paling. 1642. B. 232
+      204. The Hog.  1643.  B. 157
+      205. The Three Trees.  1643. B. 212
+      206. The Shepherd and his Family. 1644. B. 220
+      207. The Sleeping Herdsman. (1644.) B. 189
+      208. The Rest on the Flight: a Night Piece. (1644.) B. 57
+      209. Six's Bridge.  1645.  B. 208
+      210. The Omval.  1645.  B. 209
+      211. The Boat-house. 1645. B. 231
+      212. Cottages beside a Canal: with a Church and Sailing Boat.
+      (1645.) B. 228
+      213. Cottages and Farm Buildings with a Man Sketching. (1645.) B.
+      219
+      214. Abraham and Isaac.  1645. B. 34
+      215. Christ Carried to the Tomb. (1645.) B. 84
+      216. The Rest on the Flight: lightly etched. 1645. B. 58
+      217. S. Peter in Penitence. 1645. B. 96
+      218. Old Man in Meditation, Leaning on a Book. (1645.) B. 147
+      219. Beggar Woman Leaning on a Stick. 1646. B. 70
+      220. Study from the Nude: Man Seated Before a Curtain. 1646. B. 193
+      221.  Study from the Nude: Man Seated on the Ground with One Leg
+      Extended. 1646. B. 196
+      222. Studies from the Nude: One Man Seated and Another Standing:
+      with a Woman and Baby lightly etched in the background. (1646.) B.
+      194
+      223. Le Lit � la Fran�aise (Ledekant). 1646. B. 186
+      224. The Monk in the Cornfield. (1646.) B. 187
+      225. Jan Cornells Sylvius, Preacher: posthumous portrait. 1646. B.
+      280
+      226. Ephraim Bonus, Jewish Physician. 1647. B. 278
+      227. Jan Asselyn, Painter. (1647.) B. 277
+      228. Jan Six. 1647.  B. 285
+      229. Rembrandt Drawing at a Window. 1648. B. 22
+      230. Sheet of Studies with the Head of Rembrandt, a Beggar Man,
+      Woman and Child. (1648.) B. 370
+      231. The Artist Drawing from a Model: unfinished plate. (1648.) B.
+      192
+      232. S. Jerome Beside a Pollard Willow. 1648. B. 103
+      233. Beggars Receiving Alms at the Door of a House. 1648. B. 176
+      234. Jews in a Synagogue. 1648. B. 126
+      235. Medea: or the Marriage of Jason and Creusa. 1648. B. 112
+      236. Christ, with the Sick Around Him, receiving Little Children
+      (the "Hundred Guilder Print"). (1649.) B. 74
+      237. The Incredulity of Thomas. 1650. B. 89
+      238. Canal with an Angler and Two Swans. 1650. B. 235
+      239. Canal with a Large Boat and Bridge. 1650. B. 236
+      240. Landscape with a Cow Drinking. (1650.) B. 237
+      241. Landscape with a Hay Barn and a Flock of Sheep. 1650. B. 224
+      242. Landscape with a Milk-man. (1650.) B. 213
+      243. Landscape with an Obelisk. (1650.) B. 227
+      244. Landscape with Trees, Farm-buildings and a Tower. 1650. B. 223
+      245. Landscape with a Square Tower. 1650. B. 218
+      246. Landscape with Three Gabled Cottages Beside a Road. 1650. B.
+      217
+      247. The Bull. (1650.) B. 253
+      248. The Shell.  1650. B. 159
+      249. The  Goldweigher's  Field. 1651. B. 234
+      250. The Bathers. 1651. B. 195
+      251. Clement de Jonghe, Printseller. 1651. B. 272
+      252. The Blindness of Tobit: the larger plate. 1651. B. 42
+      253. The Flight into Egypt: a Night Piece. 1651. B. 53
+      254. The Star of the Kings: a Night Piece. (1652.) B. 113
+      255. Adoration of the Shepherds; a Night Piece. (1652.) B. 46
+      256. Christ Preaching ("la Petite Tombe"). (1652.) B. 57
+      257. Christ Disputing with the Doctors: a sketch. 1652. B. 65
+      258. David in Prayer.  1652. B. 41
+      259. Peasant Family on the Tramp. (1652.) B. 131
+      260. Faust in His Study, Watching a Magic Disk. (1652.) B. 270
+      261. Titus Van Ryn, Rembrandt's Son. (1656.) B. 11
+      262. Sheet of Studies, with a Wood and Paling, Part of Two Heads,
+      and a Horse and Cart. (1652.) B. 364
+      263. Clump of Trees with a Vista. 1652.  B. 222
+      264. Landscape with a Road Beside a Canal. (1652.) B. 221
+      265. Landscape with Sportsman and Dogs. (1653.) B. 211
+      266. The Flight into Egypt: altered from Tobias and the Angel by
+      Hercules Seghers. (1653.) B. 56
+      267. S. Jerome Reading, in an Italian Landscape.  (1653.) B. 104
+      268. Jan Antonides van der Linden, Professor of Medicine.  1665. B.
+      264
+      269. Lieven Willemsz Van Coppenol, Writing-Master: the smaller
+      plate. (1653.) B. 282 270. Christ Crucified between the Two Thieves:
+      large oblong plate (the "Three Crosses").  1653. B. 78
+      271. Christ Presented to the People: large oblong plate.  1655.  B.
+      76
+      272. The Golf-Player.  1654. B. 125
+      273. The Adoration of the Shepherds (with the Lamp). (1654.) B. 45
+      274. The Circumcision (in the Stable). 1654. B. 47
+      275. The Virgin and Child with the Cat: and Joseph at the Window.
+      1654. B. 63
+      276. The Flight into Egypt: Holy Family Crossing a Brook. 1654. B.
+      55.
+      277. Christ Seated Disputing with the Doctors. 1654. B. 64
+      278. Christ Between His Parents, Returning from the Temple. 1654. B.
+      60
+      279. The Presentation in the Temple: in the Dark Manner. (1654.) B.
+      50
+      280. The Descent from the Cross: by Torchlight. 1654. B. 83
+      281. The Entombment. (1654.) B. 86
+      282. Christ at Emmaus: the larger plate. 1654. B. 87.
+      283. Abraham's Sacrifice.  1655. B. 35
+      284. Four Illustrations to a Spanish Book. (A. The Image seen by
+      Nebuchadnezzar. B. Jacob's Ladder. C. David and Goliath. D. Daniel's
+      Vision of Four Beasts.) 1655. B. 36
+      285. The Goldsmith. 1655. B. 123
+      286. Abraham Entertaining the Angels. 1656. B. 29
+      287. Jacob Haaring (the "Old Haaring"). (1655.) B. 274
+      288. Thomas Jacobsz Haaring (the "Young Haaring.") 1655. B. 275
+      289. Arnold Tholinx, Inspector of Medical Colleges at Amsterdam.
+      (1656.) B. 284
+      290. Jan Lutma, the Elder, Goldsmith and Sculptor. 1656. B. 276
+      291. Abraham Francen, Art Dealer. (1656.) B. 273
+      292. S. Francis Beneath a Tree, Praying. 1657. B. 107
+      293. The Agony in the Garden. (1657.) B. 75
+      294. Christ and the Woman of Samaria: an Arched Print. 1658. B. 70
+      295. The Phrenix; or the Statue Overthrown: an Allegory of Doubtful
+      Meaning. 1658. B. 110
+      296. Woman Sitting Half Dressed Beside a Stove. 1658. B. 197
+      297. Woman at the Bath, with a Hat Beside Her. 1658. B. 199
+      298. Woman Bathing Her Feet at a Brook. 1658. B. 200
+      299. Negress Lying Down. 1658. B. 205
+      300. Lieven Willemsz Van Coppenol, Writing-Master: the larger plate.
+      (1658.) B. 283
+      300*. Rembrandt Etching. 1658. Seidlitz, 379
+      301. Peter and John Healing the Cripple at the Gate of the Temple.
+      1659. B. 94
+      302. Jupiter and Antiope: the larger plate. 1659. B. 103
+      303. The Woman with the Arrow. 1661. B. 202
+
+The title-page border is taken from a portrait etching by Juriaen Ovens,
+of Frederick III of Holstein Gottdorp.
+
+
+
+
+
+       [1, I, REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.]
+
+        1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.
+
+
+       [7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164]
+
+        7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164
+
+
+   [20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66]
+
+    20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66
+
+
+[23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile _r.;_ head only,
+ bust added afterwards. 1630. B. 292. First state, the body being merely
+                            indicated in ink]
+
+ 23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile _r.;_ head only,
+ bust added afterwards. 1630. B. 292. First state, the body being merely
+                             indicated in ink
+
+
+                [38, II. THE BLIND FIDDLER. 1631. B. 138]
+
+                 38, II. THE BLIND FIDDLER. 1631. B. 138
+
+
+[40139164. THE LITTLE POLANDER. 1631. B. 142.  139. THE QUACKSALVER. 1635.
+B. 129.  164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639.
+                                 B. 133]
+
+  40. THE LITTLE POLANDER. 1631. B. 142.  139. THE QUACKSALVER. 1635. B.
+129.  164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B.
+                                   133
+
+
+          [52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.]
+
+           52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.
+
+
+ [54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state,
+                             the body added.]
+
+54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the
+                               body added.
+
+
+             [57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2]
+
+              57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2
+
+
+                  [97, I. THE RAT-KILLER. 1632. B. 121]
+
+                   97, I. THE RAT-KILLER. 1632. B. 121
+
+
+[110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was
+                afterwards cut down to a bust in an oval.]
+
+110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was
+                afterwards cut down to a bust in an oval.
+
+
+  [112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347]
+
+   112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347
+
+
+     [127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state]
+
+      127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state
+
+
+               [129. OLD WOMAN SLEEPING. (1635-7.) B. 350.]
+
+                129. OLD WOMAN SLEEPING. (1635-7.) B. 350.
+
+
+            [147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91]
+
+             147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91
+
+
+[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
+
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS
+***
+
+
+
+CREDITS
+
+
+February 5, 2010
+
+            Project Gutenberg Edition
+            Martin Schub
+
+
+
+A WORD FROM PROJECT GUTENBERG
+
+
+This file should be named 31183-8.txt or 31183-8.zip.
+
+This and all associated files of various formats will be found in:
+
+
+    http://www.gutenberg.org/dirs/3/1/1/8/31183/
+
+
+Updated editions will replace the previous one -- the old editions will be
+renamed.
+
+Creating the works from public domain print editions means that no one
+owns a United States copyright in these works, so the Foundation (and
+you!) can copy and distribute it in the United States without permission
+and without paying copyright royalties. Special rules, set forth in the
+General Terms of Use part of this license, apply to copying and
+distributing Project Gutenberg{~TRADE MARK SIGN~} electronic works to protect the Project
+Gutenberg{~TRADE MARK SIGN~} concept and trademark. Project Gutenberg is a registered
+trademark, and may not be used if you charge for the eBooks, unless you
+receive specific permission. If you do not charge anything for copies of
+this eBook, complying with the rules is very easy. You may use this eBook
+for nearly any purpose such as creation of derivative works, reports,
+performances and research. They may be modified and printed and given away
+-- you may do practically _anything_ with public domain eBooks.
+Redistribution is subject to the trademark license, especially commercial
+redistribution.
+
+
+
+THE FULL PROJECT GUTENBERG LICENSE
+
+
+_Please read this before you distribute or use this work._
+
+To protect the Project Gutenberg{~TRADE MARK SIGN~} mission of promoting the free
+distribution of electronic works, by using or distributing this work (or
+any other work associated in any way with the phrase "Project Gutenberg"),
+you agree to comply with all the terms of the Full Project Gutenberg{~TRADE MARK SIGN~}
+License (available with this file or online at
+http://www.gutenberg.org/license).
+
+
+Section 1.
+
+
+General Terms of Use & Redistributing Project Gutenberg{~TRADE MARK SIGN~} electronic works
+
+
+1.A.
+
+
+By reading or using any part of this Project Gutenberg{~TRADE MARK SIGN~} electronic work,
+you indicate that you have read, understand, agree to and accept all the
+terms of this license and intellectual property (trademark/copyright)
+agreement. If you do not agree to abide by all the terms of this
+agreement, you must cease using and return or destroy all copies of
+Project Gutenberg{~TRADE MARK SIGN~} electronic works in your possession. If you paid a fee
+for obtaining a copy of or access to a Project Gutenberg{~TRADE MARK SIGN~} electronic work
+and you do not agree to be bound by the terms of this agreement, you may
+obtain a refund from the person or entity to whom you paid the fee as set
+forth in paragraph 1.E.8.
+
+
+1.B.
+
+
+"Project Gutenberg" is a registered trademark. It may only be used on or
+associated in any way with an electronic work by people who agree to be
+bound by the terms of this agreement. There are a few things that you can
+do with most Project Gutenberg{~TRADE MARK SIGN~} electronic works even without complying
+with the full terms of this agreement. See paragraph 1.C below. There are
+a lot of things you can do with Project Gutenberg{~TRADE MARK SIGN~} electronic works if you
+follow the terms of this agreement and help preserve free future access to
+Project Gutenberg{~TRADE MARK SIGN~} electronic works. See paragraph 1.E below.
+
+
+1.C.
+
+
+The Project Gutenberg Literary Archive Foundation ("the Foundation" or
+PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg{~TRADE MARK SIGN~} electronic works. Nearly all the individual works in the
+collection are in the public domain in the United States. If an individual
+work is in the public domain in the United States and you are located in
+the United States, we do not claim a right to prevent you from copying,
+distributing, performing, displaying or creating derivative works based on
+the work as long as all references to Project Gutenberg are removed. Of
+course, we hope that you will support the Project Gutenberg{~TRADE MARK SIGN~} mission of
+promoting free access to electronic works by freely sharing Project
+Gutenberg{~TRADE MARK SIGN~} works in compliance with the terms of this agreement for
+keeping the Project Gutenberg{~TRADE MARK SIGN~} name associated with the work. You can
+easily comply with the terms of this agreement by keeping this work in the
+same format with its attached full Project Gutenberg{~TRADE MARK SIGN~} License when you
+share it without charge with others.
+
+
+1.D.
+
+
+The copyright laws of the place where you are located also govern what you
+can do with this work. Copyright laws in most countries are in a constant
+state of change. If you are outside the United States, check the laws of
+your country in addition to the terms of this agreement before
+downloading, copying, displaying, performing, distributing or creating
+derivative works based on this work or any other Project Gutenberg{~TRADE MARK SIGN~} work.
+The Foundation makes no representations concerning the copyright status of
+any work in any country outside the United States.
+
+
+1.E.
+
+
+Unless you have removed all references to Project Gutenberg:
+
+
+1.E.1.
+
+
+The following sentence, with active links to, or other immediate access
+to, the full Project Gutenberg{~TRADE MARK SIGN~} License must appear prominently whenever
+any copy of a Project Gutenberg{~TRADE MARK SIGN~} work (any work on which the phrase
+"Project Gutenberg" appears, or with which the phrase "Project Gutenberg"
+is associated) is accessed, displayed, performed, viewed, copied or
+distributed:
+
+
+    This eBook is for the use of anyone anywhere at no cost and with
+    almost no restrictions whatsoever. You may copy it, give it away
+    or re-use it under the terms of the Project Gutenberg License
+    included with this eBook or online at http://www.gutenberg.org
+
+
+1.E.2.
+
+
+If an individual Project Gutenberg{~TRADE MARK SIGN~} electronic work is derived from the
+public domain (does not contain a notice indicating that it is posted with
+permission of the copyright holder), the work can be copied and
+distributed to anyone in the United States without paying any fees or
+charges. If you are redistributing or providing access to a work with the
+phrase "Project Gutenberg" associated with or appearing on the work, you
+must comply either with the requirements of paragraphs 1.E.1 through 1.E.7
+or obtain permission for the use of the work and the Project Gutenberg{~TRADE MARK SIGN~}
+trademark as set forth in paragraphs 1.E.8 or 1.E.9.
+
+
+1.E.3.
+
+
+If an individual Project Gutenberg{~TRADE MARK SIGN~} electronic work is posted with the
+permission of the copyright holder, your use and distribution must comply
+with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed
+by the copyright holder. Additional terms will be linked to the Project
+Gutenberg{~TRADE MARK SIGN~} License for all works posted with the permission of the
+copyright holder found at the beginning of this work.
+
+
+1.E.4.
+
+
+Do not unlink or detach or remove the full Project Gutenberg{~TRADE MARK SIGN~} License
+terms from this work, or any files containing a part of this work or any
+other work associated with Project Gutenberg{~TRADE MARK SIGN~}.
+
+
+1.E.5.
+
+
+Do not copy, display, perform, distribute or redistribute this electronic
+work, or any part of this electronic work, without prominently displaying
+the sentence set forth in paragraph 1.E.1 with active links or immediate
+access to the full terms of the Project Gutenberg{~TRADE MARK SIGN~} License.
+
+
+1.E.6.
+
+
+You may convert to and distribute this work in any binary, compressed,
+marked up, nonproprietary or proprietary form, including any word
+processing or hypertext form. However, if you provide access to or
+distribute copies of a Project Gutenberg{~TRADE MARK SIGN~} work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version posted
+on the official Project Gutenberg{~TRADE MARK SIGN~} web site (http://www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other form.
+Any alternate format must include the full Project Gutenberg{~TRADE MARK SIGN~} License as
+specified in paragraph 1.E.1.
+
+
+1.E.7.
+
+
+Do not charge a fee for access to, viewing, displaying, performing,
+copying or distributing any Project Gutenberg{~TRADE MARK SIGN~} works unless you comply
+with paragraph 1.E.8 or 1.E.9.
+
+
+1.E.8.
+
+
+You may charge a reasonable fee for copies of or providing access to or
+distributing Project Gutenberg{~TRADE MARK SIGN~} electronic works provided that
+
+    - You pay a royalty fee of 20% of the gross profits you derive from
+      the use of Project Gutenberg{~TRADE MARK SIGN~} works calculated using the method you
+      already use to calculate your applicable taxes. The fee is owed to
+      the owner of the Project Gutenberg{~TRADE MARK SIGN~} trademark, but he has agreed to
+      donate royalties under this paragraph to the Project Gutenberg
+      Literary Archive Foundation. Royalty payments must be paid within 60
+      days following each date on which you prepare (or are legally
+      required to prepare) your periodic tax returns. Royalty payments
+      should be clearly marked as such and sent to the Project Gutenberg
+      Literary Archive Foundation at the address specified in Section 4,
+      "Information about donations to the Project Gutenberg Literary
+      Archive Foundation."
+
+    - You provide a full refund of any money paid by a user who notifies
+      you in writing (or by e-mail) within 30 days of receipt that s/he
+      does not agree to the terms of the full Project Gutenberg{~TRADE MARK SIGN~} License.
+      You must require such a user to return or destroy all copies of the
+      works possessed in a physical medium and discontinue all use of and
+      all access to other copies of Project Gutenberg{~TRADE MARK SIGN~} works.
+
+    - You provide, in accordance with paragraph 1.F.3, a full refund of
+      any money paid for a work or a replacement copy, if a defect in the
+      electronic work is discovered and reported to you within 90 days of
+      receipt of the work.
+
+    - You comply with all other terms of this agreement for free
+      distribution of Project Gutenberg{~TRADE MARK SIGN~} works.
+
+
+1.E.9.
+
+
+If you wish to charge a fee or distribute a Project Gutenberg{~TRADE MARK SIGN~} electronic
+work or group of works on different terms than are set forth in this
+agreement, you must obtain permission in writing from both the Project
+Gutenberg Literary Archive Foundation and Michael Hart, the owner of the
+Project Gutenberg{~TRADE MARK SIGN~} trademark. Contact the Foundation as set forth in
+Section 3 below.
+
+
+1.F.
+
+
+1.F.1.
+
+
+Project Gutenberg volunteers and employees expend considerable effort to
+identify, do copyright research on, transcribe and proofread public domain
+works in creating the Project Gutenberg{~TRADE MARK SIGN~} collection. Despite these
+efforts, Project Gutenberg{~TRADE MARK SIGN~} electronic works, and the medium on which they
+may be stored, may contain "Defects," such as, but not limited to,
+incomplete, inaccurate or corrupt data, transcription errors, a copyright
+or other intellectual property infringement, a defective or damaged disk
+or other medium, a computer virus, or computer codes that damage or cannot
+be read by your equipment.
+
+
+1.F.2.
+
+
+LIMITED WARRANTY, DISCLAIMER OF DAMAGES -- Except for the "Right of
+Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg
+Literary Archive Foundation, the owner of the Project Gutenberg{~TRADE MARK SIGN~}
+trademark, and any other party distributing a Project Gutenberg{~TRADE MARK SIGN~}
+electronic work under this agreement, disclaim all liability to you for
+damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE
+NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH
+OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE
+FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT
+WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
+PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY
+OF SUCH DAMAGE.
+
+
+1.F.3.
+
+
+LIMITED RIGHT OF REPLACEMENT OR REFUND -- If you discover a defect in this
+electronic work within 90 days of receiving it, you can receive a refund
+of the money (if any) you paid for it by sending a written explanation to
+the person you received the work from. If you received the work on a
+physical medium, you must return the medium with your written explanation.
+The person or entity that provided you with the defective work may elect
+to provide a replacement copy in lieu of a refund. If you received the
+work electronically, the person or entity providing it to you may choose
+to give you a second opportunity to receive the work electronically in
+lieu of a refund. If the second copy is also defective, you may demand a
+refund in writing without further opportunities to fix the problem.
+
+
+1.F.4.
+
+
+Except for the limited right of replacement or refund set forth in
+paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+
+1.F.5.
+
+
+Some states do not allow disclaimers of certain implied warranties or the
+exclusion or limitation of certain types of damages. If any disclaimer or
+limitation set forth in this agreement violates the law of the state
+applicable to this agreement, the agreement shall be interpreted to make
+the maximum disclaimer or limitation permitted by the applicable state
+law. The invalidity or unenforceability of any provision of this agreement
+shall not void the remaining provisions.
+
+
+1.F.6.
+
+
+INDEMNITY -- You agree to indemnify and hold the Foundation, the trademark
+owner, any agent or employee of the Foundation, anyone providing copies of
+Project Gutenberg{~TRADE MARK SIGN~} electronic works in accordance with this agreement, and
+any volunteers associated with the production, promotion and distribution
+of Project Gutenberg{~TRADE MARK SIGN~} electronic works, harmless from all liability, costs
+and expenses, including legal fees, that arise directly or indirectly from
+any of the following which you do or cause to occur: (a) distribution of
+this or any Project Gutenberg{~TRADE MARK SIGN~} work, (b) alteration, modification, or
+additions or deletions to any Project Gutenberg{~TRADE MARK SIGN~} work, and (c) any Defect
+you cause.
+
+
+Section  2.
+
+
+           Information about the Mission of Project Gutenberg{~TRADE MARK SIGN~}
+
+
+Project Gutenberg{~TRADE MARK SIGN~} is synonymous with the free distribution of electronic
+works in formats readable by the widest variety of computers including
+obsolete, old, middle-aged and new computers. It exists because of the
+efforts of hundreds of volunteers and donations from people in all walks
+of life.
+
+Volunteers and financial support to provide volunteers with the assistance
+they need, is critical to reaching Project Gutenberg{~TRADE MARK SIGN~}'s goals and ensuring
+that the Project Gutenberg{~TRADE MARK SIGN~} collection will remain freely available for
+generations to come. In 2001, the Project Gutenberg Literary Archive
+Foundation was created to provide a secure and permanent future for
+Project Gutenberg{~TRADE MARK SIGN~} and future generations. To learn more about the Project
+Gutenberg Literary Archive Foundation and how your efforts and donations
+can help, see Sections 3 and 4 and the Foundation web page at
+http://www.pglaf.org.
+
+
+Section 3.
+
+
+   Information about the Project Gutenberg Literary Archive Foundation
+
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the state of
+Mississippi and granted tax exempt status by the Internal Revenue Service.
+The Foundation's EIN or federal tax identification number is 64-6221541.
+Its 501(c)(3) letter is posted at
+http://www.gutenberg.org/fundraising/pglaf. Contributions to the Project
+Gutenberg Literary Archive Foundation are tax deductible to the full
+extent permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr.
+S. Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations. Its business office is located at 809 North
+1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org. Email contact links and up to date contact information
+can be found at the Foundation's web site and official page at
+http://www.pglaf.org
+
+For additional contact information:
+
+
+    Dr. Gregory B. Newby
+    Chief Executive and Director
+    gbnewby@pglaf.org
+
+
+Section 4.
+
+
+  Information about Donations to the Project Gutenberg Literary Archive
+                                Foundation
+
+
+Project Gutenberg{~TRADE MARK SIGN~} depends upon and cannot survive without wide spread
+public support and donations to carry out its mission of increasing the
+number of public domain and licensed works that can be freely distributed
+in machine readable form accessible by the widest array of equipment
+including outdated equipment. Many small donations ($1 to $5,000) are
+particularly important to maintaining tax exempt status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United States.
+Compliance requirements are not uniform and it takes a considerable
+effort, much paperwork and many fees to meet and keep up with these
+requirements. We do not solicit donations in locations where we have not
+received written confirmation of compliance. To SEND DONATIONS or
+determine the status of compliance for any particular state visit
+http://www.gutenberg.org/fundraising/donate
+
+While we cannot and do not solicit contributions from states where we have
+not met the solicitation requirements, we know of no prohibition against
+accepting unsolicited donations from donors in such states who approach us
+with offers to donate.
+
+International donations are gratefully accepted, but we cannot make any
+statements concerning tax treatment of donations received from outside the
+United States. U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation methods
+and addresses. Donations are accepted in a number of other ways including
+checks, online payments and credit card donations. To donate, please
+visit: http://www.gutenberg.org/fundraising/donate
+
+
+Section 5.
+
+
+      General Information About Project Gutenberg{~TRADE MARK SIGN~} electronic works.
+
+
+Professor Michael S. Hart is the originator of the Project Gutenberg{~TRADE MARK SIGN~}
+concept of a library of electronic works that could be freely shared with
+anyone. For thirty years, he produced and distributed Project Gutenberg{~TRADE MARK SIGN~}
+eBooks with only a loose network of volunteer support.
+
+Project Gutenberg{~TRADE MARK SIGN~} eBooks are often created from several printed editions,
+all of which are confirmed as Public Domain in the U.S. unless a copyright
+notice is included. Thus, we do not necessarily keep eBooks in compliance
+with any particular paper edition.
+
+Each eBook is in a subdirectory of the same number as the eBook's eBook
+number, often in several formats including plain vanilla ASCII, compressed
+(zipped), HTML and others.
+
+Corrected _editions_ of our eBooks replace the old file and take over the
+old filename and etext number. The replaced older file is renamed.
+_Versions_ based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+
+    http://www.gutenberg.org
+
+
+This Web site includes information about Project Gutenberg{~TRADE MARK SIGN~}, including how
+to make donations to the Project Gutenberg Literary Archive Foundation,
+how to help produce our new eBooks, and how to subscribe to our email
+newsletter to hear about new eBooks.
+
+
+
+
+
+
+***FINIS***
+
\ No newline at end of file
diff --git a/31183-8.zip b/31183-8.zip
new file mode 100644
index 0000000..0f2719b
--- /dev/null
+++ b/31183-8.zip
diff --git a/31183-h.zip b/31183-h.zip
new file mode 100644
index 0000000..e8867c8
--- /dev/null
+++ b/31183-h.zip
diff --git a/31183-h/31183-h.html b/31183-h/31183-h.html
new file mode 100644
index 0000000..2e23cb8
--- /dev/null
+++ b/31183-h/31183-h.html
@@ -0,0 +1,700 @@
+<?xml version="1.0" encoding="utf-8"?>
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"><head><meta http-equiv="Content-Type" content="text/html; charset=utf-8" /><meta http-equiv="Content-Style-Type" content="text/css" /><link rel="schema.DC" href="http://purl.org/dc/elements/1.1/" /><meta name="DC.Creator" content="Arthur Mayger Hind" /><meta name="DC.Title" content="Rembrandt, With a Complete List of His Etchings&#10;" /><meta name="DC.Date" content="February 5, 2010" /><meta name="DC.Language" content="English" /><meta name="DC.Publisher" content="Project Gutenberg" /><meta name="DC.Identifier" content="http://www.gutenberg.org/etext/31183" /><meta name="DC.Rights" content="This text is in the public domain." /><title>The Project Gutenberg EBook of Rembrandt, With a Complete List of His Etchings
+ by Arthur Mayger Hind</title><style type="text/css">/* 
+The Gnutenberg Press - default CSS2 stylesheet
+
+Any generated element will have a class "tei" and a class "tei-elem"
+where elem is the element name in TEI. 
+The order of statements is important !!! 
+*/
+
+.tei                            { margin: 0; padding: 0; 
+                                  font-size: 100%; font-weight: normal; font-style: normal }
+
+.block                          { display: block; }
+.inline                         { display: inline; }
+.floatleft                      { float: left;  margin: 1em 2em 1em 0; }
+.floatright                     { float: right; margin: 1em 0 1em 2em; }
+.shaded                         { margin-top: 1em; margin-bottom: 1em; 
+                                  padding: 1em; background-color: #eee; }
+.boxed                          { margin-top: 1em; margin-bottom: 1em; 
+                                  padding: 1em; border: 1px solid black; }
+
+body.tei		        { margin: 4ex 10%; text-align: justify }
+div.tei              	        { margin: 2em 0em }
+p.tei              	        { margin: 0em 0em 1em 0em; text-indent: 0em; }
+blockquote.tei	     	        { margin: 2em 4em }
+
+div.tei-lg                      { margin: 1em 0em; }
+div.tei-l		        { margin: 0em; text-align: left; }
+div.tei-tb                      { text-align: center; }
+div.tei-epigraph     	        { margin: 0em 0em 1em 10em; }
+div.tei-dateline	        { margin: 1ex 0em; text-align: right }
+div.tei-salute                  { margin: 1ex 0em; }
+div.tei-signed                  { margin: 1ex 0em; text-align: right }
+div.tei-byline                  { margin: 1ex 0em; }
+
+                                /* calculate from size of body = 80% */
+div.tei-marginnote		{ margin: 0em 0em 0em -12%; width: 11%; float: left; }
+
+div.tei-sp                      { margin: 1em 0em 1em  2em }
+div.tei-speaker	                { margin: 0em 0em 1em -2em;
+                        	  font-weight: bold; text-indent: 0em }
+div.tei-stage                   { margin: 1em 0em; font-weight: normal; font-style: italic }
+span.tei-stage	     	        { font-weight: normal; font-style: italic }
+
+div.tei-eg             	        { padding: 1em; 
+                     	          color: black; background-color: #eee }
+
+hr.doublepage	     	        { margin: 4em 0em; height: 5px; }
+hr.page            	        { margin: 4em 0em; height: 2px; }
+
+ul.tei-index                    { list-style-type: none }
+
+dl.tei                          { margin: 1em 0em }
+
+dt.tei-notelabel                { font-weight: normal; text-align: right; 
+                     	          float: left; width: 3em }
+dd.tei-notetext                 { margin: 0em 0em 1ex 4em }
+
+span.tei-pb                     { position: absolute; left: 1%; width: 8%;
+                                  font-style: normal; }
+
+span.code          	        { font-family: monospace; font-size: 110%; }
+
+ul.tei-castlist 		{ margin: 0em; list-style-type: none }
+li.tei-castitem		        { margin: 0em; }
+table.tei-castgroup     	{ margin: 0em; }
+ul.tei-castgroup		{ margin: 0em; list-style-type: none; 
+				  padding-right: 2em; border-right: solid black 2px; }
+caption.tei-castgroup-head	{ caption-side: right; width: 50%; text-align: left; 
+				  vertical-align: middle; padding-left: 2em; }
+*.tei-roledesc  		{ font-style: italic }
+*.tei-set			{ font-style: italic }
+
+table.rules                     { border-collapse: collapse; }
+table.rules caption,
+table.rules th,
+table.rules td                  { border: 1px solid black; }
+
+table.tei                       { border-collapse: collapse; }
+table.tei-list                  { width: 100% }
+
+th.tei-head-table	        { padding: 0.5ex 1em }
+
+th.tei-cell		        { padding: 0em 1em }
+td.tei-cell		        { padding: 0em 1em }
+
+td.tei-item		        { padding: 0; font-weight: normal; 
+                                  vertical-align: top; text-align: left; }
+th.tei-label,
+td.tei-label                    { width: 3em; padding: 0; font-weight: normal; 
+                                  vertical-align: top; text-align: right; }
+
+th.tei-label-gloss,
+td.tei-label-gloss              { text-align: left }
+
+td.tei-item-gloss,
+th.tei-headItem-gloss           { padding-left: 4em; }       
+
+img.tei-formula                 { vertical-align: middle; }
+
+</style></head><body class="tei">
+
+
+
+  
+
+
+<div lang="en" class="tei tei-text" style="margin-bottom: 2.00em; margin-top: 2.00em" xml:lang="en">
+
+<div class="tei tei-front" style="margin-bottom: 6.00em; margin-top: 2.00em">
+
+<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<div id="pgheader" class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><p class="tei tei-p" style="margin-bottom: 2.00em">The Project Gutenberg EBook of Rembrandt, With a Complete List of His Etchings
+ by Arthur Mayger Hind</p></div><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><p class="tei tei-p" style="margin-bottom: 1.00em">This eBook is for the use of anyone anywhere at no cost
+          and with almost no restrictions whatsoever. You may copy it,
+          give it away or re-use it under the terms of the Project
+          Gutenberg License <a href="#pglicense" class="tei tei-ref">included with this
+          eBook</a> or online at <a href="http://www.gutenberg.org/license" class="tei tei-xref">http://www.gutenberg.org/license</a></p></div><pre class="pre tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">Title: Rembrandt, With a Complete List of His Etchings
+
+
+Author: Arthur Mayger Hind
+
+Release Date: February 5, 2010 [Ebook #31183]
+
+Language: English
+
+Character set encoding: UTF-8
+
+
+***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS
+***
+</pre></div>
+</div>
+<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  
+</div>
+
+
+<hr class="doublepage" /><div class="tei tei-titlePage">
+ <span class="tei tei-docTitle"><span class="tei tei-titlePart"><span style="font-size: 144%">Rembrandt, With a Complete List of his Etchings</span></span><br /><br />
+</span>
+
+ <div class="tei tei-byline"><br /><br /><br /><span class="tei tei-docAuthor">Arthur M. Hind</span><br /><br /><br /><br /></div>
+
+<span class="tei tei-docImprint">Fredk. A. Stokes Company</span><br />
+<span class="tei tei-docDate">1912</span>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<div class="tei tei-figure" style="text-align: center"><img src="images/tp.jpg" /></div>
+<p class="tei tei-p" style="margin-bottom: 1.00em"></p>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<a name="fig1" id="fig1"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_144.jpg" alt="144, II. Rembrandt and his Wife, Saskia, 1636, B. 19" title="144, II. Rembrandt and his Wife, Saskia, 1636, B. 19" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">144, II. Rembrandt and his Wife, Saskia, 1636, B. 19</div></div>
+<p class="tei tei-p" style="margin-bottom: 1.00em"></p>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<a name="pdf2" id="pdf2"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Contents</span></h1>
+<ul class="tei tei-index tei-index-toc"><li><a href="#toc3">REMBRANDT</a></li><li><a href="#toc5">BOOKS OF REFERENCE</a></li><li><a href="#toc7">A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS</a></li></ul>
+</div>
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Illustrations</span></h1>
+<ul class="tei tei-index tei-index-fig"><li><a href="#fig1">144, II. Rembrandt and his Wife, Saskia, 1636, B. 19</a></li><li><a href="#fig9">1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.</a></li><li><a href="#fig10">7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164</a></li><li><a href="#fig11">20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66</a></li><li><a href="#fig12">23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile <span style="font-style: italic">r.;</span> head only, bust added afterwards. 1630. B. 292. First state, the body being merely indicated in ink</a></li><li><a href="#fig13">38, II. THE BLIND FIDDLER. 1631. B. 138</a></li><li><a href="#fig14">40. THE LITTLE POLANDER. 1631. B. 142.  139. THE QUACKSALVER. 1635. B. 129.  164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133</a></li><li><a href="#fig15">52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.</a></li><li><a href="#fig16">54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the body added.</a></li><li><a href="#fig17">57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2</a></li><li><a href="#fig18">97, I. THE RAT-KILLER. 1632. B. 121</a></li><li><a href="#fig19">110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was afterwards cut down to a bust in an oval.</a></li><li><a href="#fig20">112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347</a></li><li><a href="#fig21">127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state</a></li><li><a href="#fig22">129. OLD WOMAN SLEEPING. (1635-7.) B. 350.</a></li><li><a href="#fig23">147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91</a></li><li><a href="#fig24">151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268</a></li><li><a href="#fig25">153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only</a></li><li><a href="#fig26">161, I. THE DEATH OF THE VIRGIN. 1639. B. 99</a></li><li><a href="#fig27">167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE “GOLD-WEIGHER”). 1639. B-281. First state, the face only lightly indicated</a></li><li><a href="#fig28">168, I. REMBRANDT LEANING ON A STONE SILL. 1639.  B. 21 From an impression touched by the artist in black chalk</a></li><li><a href="#fig29">172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40</a></li><li><a href="#fig30">175. SMALL GREY LANDSCAPE. (1640.) B. 207.  196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359</a></li><li><a href="#fig31">176, II. VIEW OF AMSTERDAM. (1640.) B. 210</a></li><li><a href="#fig32">179. THE WINDMILL. 1641. B. 233</a></li><li><a href="#fig33">184. THE SPANISH GIPSY. (1641.) B. 120</a></li><li><a href="#fig34">198, I. THE RAISING OF LAZARUS. 1642. B. 72</a></li><li><a href="#fig35">205. THE THREE TREES. (1643.) B. 212</a></li><li><a href="#fig36">209, I. SIX'S BRIDGE. 1645. B. 208</a></li><li><a href="#fig37">215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84</a></li><li><a href="#fig38">216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58</a></li><li><a href="#fig39">228, II. JAN SIX. 1647. B. 285</a></li><li><a href="#fig40">229, I. REMBRANDT DRAWING AT A WINDOW.  1648. B. 22. Unfinished state.</a></li><li><a href="#fig41">231, I. THE ARTIST DRAWING FROM A MODEL, (1648, or later?)  B. 192. Unfinished plate</a></li><li><a href="#fig42">232, I. ST. JEROME BESIDE A POLLARD WILLOW.  1648. B. 103</a></li><li><a href="#fig43">234, I. JEWS IN SYNAGOGUE. 1648. B. 126</a></li><li><a href="#fig44">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, <span style="font-style: italic">r.</span>  Only nine impressions of this state are known, two being in the British Museum</a></li><li><a href="#fig45">239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236</a></li><li><a href="#fig46">242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213</a></li><li><a href="#fig47">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</a></li><li><a href="#fig48">249. THE GOLDWEIGHER'S FIELD. 1651. B. 234</a></li><li><a href="#fig49">251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272</a></li><li><a href="#fig50">252. THE BLINDNESS OF TOBIT: THE LARGER PLATE.  1651. B. 42</a></li><li><a href="#fig51">254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113</a></li><li><a href="#fig52">256. CHRIST PREACHING (“LA PETITE TOMBE”). 1652 B. 67</a></li><li><a href="#fig53">257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65</a></li><li><a href="#fig54">261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11</a></li><li><a href="#fig55">264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221</a></li><li><a href="#fig56">267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104</a></li><li><a href="#fig57">270, I. THE THREE CROSSES. 1653. B. 78. First state</a></li><li><a href="#fig58">270, IV. THE THREE CROSSES. 1653. B. 78. Fourth state. The plate entirely transformed: ihe figures in the middle and foreground, <span style="font-style: italic">l.</span>, almost entirely effaced; a new group added <span style="font-style: italic">l.</span> of the central cross,</a></li><li><a href="#fig59">271, I. CHRIST PRESENTED TO THE PEOPLE.  1655.  B 76. First state</a></li><li><a href="#fig60">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</a></li><li><a href="#fig61">275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63</a></li><li><a href="#fig62">279. THE PRESENTATION IN THE TEMPLE: IN THE DARK MANNER. (1654.) B. 50.</a></li><li><a href="#fig63">281, I. THE ENTOMBMENT.  (1654.)  B. 86. The Print is greatly darkened in its later states</a></li><li><a href="#fig64">282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87</a></li><li><a href="#fig65">286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29</a></li><li><a href="#fig66">287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274</a></li><li><a href="#fig67">288, I. THOMAS JACOBSZ HAARIXG (THE “YOUNG HAARING”). 1655. B. 275</a></li><li><a href="#fig68">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)</a></li><li><a href="#fig69">290, I. JAN LUTMA, THE ELDER, GOLDSMITH AND SCULPTOR. 1656. B. 276. First state, before the addition of a window in the background</a></li><li><a href="#fig70">303, I. THE WOMAN WITH THE ARROW. 1661. B. 202</a></li></ul>
+</div>
+
+</div>
+
+<hr class="doublepage" /><div class="tei tei-body" style="margin-bottom: 6.00em; margin-top: 6.00em">
+
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc3" id="toc3"></a>
+  <a name="pdf4" id="pdf4"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">REMBRANDT</span></h1>
+<span class="tei tei-pb" id="page5">[pg 5]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+</p><div class="block tei tei-q" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><span style="font-size: 90%">
+Rembrandt Harmensz van Ryn, son of Harmen Gerritsz van Ryn, miller (d. 1630), and Neeltge Willemsdochter (d. 1640), daughter of a baker of Zuytbroeck; born at Leyden, July 15, 1606; entered Leyden University as a student of letters, May 20, 1620, but left before the end of the year; studied painting for about three years in his native town under Jacob Isaaksz van Swanenburgh, and at the age of seventeen for about six months under Pieter Lastman in Amsterdam; settled in Leyden from 1624 until 1631, removing with his sister Lysbeth to Amsterdam in the latter half of 1631; married Saskia van Ulenburch, June 1634; from 1639 to 1658 lived in the Breestraat (in the house which is now open to the public); lost his wife in 1642; from about 1652 Hendrikje Stoffels, who had been his servant, lived with him as his wife, until her death about 1664; Rembrandt's material success as a painter was counterbalanced by his zeal for collecting works of art, and in 1656 he was forced by his creditors to declare bankrupt; an inventory of the contents of his house, made in view of the sales which took place in 1657 and 1658, is still preserved; the last part of his life was spent in a lodging on the Rozengracht, and all the money that he earned went to his creditors whom he never satisfied; he died and was buried in the Westerkerk, Amsterdam, October 4, 1669.
+</span></div>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The formal style of art, the essence of line-engraving, reached its zenith in Albrecht Dürer.  And Dürer was so great a master that human feeling told through the medium of the severest formalism.  But it was not till a century later that human expression found its full outlet in an artist whose sympathy was at once penetrating and comprehensive, who perfected a medium capable of the most spontaneous rendering of the deepest as well as the most fleeting emotions of life.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+As a painter Rembrandt was chiefly devoted to portraiture, a devotion no doubt largely due to the conviction that its study gives the most immediate opportunity for depicting human character.
+<span class="tei tei-pb" id="page6">[pg 6]</span>
+But it must also be confessed that the overwhelmingly large proportion of portraits to other subjects in his painted work may be partly owing to the demands of clients.  That it was not entirely so is immediately evident when one considers the master's untiring industry in painting portraits of himself after his popularity had waned, and commissions nearly ceased.  Nevertheless as works for the most part uncommissioned and less lucrative than the paintings, we may take it that the etchings are a true reflection of the actual tendency of Rembrandt's genius when least affected by demands from outside.  In his etched work we find that portraits are much less numerous, and by far the largest place is given to the subjects from scripture, treated with the same reality that characterises his sketches from daily life.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Rembrandt's affection for scriptural subjects is a striking fact in face of the general character of Dutch art in the seventeenth century.  The reformation in Holland seems to have helped towards the exclusion of art from the domain of religion; and the merely formal and superficial rendering of biblical stories by the classicists of the late sixteenth century may have also had much to account for the secular reaction of the succeeding period.  But Rembrandt had no need to seek new ground to escape from a formal rendering of well-known themes.  Like most masters of supreme genius, his originality consisted in the realisation of his own deepest and most personal emotion in his treatment of the old stories.  They appealed to him as the vehicle of the noblest thoughts of man in relation to himself and God, and he was practically the first artist who dared approach the Scriptures in the spirit of reality that implied a living faith rather than an official creed.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+It is perhaps still not superfluous to emphasise the fact that the etchings of Rembrandt (as of nearly all the painter-engravers or etchers) are original works distinct in methods and aims from the paintings or works in any other medium.  In Rembrandt's work of rather more than three hundred etchings there are scarcely half a dozen subjects that correspond with his pictures.  In general the original engraver or etcher conceives and carries out his design in specific relation to its medium; its expression in another would demand an entirely different treatment.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Rembrandt worked on copper in pure etching and dry-point.  In pure etching the plate is first covered with a thin layer or ground of wax composition; the etcher draws through this ground (which offers scarcely any resistance) with an etching needle, opening up the
+<span class="tei tei-pb" id="page7">[pg 7]</span>
+surface of the copper where he wishes his lines to appear.  The plate is then put in a bath of acid which bites the furrows in the unprotected parts of the plate, <span lang="la" class="tei tei-foreign" xml:lang="la">i.e.</span> wherever the needle has been drawn through the ground.  Dry-point, though generally regarded as a branch of etching, as it is so constantly used on the same plate as bitten work, is in reality more akin to line-engraving.  No acid is used, and the lines are scratched on the surface of the copper by a strong steel point.  The artist does not push this point before the hand like the graver, but uses it in the same way as a pencil.  The curl of metal thrown up at the side of the line is not scraped away as in line-engraving, where the aim is clearness of designs, but left to hold the ink, enwrapping the line, as printed from the furrows, in a rich cloudy tone.  This curl of metal, or <span class="tei tei-q">“burr”</span> (a term also applied to the velvety tone which it causes), is extremely delicate, and a comparatively few impressions suffice to level it with the surface of the copper, and leave the effect a mere ghost of the artist's intention.  So that rich impressions from dry-points are infinitely rarer than good ones from the pure etchings, which often yield hundreds of prints without greatly deteriorating in quality.  But the more delicate the etching and the closer the mesh of line, the sooner will deterioration of quality set in, so that a glance at the character of an etching, granting that the plate was not destroyed after a very limited issue, will almost immediately reveal one important point, <span lang="la" class="tei tei-foreign" xml:lang="la">i.e.</span> the comparative rarity of good impressions.  It is clear and strong open line prints such as the <span class="tei tei-title"><span style="font-style: italic">Christ at Emmaus</span></span> of 1654 (<a href="#no282" class="tei tei-ref"><span style="color: blue">282</span></a>) of which moderate impressions are not so valuable, for such plates were still in fair condition for printing as late as the eighteenth century.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Pure etching is often combined with dry-point, the latter being used to give emphasis and strength to an etching of greater uniformity of tone.  Rembrandt did not begin to use dry-point until about 1639, <span lang="la" class="tei tei-foreign" xml:lang="la">e.g.</span> in the <span class="tei tei-title"><span style="font-style: italic">Death of the Virgin</span></span> (<a href="#no161" class="tei tei-ref"><span style="color: blue">161</span></a>), but it is not handled with any richness of effect until such works as the <span class="tei tei-title"><span style="font-style: italic">Triumph of Mordecai</span></span> (<a href="#no172" class="tei tei-ref"><span style="color: blue">172</span></a>) which probably dates several years later.  A print like the <span class="tei tei-title"><span style="font-style: italic">Three Trees</span></span> (<a href="#no205" class="tei tei-ref"><span style="color: blue">205</span></a>) might seem from the reproduction to have the rich tone that comes from dry-point, but in this case the dark effect is almost entirely due to a close mesh of pure etched lines.  The real quality of dry-point may be better studied in some of the lightly sketched lines in the foreground of the <span class="tei tei-title"><span style="font-style: italic">Artist drawing from a model</span></span> (<a href="#no231" class="tei tei-ref"><span style="color: blue">231</span></a>), e.g. the palm branch on the right.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+In his early period up till about 1640, Rembrandt's etching is characterised by a clear lineal manner with little tendency to the
+<span class="tei tei-pb" id="page8">[pg 8]</span>
+chiaroscuro which gradually became the characteristic feature of his artistic style in etching as well as in painting.  Later he tends to a greater breadth of treatment in line, and a less imitative treatment of physical form.  At first his experiments in chiaroscuro were produced by the close mesh of etched lines, but it must be confessed that etching as such rather loses its character when the line is so entirely lost in tone.  Even the <span class="tei tei-title"><span style="font-style: italic">Hundred Guilder Print</span></span> (<a href="#no236" class="tei tei-ref"><span style="color: blue">236</span></a>) holds its unrivalled place in the art of etching rather for the genius that overcame supreme difficulties than for the supreme fitness of the style in relation to the medium.  Rembrandt never showed the breadth of his sympathy and his powers of observation better than in this plate, but for grandeur of conception, concentration of material, and a vigorous handling more in keeping with the scale of his subject, he attained a nobler—I think his noblest—creation in the <span class="tei tei-title"><span style="font-style: italic">Three Crosses</span></span> (<a href="#no270" class="tei tei-ref"><span style="color: blue">270</span></a>).  The changes introduced in this plate in a later state are remarkable, and show how completely the etcher can transform his subject.  Here the changes are astonishingly drastic, and may have been intended to direct us to an entirely different moment in the drama of the Crucifixion.  In other examples, such as the <span class="tei tei-title"><span style="font-style: italic">Christ presented to the People</span></span>  (<a href="#no271" class="tei tei-ref"><span style="color: blue">271</span></a>) and the <span class="tei tei-title"><span style="font-style: italic">Landscape with trees, farm-buildings, and a tower</span></span> (<a href="#no244" class="tei tei-ref"><span style="color: blue">244</span></a>), one sees how Rembrandt was constantly striving in the progress of his states towards greater concentration of idea, effecting it in the former by the removal of an entire group of figures, in the latter by the lopping of a cupola on the church tower.  Except for an occasional plate like the <span class="tei tei-title"><span style="font-style: italic">Clement de Jonghe</span></span> (<a href="#no251" class="tei tei-ref"><span style="color: blue">251</span></a>) with its open line after the manner of Van Dyck, Rembrandt kept to the method of close painter-like shading throughout the latter part of his life, but in his subject prints he almost entirely discarded this method of chiaroscuro for a more luminous and mysterious shadow effected by the surface tinting of a more broadly etched plate. The various states of the <span class="tei tei-title"><span style="font-style: italic">Entombment</span></span> (<a href="#no281" class="tei tei-ref"><span style="color: blue">281</span></a>), first with the line quite open, then with some added shading partially aided by a surface tint, exemplify the manner of his progress. In this wonderful plate, and nearly all the subjects of his later period, Rembrandt had attained a dignity of composition which we find in few painters outside Venice.  In spite of his thoroughly Dutch temperament, Rembrandt had learnt much from the Italians, and in nothing more than in space composition.  A very large proportion of his early etchings are studies of seperate figures.  Only by this constant study of pieces of life was perfected the power by which his greater conceptions were realised with such unity of effect.
+</p>
+<span class="tei tei-pb" id="page9">[pg 9]</span>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Rembrandt took longer than many a weaker artist to reach his maturity, not that his progress was slower, but the maturity much higher, and even his old age seemed like youth in its perennial receptivity and power of vigorous growth.  A well-known connoisseur of the time, Constantin Huygens, writing in 1631, was more impressed by Lievens's brilliant flights of invention than by Rembrandt's vivid power of expressing character and emotion.  But while the former and so many of his contemporaries were content with their own facility and the convention they had reached, Rembrandt never remitted the ardour of the great quest which was the very blood of his life.  Constantly breaking new paths, and losing at each new turn his earlier patrons, who failed to follow the progress of his genius, he died in comparative neglect, only to be rediscovered by the moderns as one who still belongs to the most living style of art.
+</p>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+A few etchers of the last two or three generations have taken a step further or aside in this or that direction, more particularly in the art of landscape, but even Whistler, at once the supreme virtuoso and the greatest individuality of nineteenth-century etching, falls far short of Rembrandt in the one thing which makes or mars genius of the highest order, <span lang="la" class="tei tei-foreign" xml:lang="la">i.e.</span> depth of humanity, without surpassing him in the technical mastery of expressive line.  Rembrandt remains for us the greatest etcher who has ever lived, as well as one of the noblest exponents in art of the deepest and most generous emotions of life.
+</p>
+</div>
+
+<span class="tei tei-pb" id="page10">[pg 10]</span>
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc5" id="toc5"></a>
+  <a name="pdf6" id="pdf6"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">BOOKS OF REFERENCE</span></h1>
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">CATALOGUES</span></h2>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Gersaint, E. F. Paris 1751</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Yver, P. Amsterdam 1756 (supplement to Gersaint)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Bartsch, Adam. Vienna 1797</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Claussin, J. J. de. Paris 1824 (supplement 1828)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Wilson, T. London 1836</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Blanc, C. Paris 1859-61 (1873, and with a complete series of reproductions, 1880)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Middleton-Wake, C. H. London 1878</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Dutuit, E. Paris 1881-4 (with a complete series of reproductions in heliogravure); Manuel de l'Amateur V (1882), and VI (1885).</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Rovinski, D. St. Petersburg 1890 (with atlas of reproductions covering all the etchings in practically every state)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Rovinski, D. Les Élèves de Rembrandt. St. Petersburg 1894</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Seidlitz, W. von. Leipzig 1895</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Dodgson, C. In Hamerton. the Etchings of Rembrandt, London 1904</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Singer, H. W. Stuttgart 1906 (and 1910)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Hind, A. M. London 1912</td></tr></tbody></table>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em">
+<h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">GENERAL</span></h2>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Also including the most important works on Rembrandt's paintings
+and drawings
+</p>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Vosmaer, C. Rembrandt, sa vie et ses œuvres. The Hague 1868 (and 1877)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Haden, (Sir) F. Seymour. The Etched Work of Rembrandt. London 1879</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Michel, E. Rembrandt, sa vie, son œuvre, et son temps. Paris 1893</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Hamerton, P. G. The Etchings of Rembrandt. London 1894 (and 1904, with catalogue by C. Dodgson)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Bode, W., and Groot, C. H. de. The Complete Work of Rembrandt (reproduced in photogravure). 8 vols. Paris 1897—1906</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Groot, C. H. de. Die Urkunden über Rembrandt (1575-1721). The Hague 1906. (English version in vol. 8 of Bode)</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Groot, C. H. de. Die Handzeichnungen Rembrandts. Versuch eines beschreibenden und kritischen Katalogs. Haarlem 1906</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Hamann, R. Rembrandt's Radierungen. Berlin 1906</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Holmes, C. J. The Development of Rembrandt as an Etcher. <span class="tei tei-title"><span style="font-style: italic">Burlington Magazine</span></span> IX (1906), 87, 245, 313, 383</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Holmes, C. J.  Notes on the Art of Rembrandt. London 1911</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Brown, C. Baldwin. London 1907</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Six, J. Gersaint's lÿst van Rembrandts Prenten. <span class="tei tei-title"><span style="font-style: italic">Oud-Holland</span></span> XXVII (1909), 65</td></tr></tbody></table>
+</div>
+</div>
+
+
+<span class="tei tei-pb" id="page11">[pg 11]</span>
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+  <a name="toc7" id="toc7"></a>
+  <a name="pdf8" id="pdf8"></a>
+<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS</span></h1>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+Arranged according to the author's complete catalogue in <span class="tei tei-title"><span style="font-style: italic">Rembrandt's Etchings, an Essay and a Catalogue</span></span> (Methuen, 1912), which follows the chronological arrangement of the collection in the British Museum.  Numbers that are obelised (†) are plates of doubtful authenticity; starred numbers (*) refer to plates not represented in the British Museum.  Conjectural dates are cited within brackets.  Except for Nos. 144 (frontispiece), 139 and 164 (on same plate as No. 40), and 196 (on same plate as No. 175), the etchings reproduced (entirely from the British Museum collection) are given in the order of this catalogue, so that plate numbers have been dispensed with.  The Roman numerals following the catalogue numbers in the underlines to the plates refer to the states of the etchings as described in the complete catalogue.  B. = Bartsch.
+</p>
+<table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">1. Rembrandt's Mother: Head Bust, three-quarters r. 1628. B. 354.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">2. Rembrandt's Mother: Head only, full face. 1628. B. 352</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">2.* Rembrandt with a Broad Nose. (1628) B. 4</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">3. Rembrandt Bareheaded, with High Curly Hair: Head and Bust. (1628.) B. 27</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">4. Rembrandt Bareheaded: A Large Plate Roughly Etched: Head and Bust. 1629. B. 338</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">4.* Aged Man of Letters. (1629.) B. 149</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">5. Peter and John at the Gate of the Temple: Roughly Etched. (1629-30.) B. 95</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">6. The Small Lion Hunt (with one Lion). (1629-30.) B. 116</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">7. Beggar Man and Beggar Woman Conversing. 1630. B. 164</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">8. Beggar Seated Warming his Hands at a Chafing Dish. (1630.) B. 173</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">9. Beggar Leaning on a Stick, facing l. (1630.) B. 163</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">10. Beggar in a Long Cloak, Sitting in an Arm-chair. (1630.) B. 160</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">11. Beggar Seated on a Bank. 1630. B. 174</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">12. Beggar with a Wooden Leg. (1630.) B. 179</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">13. Beggar Man and Beggar Woman Behind a Bank. (1630) B. 165</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">14. Man in a Cloak and Fur Cap Leaning against a Bank. (1630.) B. 151</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">15. Beggar in a High Cap, Standing and Leaning on a Stick. (1630.) B. 162</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">16. Ragged Peasant with his Hands Behind Him, Holding a Stick. (1630.) B. 172</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">17. The Flight into Egypt: A Sketch. (1630.) B. 54</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">18. The Presentation in the Temple (with the Angel): small plate. 1630. B. 51</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">19. The Circumcision: small plate. (1630.) B. 48</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">20. Christ Disputing with the Doctors: small plate. 1630. B. 66</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">21. Bust of a Man (Rembrandt's Father?) in full face, wearing a Close Cap. 1630. B. 304</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">22. Bust of a Man (Rembrandt's Father?) wearing a High Cap, three-quarters r. 1630. B. 321</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">23. Bald-headed Man (Rembrandt's Father?) in Profile r; head only; bust added afterwards. 1630. B. 292</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">24. Bald-headed Man (Rembrandt's Father?) in Profile r.; small bust. 1630. B. 294</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">25. Three Studies of Old Men's Heads. (1630.) B. 374</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">26. Bust of an Old Man with Flowing Beard and White Sleeve. (1630.) B. 291</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">27. Bust of an Old Man with Flowing Beard: the Head Bowed Forward: l. shoulder unshaded. 1630. B. 325</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">28. Bust of an Old Man with Flowing Beard: the head inclined three-quarters r. 1630. B. 309</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">29. Rembrandt in a Fur Cap: the Dress Light: bust. 1630. B. 24</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">30. Rembrandt Bareheaded, in Sharp Light from r.; Looking over his Shoulder: bust. 1630. B. 10</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">31. Rembrandt Bareheaded and Open-mouthed, as if Shouting: bust. 1630. B. 13</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">32. Rembrandt in a Cap, Open-mouthed and Staring: bust in outline. 1630. B. 320</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">33. Rembrandt Bareheaded, with Thick Curling Hair and Small White Collar: bust. (1630.) B. 1</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">34. Rembrandt in a Cap, Laughing: Bust. 1630. B. 316</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">35. Rembrandt Bareheaded, Leaning Forwards as if Listening: bust. (1630.) B. 9</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">36. Rembrandt Bareheaded, Leaning Forward: bust lightly indicated. (1630-1.) B. 5</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">37. Head of a Man in a Fur Cup, Crying Out. (1631.) B. 327</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">38. The Blind Fiddler.  1631. B. 138</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">39. Head of a Man in a High Cap: three-quarters r. (1631.) B. 302</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">40. A Polander standing with Stick: profile to r. (the <span class="tei tei-q">“Little Polander”</span>). 1631. B. 142</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">41. Sheet of Studies of Men's Heads (the plate afterwards cut into five parts). (1631.) B. 366</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">42. Diana at the Bath. (1631.) B. 201</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">43. Naked Woman Seated on a Mound. (1631.) B. 198</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">44. Jupiter and Antiope: the smaller Plate. (1631.) B. 204</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">45. A Man Making Water. 1631. B. 190</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">46. A Woman Making Water. 1631. B. 191</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">47. Bust of an Old Bearded Man Looking Down, three-quarters r. 1631. B. 260</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">48. Bust of an Old Man with Flowing Beard: Head Nearly Erect: Eyes Cast Down: Looking Slightly l. 1631. B. 315</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">49. Bust of an Old Man with Fur Cap and Flowing Beard: nearly full face: Eyes Direct. (1631.) B. 312</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">50. Rembrandt's Mother with Hand on Chest: small bust. 1631. B. 349</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">51. Rembrandt's Mother Seated Facing r., in an Oriental Headdress: half length, Showing Hands. 1631. B. 348</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">52. Rembrandt's Mother Seated at a Table Looking r.: three-quarter length. (1631.) B. 343</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">53. Bearded Man (Rembrandt's Father?) in Furred Oriental Cap and Robe: half length. 1631. B. 263</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">54. Rembrandt Wearing a Soft Hat, Cocked: head only: body added afterwards. 1631. B. 7</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">55. Rembrandt with Long Bushy Hair: head only. (1631.) B. 8</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">56. Rembrandt in a Heavy Fur Cap: full face: bust. 1631. B. 16</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">57. Rembrandt Wearing a Soft Cap: full face: head only. (1631.) B. 2</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">58. Rembrandt with Cap Pulled Forward: bust. (1631.) B. 319</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">59. Rembrandt with Fur Cap, in an Oval Border: bust. (1631.) B. 12</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†60.  Rembrandt with Bushy Hair and Contracted Eyebrows: bust. 1631. B. 25</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">61. Rembrandt  Bareheaded, the Light Falling from the r.: bust. (1631.) B. 332</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†62. Rembrandt in a Slant Fur Cap: bust.  1631.  B. 14</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">63. Rembrandt in a Cloak with Falling Collar: bust. 1631. B. 15</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†64. Rembrandt with a Jewel in his Cap. (1631.) Middleton, 18</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†65. Bust of a Young Man in a Cap. (1631.) B. 322</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">66. Rembrandt in a Dark Cloak and Cap: bust. (1631.) B. 6</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">67. Rembrandt(?), Scowling, in an Octagon: head only. (1631.) B. 336</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">68. Grotesque Profile: Man in High Cap. (1631.) B. 326</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">69. Peasant with his Hands Behind his Back. 1631. B. 135</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†70. Bust of a Snub-nosed Man in a Cap: Profile r. 1631. B. 317</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†71. Bust of a Man in a Cap, Bound Round the Ears and Chin. (1631.) B. 323</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">72. Beggar with a Stick, Walking l. 1631. B. 167</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">73. Beggar with his l. Hand Extended. 1631. B. 150</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">74. The Blindness of Tobit: A Sketch. (1631.) B. 153</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">75. Seated Beggar and his Dog. 1631. B. 175</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">75.* A Stout Man in a Large Cloak. (1631.) B. 184</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†76. Old Woman Seated in a Cottage, with a String of Onions on the Wall. 1631. B. 134</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">77. The Leper (<span class="tei tei-q">“Lazarus Klap”</span>). 1631. B. 171</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">77.* Beggar Man and Beggar Woman. (1631.) B. 183</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">78. Two Beggars Tramping towards the r. (1631.) B. 154</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">78.* Two Studies of Beggars. (1631.) B. 182</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">79. Beggar with a Crippled Hand Leaning on a Stick r. (1631.) B. 166</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">80. Old Beggar Woman with a Gourd. (1631.) B. 168</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†8l. Beggar Standing Leaning on a Stick l.: small plate. (1631.) B. 169</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†82. Bust of an Old Woman in Furred Cloak and Heavy Headdress. 1631. B. 355</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†83. Bust of an Old Woman in a High Head-dress Bound Round the Chin. (1631.) B. 358</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†84. Bust of a Beardless Man (Rembrandt's Father?) in a Fur Cloak and Cap: Looking Down: three-quarters l. 1631. B. 307</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†85. Bust of a Bald Man (Rembrandt's Father?) in a Fur Cloak Looking r. 1631. B. 324</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†86. Bust of a Bald Man Looking Down, Grinning. 1631. B. 298</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†87. Bust of Bearded Old Man with High Forehead and Close Cap. 1631. B. 314</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†88. Bust of an Old Man Looking Down, with Wavy Hair and Beard:  cap added afterwards. (1631.)  B. 337 </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†89. Small Bust of Bearded Man Looking Down, with Eyes Nearly Closed. (1631.) B. 296</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">90. Sheet of Studies:  Head of Rembrandt, Beggar Couple, Heads of Old Man and Old Woman, etc. (1632.)  B. 363</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†91. Rembrandt's  Mother  in Widow's Dress and Black Gloves. (1632) B. 344</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">92. Old Man Seated, with Flowing Beard, Fur Cap and Velvet Cloak. (1632.) B. 262</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">93. Man Standing in Oriental Costume and Plumed Fur Cap. 1632. B. 152</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">94. St. Jerome Playing: Arched Print. 1632. B. 101</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">95. The Holy Family. (1632.) B. 62</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">96. The Raising of Lazarus: the larger Plate. (1632.) B. 73</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">97. The Rat-Killer. 1632. B. 121</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">98. Polander Leaning on a Stick: Profile l. (1632.) B. 141</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">99. A Turbaned Soldier on Horseback. (1632.) B. 139</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">100. A Cavalry Fight. (1632-3.) B. 117</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">101. The Good Samaritan. 1633. B. 90</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">102. The Descent from the Cross: first plate. 1633. B. 81, I</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">103. The Descent from the Cross: second plate. 1633. B. 81, II, etc.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">104. Joseph's Coat Brought to Jacob. (1633.) B. 38</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">105. The Flight into Egypt: small plate. 1633. B. 52</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">106. The Ship of Fortune. 1633. B. 111</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">107. Rembrandt's Mother in a Cloth Head-dress, Looking Down: head only. 1633. B. 351</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">108. Rembrandt in Cap and Scarf: the Face Dark: bust. 1633. B. 17</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">109. Rembrandt with Raised Sabre: half-length. 1634. B. 18</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">110. Rembrandt with Plumed Cap and Lowered Sabre: three-quarter length: afterwards bust in oval. 1634. B. 23</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">111. Jan Cornelis Sylvius, Preacher (r). 1634. B. 266</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">112. Rembrandt's Wife Saskia, with Pearls in her Hair, bust. 1634. B. 347</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">113. Woman Reading.  1634. B. 345</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">114. A Peasant: One of a Pair, Calling Out. 1634. B. 177</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">115. A Peasant: the Other of the Pair, Replying. 1634. B. 178</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">116. Two Tramps, a Man and a Woman. (1634.) B. 144</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">117. Sheet of Two Slight Studies: One of Two Peasants. (1634.) B. 373</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">118. Joseph and Potiphar's Wife. 1634. B. 39</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">119. St. Jerome Reading. 1634. B. 100</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">120. The Angel Appearing to the Shepherds. 1634. B. 44</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">121. Christ at Emmaus: the smaller plate. 1634. B. 88</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">122. Christ and the Woman of Samaria: among Ruins. 1634. B. 71</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">123. The Crucifixion: small plate. (1634.) B. 80</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">124. The Tribute-Money. (1634.) B. 68</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">125. The Stoning of S. Stephen. 1635. B. 97</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">126. Christ Driving the Money-Changers from the Temple. 1635. B. 69</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">127. Girl with Hair Falling on her Shoulders (the <span class="tei tei-q">“Great Jewish Bride”</span>). 1635. B. 340</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">128. Jan Uytenbogaert, Preacher of the Sect of Arminian Remonstrants. 1635. B. 279</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">129. Old Woman Sleeping. (1635-7.) B. 350</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">130. Old Bearded Man in a High Fur Cap, with Closed Eyes. (1635.) B. 290</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">131. The First Oriental Head (Rembrandt's Father?). 1635. B. 286</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">132. The Second Oriental Head (Rembrandt's Father?). (1635.) B. 287</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">133. The Third Oriental Head. 163;. B. 288</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">134. The Fourth Oriental Head. (1635.)  B. 289</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†l35. Head of an Old Man in a High Fur Cap. (1635.) B. 299</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">136. Bald Old Man with a Short Beard, in profile r.  0635.) B. 306</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†137. Curly-headed Man with a Wry Mouth.  (1635.)  B. 305</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">138. Polander Standing with Arms Folded. (1635.) B. 140</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">139. The Quacksalver. 1635. B. 129</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">140. St. Jerome Kneeling in Prayer, Looking Down. 1635. B. 102</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">141. The Pan-cake Woman. 1635. B. 124</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">†142. The Strolling Musicians. (1635.) B. 119</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">143. Christ before Pilate: large plate. 1635-6. B. 77</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">144. Rembrandt and his Wife Saskia: busts. 1636. B. 19</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">145. Studies of the Head of Saskia and others. 1636. B. 365</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">146. Samuel Manasseh Ben Israel, Jewish Author. 1636. B. 269</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">147. The Return of the Prodigal Son. 1636. B. 91</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">148. Abraham  Caressing Isaac. (1637.) B. 33</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">149. Abraham Casting Out Hagar and Ishmael. 1637. B. 30</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">150. Bearded Man Wearing a Velvet Cap with a Jewel Clasp. 1637. B. 313</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">151. Young Man in a Velvet Cap with Books Beside Him. 1637. B. 268</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">152. Three Heads of Women, one Asleep. 1637. B. 368</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">153. Three Heads of Women, one Lightly Etched. (1637.) B. 367</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">154. Study of Saskia as S. Catherine (the <span class="tei tei-q">“Little Jewish Bride”</span>). 1638. B. 342</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">155. Sheet with Two Studies: a Tree, and the Upper Part of a Head Wearing a Velvet Cap. (1638.) B. 372</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">156. Rembrandt in Velvet Cap and Plume, with an Embroidered Dress: bust. 1638. B. 20</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">157. Rembrandt in a Flat Cap with a Shawl About His Shoulders. (1638.) B. 26</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">158. Man in a Broad-Brimmed Hat and Ruff. (1630.) B. 311</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">159. Adam and Eve. 1638. B. 28</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">160. Joseph Telling His Dreams. 1638. B. 37</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">161. The Death of the Virgin. 1639. B. 99</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">162. The Presentation in the Temple: an oblong print. (1639.) B. 49</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">163. Sheet of Studies, with a Woman Lying Ill in Bed, etc. (1639.) B. 369</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">164. A Peasant in a High Cap, Standing Leaning on a Stick. 1639. B. 133</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">165. Death Appearing to a Wedded Couple From An Open Grave. 1639. B. 109</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">166. The Skater. (1639.) B. 156</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">167. Jan Uytenbogaert, Receiver-General (the <span class="tei tei-q">“Gold-Weigher”</span>). 1639. B. 281</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">168. Rembrandt Leaning on a Stone Sill: half length. 1639. B. 21</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">169. Old Man Shading His Eyes with His Hand. (1639.) B. 259</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">170. Old Man with a Divided Fur Cap. 1640. B. 265</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">171. The Beheading of John the Baptist. 1640. B. 92</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">172. The Triumph of Mordecai. (1640.) B. 40</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">173. Christ Crucified Between the Two Thieves: an oval plate. (1640.) B. 79</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">174. Sleeping Puppy. (1640.) B. 158</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">175. Small Grey Landscape: A House and Trees Beside a Pool. (1640.) B. 207</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">176. View of Amsterdam. (1640.) B. 210</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">177. Landscape with a Cottage and Hay Barn: oblong. 1641. B. 225</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">178. Landscape with a Cottage and a Large Tree. 1641. B. 226</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">179. The Windmill.  1641.  B. 233</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">180. The Small Lion Hunt (with Two Lions). (1641.) B. 115</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">181. The Large Lion Hunt. 1641. B. 114</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">182. The Baptism of the Eunuch. 1641. B. 98</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">183. Jacob and Laban(?). 1641. B. 118</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">184. The Spanish Gipsy (Preciosa). (1641.) B. 120</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">185. The Angel Departing from the Family of Tobias. 1641. B. 185.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">186. Virgin and Child in the Clouds. 1641. B. 61</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">187. Cornelis Claesz Anslo, Mennonite Preacher. 1641. B. 271</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">188. Portrait of a Boy, in profile. 1641. B. 310</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">189. Man at Desk, Wearing Cross and Chain. 1641. B. 261.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">190. The Card-Player. 1641. B. 136</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">191. Man Drawing from a Cast. (1641.) B. 130</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">192. Woman at a Door-hatch Talking to a Man and Children (the <span class="tei tei-q">“Schoolmaster”</span>). 1641. B. 128</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">193. The Virgin with the Instruments of the Passion. (1641.) B. 85</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">194. Man in an Arbour. 1642. B. 257</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">195. Girl with a Basket. (1642.) B. 356</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">196. Sick Woman with Large White Head-dress (Saskia). (1642.) B. 359</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">197. Woman in Spectacles, Reading. (1642.) B. 362</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">198. The Raising of Lazarus: the smaller plate.  1642.  B. 72</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">199. The Descent from the Cross: a Sketch.  1642. B. 82</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">200. The Flute-Player (L'Espiegle). 1642.  B. 188</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">201. St. Jerome in a Dark Chamber. 1642.  B. 105</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">202. Student at a Table by Candlelight. (1642.) B. 148</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">203. Cottage with a White Paling. 1642. B. 232</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">204. The Hog.  1643.  B. 157</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">205. The Three Trees.  1643. B. 212</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">206. The Shepherd and his Family. 1644. B. 220</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">207. The Sleeping Herdsman. (1644.) B. 189</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">208. The Rest on the Flight: a Night Piece. (1644.) B. 57</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">209. Six's Bridge.  1645.  B. 208</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">210. The Omval.  1645.  B. 209</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">211. The Boat-house. 1645. B. 231</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">212. Cottages beside a Canal: with a Church and Sailing Boat. (1645.) B. 228</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">213. Cottages and Farm Buildings with a Man Sketching. (1645.) B. 219</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">214. Abraham and Isaac.  1645. B. 34</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">215. Christ Carried to the Tomb. (1645.) B. 84</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">216. The Rest on the Flight: lightly etched. 1645. B. 58</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">217. S. Peter in Penitence. 1645. B. 96</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">218. Old Man in Meditation, Leaning on a Book. (1645.) B. 147</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">219. Beggar Woman Leaning on a Stick. 1646. B. 70</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">220. Study from the Nude: Man Seated Before a Curtain. 1646. B. 193</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">221.  Study from the Nude: Man Seated on the Ground with One Leg Extended. 1646. B. 196</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">222. Studies from the Nude: One Man Seated and Another Standing: with a Woman and Baby lightly etched in the background. (1646.) B. 194</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">223. Le Lit à la Française (Ledekant). 1646. B. 186</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">224. The Monk in the Cornfield. (1646.) B. 187</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">225. Jan Cornells Sylvius, Preacher: posthumous portrait. 1646. B. 280</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">226. Ephraim Bonus, Jewish Physician. 1647. B. 278</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">227. Jan Asselyn, Painter. (1647.) B. 277</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">228. Jan Six. 1647.  B. 285</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">229. Rembrandt Drawing at a Window. 1648. B. 22</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">230. Sheet of Studies with the Head of Rembrandt, a Beggar Man, Woman and Child. (1648.) B. 370</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">231. The Artist Drawing from a Model: unfinished plate. (1648.) B. 192</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">232. S. Jerome Beside a Pollard Willow. 1648. B. 103</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">233. Beggars Receiving Alms at the Door of a House. 1648. B. 176</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">234. Jews in a Synagogue. 1648. B. 126</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">235. Medea: or the Marriage of Jason and Creusa. 1648. B. 112</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">236. Christ, with the Sick Around Him, receiving Little Children (the <span class="tei tei-q">“Hundred Guilder Print”</span>). (1649.) B. 74</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">237. The Incredulity of Thomas. 1650. B. 89</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">238. Canal with an Angler and Two Swans. 1650. B. 235</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">239. Canal with a Large Boat and Bridge. 1650. B. 236</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">240. Landscape with a Cow Drinking. (1650.) B. 237</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">241. Landscape with a Hay Barn and a Flock of Sheep. 1650. B. 224</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">242. Landscape with a Milk-man. (1650.) B. 213</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">243. Landscape with an Obelisk. (1650.) B. 227</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">244. Landscape with Trees, Farm-buildings and a Tower. 1650. B. 223</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">245. Landscape with a Square Tower. 1650. B. 218</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">246. Landscape with Three Gabled Cottages Beside a Road. 1650. B. 217</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">247. The Bull. (1650.) B. 253</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">248. The Shell.  1650. B. 159</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">249. The  Goldweigher's  Field. 1651. B. 234</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">250. The Bathers. 1651. B. 195</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">251. Clement de Jonghe, Printseller. 1651. B. 272</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">252. The Blindness of Tobit: the larger plate. 1651. B. 42</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">253. The Flight into Egypt: a Night Piece. 1651. B. 53</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">254. The Star of the Kings: a Night Piece. (1652.) B. 113</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">255. Adoration of the Shepherds; a Night Piece. (1652.) B. 46</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">256. Christ Preaching (<span class="tei tei-q">“la Petite Tombe”</span>). (1652.) B. 57</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">257. Christ Disputing with the Doctors: a sketch. 1652. B. 65</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">258. David in Prayer.  1652. B. 41</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">259. Peasant Family on the Tramp. (1652.) B. 131</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">260. Faust in His Study, Watching a Magic Disk. (1652.) B. 270</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">261. Titus Van Ryn, Rembrandt's Son. (1656.) B. 11</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">262. Sheet of Studies, with a Wood and Paling, Part of Two Heads, and a Horse and Cart. (1652.) B. 364</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">263. Clump of Trees with a Vista. 1652.  B. 222</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">264. Landscape with a Road Beside a Canal. (1652.) B. 221</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">265. Landscape with Sportsman and Dogs. (1653.) B. 211</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">266. The Flight into Egypt: altered from Tobias and the Angel by Hercules Seghers. (1653.) B. 56</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">267. S. Jerome Reading, in an Italian Landscape.  (1653.) B. 104</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">268. Jan Antonides van der Linden, Professor of Medicine.  1665. B. 264</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">269. Lieven Willemsz Van Coppenol, Writing-Master: the smaller plate. (1653.) B. 282 270. Christ Crucified between the Two Thieves: large oblong plate (the <span class="tei tei-q">“Three Crosses”</span>).  1653. B. 78</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">271. Christ Presented to the People: large oblong plate.  1655.  B. 76 </td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">272. The Golf-Player.  1654. B. 125</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">273. The Adoration of the Shepherds (with the Lamp). (1654.) B. 45</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">274. The Circumcision (in the Stable). 1654. B. 47</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">275. The Virgin and Child with the Cat: and Joseph at the Window. 1654. B. 63</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">276. The Flight into Egypt: Holy Family Crossing a Brook. 1654. B. 55.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">277. Christ Seated Disputing with the Doctors. 1654. B. 64</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">278. Christ Between His Parents, Returning from the Temple. 1654. B. 60</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">279. The Presentation in the Temple: in the Dark Manner. (1654.) B. 50</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">280. The Descent from the Cross: by Torchlight. 1654. B. 83</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">281. The Entombment. (1654.) B. 86</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">282. Christ at Emmaus: the larger plate. 1654. B. 87.</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">283. Abraham's Sacrifice.  1655. B. 35</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">284. Four Illustrations to a Spanish Book. (A. The Image seen by Nebuchadnezzar. B. Jacob's Ladder. C. David and Goliath. D. Daniel's Vision of Four Beasts.) 1655. B. 36</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">285. The Goldsmith. 1655. B. 123</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">286. Abraham Entertaining the Angels. 1656. B. 29</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">287. Jacob Haaring (the <span class="tei tei-q">“Old Haaring”</span>). (1655.) B. 274</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">288. Thomas Jacobsz Haaring (the <span class="tei tei-q">“Young Haaring.”</span>) 1655. B. 275</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">289. Arnold Tholinx, Inspector of Medical Colleges at Amsterdam. (1656.) B. 284</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">290. Jan Lutma, the Elder, Goldsmith and Sculptor. 1656. B. 276</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">291. Abraham Francen, Art Dealer. (1656.) B. 273</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">292. S. Francis Beneath a Tree, Praying. 1657. B. 107</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">293. The Agony in the Garden. (1657.) B. 75</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">294. Christ and the Woman of Samaria: an Arched Print. 1658. B. 70</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">295. The Phrenix; or the Statue Overthrown: an Allegory of Doubtful Meaning. 1658. B. 110</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">296. Woman Sitting Half Dressed Beside a Stove. 1658. B. 197</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">297. Woman at the Bath, with a Hat Beside Her. 1658. B. 199</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">298. Woman Bathing Her Feet at a Brook. 1658. B. 200</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">299. Negress Lying Down. 1658. B. 205</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">300. Lieven Willemsz Van Coppenol, Writing-Master: the larger plate. (1658.) B. 283</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">300*. Rembrandt Etching. 1658. Seidlitz, 379</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">301. Peter and John Healing the Cripple at the Gate of the Temple. 1659. B. 94</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">302. Jupiter and Antiope: the larger plate. 1659. B. 103</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">303. The Woman with the Arrow. 1661. B. 202</td></tr></tbody></table>
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+The title-page border is taken from a portrait etching by Juriaen Ovens, of Frederick III of Holstein Gottdorp.
+</p>
+</div>
+
+<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<span class="tei tei-pb" id="page21">[pg 21]</span>
+<a name="fig9" id="fig9"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_001.jpg" alt="1, I, REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354." title="1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.</div></div>
+
+<span class="tei tei-pb" id="page23">[pg 23]</span>
+<a name="fig10" id="fig10"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_007.jpg" alt="7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164" title="7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164</div></div>
+
+<span class="tei tei-pb" id="page25">[pg 25]</span>
+<a name="fig11" id="fig11"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_020.jpg" alt="20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66" title="20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66</div></div>
+
+<span class="tei tei-pb" id="page27">[pg 27]</span>
+<a name="fig12" id="fig12"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_023.jpg" alt="23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile r.; head only, bust added afterwards. 1630. B. 292. First state, the body being merely indicated in ink" title="23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile r.; head only, bust added afterwards. 1630. B. 292. First state, the body being merely indicated in ink" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile <em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">r.;</span></em> head only, bust added afterwards. 1630. B. 292. First state, the body being merely indicated in ink</div></div>
+
+<span class="tei tei-pb" id="page29">[pg 29]</span>
+<a name="fig13" id="fig13"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_038.jpg" alt="38, II. THE BLIND FIDDLER. 1631. B. 138" title="38, II. THE BLIND FIDDLER. 1631. B. 138" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">38, II. THE BLIND FIDDLER. 1631. B. 138</div></div>
+
+<span class="tei tei-pb" id="page31">[pg 31]</span>
+<a name="fig14" id="fig14"></a><div class="tei tei-figure" style="text-align: center"><img src="images/40139164.jpg" alt="40139164. THE LITTLE POLANDER. 1631. B. 142. 139. THE QUACKSALVER. 1635. B. 129. 164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133" title="40. THE LITTLE POLANDER. 1631. B. 142. 139. THE QUACKSALVER. 1635. B. 129. 164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">40. THE LITTLE POLANDER. 1631. B. 142.  139. THE QUACKSALVER. 1635. B. 129.  164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133</div></div>
+
+<span class="tei tei-pb" id="page33">[pg 33]</span>
+<a name="fig15" id="fig15"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_052.jpg" alt="52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343." title="52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.</div></div>
+
+<span class="tei tei-pb" id="page35">[pg 35]</span>
+<a name="fig16" id="fig16"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_054.jpg" alt="54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the body added." title="54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the body added." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the body added.</div></div>
+
+<span class="tei tei-pb" id="page37">[pg 37]</span>
+<a name="fig17" id="fig17"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_057.jpg" alt="57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2" title="57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2</div></div>
+
+<span class="tei tei-pb" id="page39">[pg 39]</span>
+<a name="fig18" id="fig18"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_097.jpg" alt="97, I. THE RAT-KILLER. 1632. B. 121" title="97, I. THE RAT-KILLER. 1632. B. 121" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">97, I. THE RAT-KILLER. 1632. B. 121</div></div>
+
+<span class="tei tei-pb" id="page41">[pg 41]</span>
+<a name="fig19" id="fig19"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_110.jpg" alt="110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was afterwards cut down to a bust in an oval." title="110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was afterwards cut down to a bust in an oval." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was afterwards cut down to a bust in an oval.</div></div>
+
+<span class="tei tei-pb" id="page43">[pg 43]</span>
+<a name="fig20" id="fig20"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_112.jpg" alt="112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347" title="112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347</div></div>
+
+<span class="tei tei-pb" id="page45">[pg 45]</span>
+<a name="fig21" id="fig21"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_127.jpg" alt="127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state" title="127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state</div></div>
+
+<span class="tei tei-pb" id="page47">[pg 47]</span>
+<a name="fig22" id="fig22"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_129.jpg" alt="129. OLD WOMAN SLEEPING. (1635-7.) B. 350." title="129. OLD WOMAN SLEEPING. (1635-7.) B. 350." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">129. OLD WOMAN SLEEPING. (1635-7.) B. 350.</div></div>
+
+<span class="tei tei-pb" id="page49">[pg 49]</span>
+<a name="fig23" id="fig23"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_147.jpg" alt="147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91" title="147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91</div></div>
+
+<span class="tei tei-pb" id="page51">[pg 51]</span>
+<a name="fig24" id="fig24"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_151.jpg" alt="151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268" title="151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268</div></div>
+
+<span class="tei tei-pb" id="page53">[pg 53]</span>
+<a name="fig25" id="fig25"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_153.jpg" alt="153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only" title="153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only</div></div>
+
+<span class="tei tei-pb" id="page55">[pg 55]</span>
+<a name="fig26" id="fig26"></a><a name="no161" id="no161" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_161.jpg" alt="161, I. THE DEATH OF THE VIRGIN. 1639. B. 99" title="161, I. THE DEATH OF THE VIRGIN. 1639. B. 99" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">161, I. THE DEATH OF THE VIRGIN. 1639. B. 99</div></div>
+
+<span class="tei tei-pb" id="page57">[pg 57]</span>
+<a name="fig27" id="fig27"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_167.jpg" alt="167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE “GOLD-WEIGHER”). 1639. B-281. First state, the face only lightly indicated" title="167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE “GOLD-WEIGHER”). 1639. B-281. First state, the face only lightly indicated" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE <span class="tei tei-q" style="text-align: center">“GOLD-WEIGHER”</span>). 1639. B-281. First state, the face only lightly indicated</div></div>
+
+<span class="tei tei-pb" id="page59">[pg 59]</span>
+<a name="fig28" id="fig28"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_168.jpg" alt="168, I. REMBRANDT LEANING ON A STONE SILL. 1639. B. 21 From an impression touched by the artist in black chalk" title="168, I. REMBRANDT LEANING ON A STONE SILL. 1639. B. 21 From an impression touched by the artist in black chalk" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">168, I. REMBRANDT LEANING ON A STONE SILL. 1639.  B. 21 From an impression touched by the artist in black chalk</div></div>
+
+<span class="tei tei-pb" id="page61">[pg 61]</span>
+<a name="fig29" id="fig29"></a><a name="no172" id="no172" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_172.jpg" alt="172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40" title="172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40</div></div>
+
+<span class="tei tei-pb" id="page63">[pg 63]</span>
+<a name="fig30" id="fig30"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no175196.jpg" alt="175. SMALL GREY LANDSCAPE. (1640.) B. 207. 196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359" title="175. SMALL GREY LANDSCAPE. (1640.) B. 207. 196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">175. SMALL GREY LANDSCAPE. (1640.) B. 207.  196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359</div></div>
+
+<span class="tei tei-pb" id="page65">[pg 65]</span>
+<a name="fig31" id="fig31"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_176.jpg" alt="176, II. VIEW OF AMSTERDAM. (1640.) B. 210" title="176, II. VIEW OF AMSTERDAM. (1640.) B. 210" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">176, II. VIEW OF AMSTERDAM. (1640.) B. 210</div></div>
+
+<span class="tei tei-pb" id="page67">[pg 67]</span>
+<a name="fig32" id="fig32"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_179.jpg" alt="179. THE WINDMILL. 1641. B. 233" title="179. THE WINDMILL. 1641. B. 233" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">179. THE WINDMILL. 1641. B. 233</div></div>
+
+<span class="tei tei-pb" id="page69">[pg 69]</span>
+<a name="fig33" id="fig33"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_184.jpg" alt="184. THE SPANISH GIPSY. (1641.) B. 120" title="184. THE SPANISH GIPSY. (1641.) B. 120" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">184. THE SPANISH GIPSY. (1641.) B. 120</div></div>
+
+<span class="tei tei-pb" id="page71">[pg 71]</span>
+<a name="fig34" id="fig34"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_198.jpg" alt="198, I. THE RAISING OF LAZARUS. 1642. B. 72" title="198, I. THE RAISING OF LAZARUS. 1642. B. 72" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">198, I. THE RAISING OF LAZARUS. 1642. B. 72</div></div>
+
+<span class="tei tei-pb" id="page73">[pg 73]</span>
+<a name="fig35" id="fig35"></a><a name="no205" id="no205" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_205.jpg" alt="205. THE THREE TREES. (1643.) B. 212" title="205. THE THREE TREES. (1643.) B. 212" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">205. THE THREE TREES. (1643.) B. 212</div></div>
+
+<span class="tei tei-pb" id="page75">[pg 75]</span>
+<a name="fig36" id="fig36"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_209.jpg" alt="209, I. SIX'S BRIDGE. 1645. B. 208" title="209, I. SIX'S BRIDGE. 1645. B. 208" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">209, I. SIX'S BRIDGE. 1645. B. 208</div></div>
+
+<span class="tei tei-pb" id="page77">[pg 77]</span>
+<a name="fig37" id="fig37"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_215.jpg" alt="215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84" title="215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84</div></div>
+
+<span class="tei tei-pb" id="page79">[pg 79]</span>
+<a name="fig38" id="fig38"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_216.jpg" alt="216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58" title="216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58</div></div>
+
+<span class="tei tei-pb" id="page81">[pg 81]</span>
+<a name="fig39" id="fig39"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_228.jpg" alt="228, II. JAN SIX. 1647. B. 285" title="228, II. JAN SIX. 1647. B. 285" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">228, II. JAN SIX. 1647. B. 285</div></div>
+
+<span class="tei tei-pb" id="page83">[pg 83]</span>
+<a name="fig40" id="fig40"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_229.jpg" alt="229, I. REMBRANDT DRAWING AT A WINDOW. 1648. B. 22. Unfinished state." title="229, I. REMBRANDT DRAWING AT A WINDOW. 1648. B. 22. Unfinished state." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">229, I. REMBRANDT DRAWING AT A WINDOW.  1648. B. 22. Unfinished state.</div></div>
+
+<span class="tei tei-pb" id="page85">[pg 85]</span>
+<a name="fig41" id="fig41"></a><a name="no231" id="no231" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_231.jpg" alt="231, I. THE ARTIST DRAWING FROM A MODEL, (1648, or later?) B. 192. Unfinished plate" title="231, I. THE ARTIST DRAWING FROM A MODEL, (1648, or later?) B. 192. Unfinished plate" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">231, I. THE ARTIST DRAWING FROM A MODEL, (1648, or later?)  B. 192. Unfinished plate</div></div>
+
+<span class="tei tei-pb" id="page87">[pg 87]</span>
+<a name="fig42" id="fig42"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_232.jpg" alt="232, I. ST. JEROME BESIDE A POLLARD WILLOW. 1648. B. 103" title="232, I. ST. JEROME BESIDE A POLLARD WILLOW. 1648. B. 103" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">232, I. ST. JEROME BESIDE A POLLARD WILLOW.  1648. B. 103</div></div>
+
+<span class="tei tei-pb" id="page89">[pg 89]</span>
+<a name="fig43" id="fig43"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_234.jpg" alt="234, I. JEWS IN SYNAGOGUE. 1648. B. 126" title="234, I. JEWS IN SYNAGOGUE. 1648. B. 126" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">234, I. JEWS IN SYNAGOGUE. 1648. B. 126</div></div>
+
+<span class="tei tei-pb" id="page91">[pg 91]</span>
+<a name="fig44" id="fig44"></a><a name="no236" id="no236" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_236.jpg" alt="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" title="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" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">236, I. CHRIST, WITH THE SICK AROUND HIM, RECEIVING LITTLE CHILDREN (The <span class="tei tei-q" style="text-align: center">“Hundred Guilder Print”</span>). (1649.) B. 74. First state, before adding shading on the neck of the ass, <em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">r.</span></em>  Only nine impressions of this state are known, two being in the British Museum</div></div>
+
+<span class="tei tei-pb" id="page93">[pg 93]</span>
+<a name="fig45" id="fig45"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_239.jpg" alt="239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236" title="239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236</div></div>
+
+<span class="tei tei-pb" id="page95">[pg 95]</span>
+<a name="fig46" id="fig46"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_242.jpg" alt="242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213" title="242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213</div></div>
+
+<span class="tei tei-pb" id="page97">[pg 97]</span>
+<a name="fig47" id="fig47"></a><a name="no244" id="no244" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_244.jpg" alt="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" title="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" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">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</div></div>
+
+<span class="tei tei-pb" id="page99">[pg 99]</span>
+<a name="fig48" id="fig48"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_249.jpg" alt="249. THE GOLDWEIGHER'S FIELD. 1651. B. 234" title="249. THE GOLDWEIGHER'S FIELD. 1651. B. 234" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">249. THE GOLDWEIGHER'S FIELD. 1651. B. 234</div></div>
+
+<span class="tei tei-pb" id="page101">[pg 101]</span>
+<a name="fig49" id="fig49"></a><a name="no251" id="no251" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_251.jpg" alt="251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272" title="251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272</div></div>
+
+<span class="tei tei-pb" id="page103">[pg 103]</span>
+<a name="fig50" id="fig50"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_252.jpg" alt="252. THE BLINDNESS OF TOBIT: THE LARGER PLATE. 1651. B. 42" title="252. THE BLINDNESS OF TOBIT: THE LARGER PLATE. 1651. B. 42" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">252. THE BLINDNESS OF TOBIT: THE LARGER PLATE.  1651. B. 42</div></div>
+
+<span class="tei tei-pb" id="page105">[pg 105]</span>
+<a name="fig51" id="fig51"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_254.jpg" alt="254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113" title="254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113</div></div>
+
+<span class="tei tei-pb" id="page107">[pg 107]</span>
+<a name="fig52" id="fig52"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_256.jpg" alt="256. CHRIST PREACHING (“LA PETITE TOMBE”). 1652 B. 67" title="256. CHRIST PREACHING (“LA PETITE TOMBE”). 1652 B. 67" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">256. CHRIST PREACHING (<span class="tei tei-q" style="text-align: center">“LA PETITE TOMBE”</span>). 1652 B. 67</div></div>
+
+<span class="tei tei-pb" id="page109">[pg 109]</span>
+<a name="fig53" id="fig53"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_257.jpg" alt="257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65" title="257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65</div></div>
+
+<span class="tei tei-pb" id="page111">[pg 111]</span>
+<a name="fig54" id="fig54"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_261.jpg" alt="261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11" title="261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11</div></div>
+
+<span class="tei tei-pb" id="page113">[pg 113]</span>
+<a name="fig55" id="fig55"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_264.jpg" alt="264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221" title="264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221</div></div>
+
+<span class="tei tei-pb" id="page115">[pg 115]</span>
+<a name="fig56" id="fig56"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_267.jpg" alt="267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104" title="267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104</div></div>
+
+<span class="tei tei-pb" id="page117">[pg 117]</span>
+<a name="fig57" id="fig57"></a><a name="no270" id="no270" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_270_1.jpg" alt="270, I. THE THREE CROSSES. 1653. B. 78. First state" title="270, I. THE THREE CROSSES. 1653. B. 78. First state" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">270, I. THE THREE CROSSES. 1653. B. 78. First state</div></div>
+
+<span class="tei tei-pb" id="page119">[pg 119]</span>
+<a name="fig58" id="fig58"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_270_4.jpg" alt="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," title="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," /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">270, IV. THE THREE CROSSES. 1653. B. 78. Fourth state. The plate entirely transformed: ihe figures in the middle and foreground, <em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">l.</span></em>, almost entirely effaced; a new group added <em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">l.</span></em> of the central cross,</div></div>
+
+<span class="tei tei-pb" id="page121">[pg 121]</span>
+<a name="fig59" id="fig59"></a><a name="no271" id="no271" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_271_1.jpg" alt="271, I. CHRIST PRESENTED TO THE PEOPLE. 1655. B 76. First state" title="271, I. CHRIST PRESENTED TO THE PEOPLE. 1655. B 76. First state" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">271, I. CHRIST PRESENTED TO THE PEOPLE.  1655.  B 76. First state</div></div>
+
+<span class="tei tei-pb" id="page123">[pg 123]</span>
+<a name="fig60" id="fig60"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_271_5.jpg" alt="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" title="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" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">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</div></div>
+
+<span class="tei tei-pb" id="page125">[pg 125]</span>
+<a name="fig61" id="fig61"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_275.jpg" alt="275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63" title="275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63</div></div>
+
+<span class="tei tei-pb" id="page127">[pg 127]</span>
+<a name="fig62" id="fig62"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_279.jpg" alt="279. THE PRESENTATION IN THE TEMPLE: IN THE DARK MANNER. (1654.) B. 50." title="279. THE PRESENTATION IN THE TEMPLE: IN THE DARK MANNER. (1654.) B. 50." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">279. THE PRESENTATION IN THE TEMPLE: IN THE DARK MANNER. (1654.) B. 50.</div></div>
+
+<span class="tei tei-pb" id="page129">[pg 129]</span>
+<a name="fig63" id="fig63"></a><a name="no281" id="no281" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_281.jpg" alt="281, I. THE ENTOMBMENT. (1654.) B. 86. The Print is greatly darkened in its later states" title="281, I. THE ENTOMBMENT. (1654.) B. 86. The Print is greatly darkened in its later states" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">281, I. THE ENTOMBMENT.  (1654.)  B. 86. The Print is greatly darkened in its later states</div></div>
+
+<span class="tei tei-pb" id="page131">[pg 131]</span>
+<a name="fig64" id="fig64"></a><a name="no282" id="no282" class="tei tei-anchor" style="text-align: center"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_282.jpg" alt="282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87" title="282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87</div></div>
+
+<span class="tei tei-pb" id="page133">[pg 133]</span>
+<a name="fig65" id="fig65"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_286.jpg" alt="286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29" title="286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29</div></div>
+
+<span class="tei tei-pb" id="page135">[pg 135]</span>
+<a name="fig66" id="fig66"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_287.jpg" alt="287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274" title="287, II. JACOB HAARING (THE “OLD HAARING”). (1655.) B. 274" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">287, II. JACOB HAARING (THE <span class="tei tei-q" style="text-align: center">“OLD HAARING”</span>). (1655.) B. 274</div></div>
+
+<span class="tei tei-pb" id="page137">[pg 137]</span>
+<a name="fig67" id="fig67"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_288.jpg" alt="288, I. THOMAS JACOBSZ HAARIXG (THE “YOUNG HAARING”). 1655. B. 275" title="288, I. THOMAS JACOBSZ HAARIXG (THE “YOUNG HAARING”). 1655. B. 275" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">288, I. THOMAS JACOBSZ HAARIXG (THE <span class="tei tei-q" style="text-align: center">“YOUNG HAARING”</span>). 1655. B. 275</div></div>
+
+<span class="tei tei-pb" id="page139">[pg 139]</span>
+<a name="fig68" id="fig68"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_289.jpg" alt="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)" title="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)" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">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)</div></div>
+
+<span class="tei tei-pb" id="page141">[pg 141]</span>
+<a name="fig69" id="fig69"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_290.jpg" alt="290, I. JAN LUTMA, THE ELDER, GOLDSMITH AND SCULPTOR. 1656. B. 276. First state, before the addition of a window in the background" title="290, I. JAN LUTMA, THE ELDER, GOLDSMITH AND SCULPTOR. 1656. B. 276. First state, before the addition of a window in the background" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">290, I. JAN LUTMA, THE ELDER, GOLDSMITH AND SCULPTOR. 1656. B. 276. First state, before the addition of a window in the background</div></div>
+
+<span class="tei tei-pb" id="page143">[pg 143]</span>
+<a name="fig70" id="fig70"></a><div class="tei tei-figure" style="text-align: center"><img src="images/no_303.jpg" alt="303, I. THE WOMAN WITH THE ARROW. 1661. B. 202" title="303, I. THE WOMAN WITH THE ARROW. 1661. B. 202" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">303, I. THE WOMAN WITH THE ARROW. 1661. B. 202</div></div>
+
+<p class="tei tei-p" style="margin-bottom: 1.00em">
+PRINTED AT THE BALLANTYNE PRESS LONDON
+</p>
+</div>
+
+</div>
+
+<hr class="doublepage" /><div class="tei tei-back" style="margin-bottom: 2.00em; margin-top: 6.00em">
+<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em">
+<div id="pgfooter" class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"><pre class="pre tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">***END OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS
+***
+</pre><hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader71" id="rightpageheader71"></a><a name="pgtoc72" id="pgtoc72"></a><a name="pdf73" id="pdf73"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Credits</span></h1><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr><th class="tei tei-label tei-label-gloss">February 5, 2010  </th></tr><tr><td class="tei tei-item tei-item-gloss"><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Project Gutenberg Edition</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><span class="tei tei-respStmt">
+  <span class="tei tei-name">Martin Schub<br /></span>
+  </span></td></tr></tbody></table></td></tr></tbody></table></div><hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader74" id="rightpageheader74"></a><a name="pgtoc75" id="pgtoc75"></a><a name="pdf76" id="pdf76"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">A Word from Project Gutenberg</span></h1><p class="tei tei-p" style="margin-bottom: 1.00em">This file should be named 
+          31183-h.html or 
+          31183-h.zip.</p><p class="tei tei-p" style="margin-bottom: 1.00em">This and all associated files of various formats will be found
+          in: 
+
+            <a href="http://www.gutenberg.org/dirs/3/1/1/8/31183/" class="block tei tei-xref" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><span style="font-size: 90%">http://www.gutenberg.org</span><span style="font-size: 90%">/dirs/3/1/1/8/31183/</span></a></p><p class="tei tei-p" style="margin-bottom: 1.00em">Updated editions will replace the previous one — the old
+          editions will be renamed.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Creating the works from public domain print editions means that
+          no one owns a United States copyright in these works, so the
+          Foundation (and you!) can copy and distribute it in the United
+          States without permission and without paying copyright royalties.
+          Special rules, set forth in the General Terms of Use part of this
+          license, apply to copying and distributing Project Gutenberg™ electronic works
+          to protect the Project Gutenberg™ concept and trademark. Project Gutenberg is a registered
+          trademark, and may not be used if you charge for the eBooks,
+          unless you receive specific permission. If you do not charge
+          anything for copies of this eBook, complying with the rules is
+          very easy. You may use this eBook for nearly any purpose such as
+          creation of derivative works, reports, performances and research.
+          They may be modified and printed and given away — you may do
+          practically <em class="tei tei-emph"><span style="font-style: italic">anything</span></em> with public domain eBooks.
+          Redistribution is subject to the trademark license, especially
+          commercial redistribution.</p></div><hr class="page" /><div id="pglicense" class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader77" id="rightpageheader77"></a><a name="pgtoc78" id="pgtoc78"></a><a name="pdf79" id="pdf79"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">The Full Project Gutenberg License</span></h1><p class="tei tei-p" style="margin-bottom: 1.00em"><em class="tei tei-emph"><span style="font-style: italic">Please read this before you distribute or use this
+          work.</span></em></p><p class="tei tei-p" style="margin-bottom: 1.00em">To protect the Project Gutenberg™ mission of promoting the free
+          distribution of electronic works, by using or distributing
+          this work (or any other work associated in any way with the
+          phrase <span class="tei tei-q">“Project Gutenberg”</span>), you agree to comply with all the terms
+          of the Full Project Gutenberg™ License (<a href="#pglicense" class="tei tei-ref">available with this file</a> or online
+          at <a href="http://www.gutenberg.org/license" class="tei tei-xref">http://www.gutenberg.org/license</a>).</p><div id="pglicense1" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 1.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">General Terms of Use &amp; Redistributing Project Gutenberg™
+            electronic works</span></h2><div id="pglicense1A" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.A.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em">By reading or using any part of this Project Gutenberg™ electronic
+              work, you indicate that you have read, understand, agree to
+              and accept all the terms of this license and intellectual
+              property (trademark/copyright) agreement. If you do not agree
+              to abide by all the terms of this agreement, you must cease
+              using and return or destroy all copies of Project Gutenberg™ electronic
+              works in your possession. If you paid a fee for obtaining a
+              copy of or access to a Project Gutenberg™ electronic work and you do not
+              agree to be bound by the terms of this agreement, you may
+              obtain a refund from the person or entity to whom you paid the
+              fee as set forth in paragraph <a href="#pglicense1E8" class="tei tei-ref">1.E.8.</a></p></div><div id="pglicense1B" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.B.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-q">“Project Gutenberg”</span> is a registered trademark. It may only be used on or
+              associated in any way with an electronic work by people who agree to be
+              bound by the terms of this agreement. There are a few things that you
+              can do with most Project Gutenberg™ electronic works even without complying with the
+              full terms of this agreement. See paragraph <a href="#pglicense1C" class="tei tei-ref">1.C</a> below. There are a lot of things you can
+              do with Project Gutenberg™ electronic works if you follow the terms of this
+              agreement and help preserve free future access to Project Gutenberg™ electronic
+              works. See paragraph <a href="#pglicense1E" class="tei tei-ref">1.E</a> below.</p></div><div id="pglicense1C" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.C.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em">The Project Gutenberg Literary Archive Foundation (<span class="tei tei-q">“the Foundation”</span> or PGLAF), owns a compilation
+              copyright in the collection of Project Gutenberg™ electronic works. Nearly all the
+              individual works in the collection are in the public domain in the
+              United States. If an individual work is in the public domain in the
+              United States and you are located in the United States, we do not claim
+              a right to prevent you from copying, distributing, performing,
+              displaying or creating derivative works based on the work as long as all
+              references to Project Gutenberg are removed. Of course, we hope that you will support
+              the Project Gutenberg™ mission of promoting free access to electronic works by
+              freely sharing Project Gutenberg™ works in compliance with the terms of this
+              agreement for keeping the Project Gutenberg™ name associated with the work. You can
+              easily comply with the terms of this agreement by keeping this work in
+              the same format with its attached full Project Gutenberg™ License when you share it
+              without charge with others.</p></div><div id="pglicense1D" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.D.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em">The copyright laws of the place where you are located also govern
+              what you can do with this work. Copyright laws in most countries are in
+              a constant state of change. If you are outside the United States, check
+              the laws of your country in addition to the terms of this agreement
+              before downloading, copying, displaying, performing, distributing or
+              creating derivative works based on this work or any other Project Gutenberg™ work.
+              The Foundation makes no representations concerning the copyright status
+              of any work in any country outside the United States.</p></div><div id="pglicense1E" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.E.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em">Unless you have removed all references to Project Gutenberg:</p><div id="pglicense1E1" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.1.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">The following sentence, with active links to, or other immediate
+                access to, the full Project Gutenberg™ License must appear prominently whenever any
+                copy of a Project Gutenberg™ work (any work on which the phrase <span class="tei tei-q">“Project Gutenberg”</span>
+                appears, or with which the phrase <span class="tei tei-q">“Project Gutenberg”</span> is associated) is
+                accessed, displayed, performed, viewed, copied or distributed:
+
+                    </p><div class="block tei tei-q" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%">This eBook is for the use of
+                    anyone anywhere at no cost and with almost no
+                    restrictions whatsoever. You may copy it, give it
+                    away or re-use it under the terms of the Project
+                    Gutenberg License included with this eBook or
+                    online at </span><a href="http://www.gutenberg.org" class="tei tei-xref"><span style="font-size: 90%">http://www.gutenberg.org</span></a></p></div></div><div id="pglicense1E2" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.2.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">If an individual Project Gutenberg™ electronic work is derived from the public
+                domain (does not contain a notice indicating that it is posted with
+                permission of the copyright holder), the work can be copied and
+                distributed to anyone in the United States without paying any fees or
+                charges. If you are redistributing or providing access to a work with
+                the phrase <span class="tei tei-q">“Project Gutenberg”</span> associated with or appearing on the work, you
+                must comply either with the requirements of paragraphs <a href="#pglicense1E1" class="tei tei-ref">1.E.1</a> through 1.E.7 or obtain permission for
+                the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs
+                <a href="#pglicense1E8" class="tei tei-ref">1.E.8</a> or 1.E.9.</p></div><div id="pglicense1E3" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.3.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">If an individual Project Gutenberg™ electronic work is posted with the permission
+                of the copyright holder, your use and distribution must comply with both
+                paragraphs <a href="#pglicense1E1" class="tei tei-ref">1.E.1</a> through 1.E.7 and any
+                additional terms imposed by the copyright holder. Additional terms will
+                be linked to the Project Gutenberg™ License for all works posted with the permission
+                of the copyright holder found at the beginning of this work.</p></div><div id="pglicense1E4" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.4.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Do not unlink or detach or remove the full Project Gutenberg™ License terms from
+                this work, or any files containing a part of this work or any other work
+                associated with Project Gutenberg™.</p></div><div id="pglicense1E5" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.5.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Do not copy, display, perform, distribute or redistribute this
+                electronic work, or any part of this electronic work, without
+                prominently displaying the sentence set forth in paragraph <a href="#pglicense1E1" class="tei tei-ref">1.E.1</a> with active links or immediate access
+                to the full terms of the Project Gutenberg™ License.</p></div><div id="pglicense1E6" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.6.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">You may convert to and distribute this work in any binary,
+                compressed, marked up, nonproprietary or proprietary form, including
+                any word processing or hypertext form. However, if you provide access
+                to or distribute copies of a Project Gutenberg™ work in a format other than
+                <span class="tei tei-q">“Plain Vanilla ASCII”</span> or other format used in the official
+                version posted on the official Project Gutenberg™ web site (http://www.gutenberg.org), you must, at
+                no additional cost, fee or expense to the user, provide a copy, a
+                means of exporting a copy, or a means of obtaining a copy upon
+                request, of the work in its original <span class="tei tei-q">“Plain Vanilla ASCII”</span> or
+                other form. Any alternate format must include the full Project Gutenberg™ License
+                as specified in paragraph <a href="#pglicense1E1" class="tei tei-ref">1.E.1.</a></p></div><div id="pglicense1E7" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.7.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Do not charge a fee for access to, viewing, displaying, performing,
+                copying or distributing any Project Gutenberg™ works unless you comply with
+                paragraph <a href="#pglicense1E8" class="tei tei-ref">1.E.8</a> or 1.E.9.</p></div><div id="pglicense1E8" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.8.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">You may charge a reasonable fee for copies of or providing access to
+                or distributing Project Gutenberg™ electronic works provided that</p><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label">•  </th><td class="tei tei-item"><p class="tei tei-p" style="margin-bottom: 1.00em">You pay a royalty fee of 20% of the gross profits you derive from
+                  the use of Project Gutenberg™ works calculated using the method you already use to
+                  calculate your applicable taxes. The fee is owed to the owner of the
+                  Project Gutenberg™ trademark, but he has agreed to donate royalties under this
+                  paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days
+                  following each date on which you prepare (or are legally required to
+                  prepare) your periodic tax returns. Royalty payments should be clearly
+                  marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in <a href="#pglicense4" class="tei tei-ref">Section 4, <span class="tei tei-q">“Information about donations to the
+                  Project Gutenberg Literary Archive Foundation.”</span></a></p></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">•  </th><td class="tei tei-item"><p class="tei tei-p" style="margin-bottom: 1.00em">You provide a full refund of any money paid by a user who notifies
+                  you in writing (or by e-mail) within 30 days of receipt that s/he does
+                  not agree to the terms of the full Project Gutenberg™ License. You must require such
+                  a user to return or destroy all copies of the works possessed in a
+                  physical medium and discontinue all use of and all access to other
+                  copies of Project Gutenberg™ works.</p></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">•  </th><td class="tei tei-item"><p class="tei tei-p" style="margin-bottom: 1.00em">You provide, in accordance with paragraph <a href="#pglicense1F3" class="tei tei-ref">1.F.3</a>, a full refund of any money paid for a
+                  work or a replacement copy, if a defect in the electronic work is
+                  discovered and reported to you within 90 days of receipt of the
+                  work.</p></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label">•  </th><td class="tei tei-item"><p class="tei tei-p" style="margin-bottom: 1.00em">You comply with all other terms of this agreement for free
+                  distribution of Project Gutenberg™ works.</p></td></tr></tbody></table></div><div id="pglicense1E9" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.9.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or
+                group of works on different terms than are set forth in this agreement,
+                you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael
+                Hart, the owner of the Project Gutenberg™ trademark. Contact the Foundation as set
+                forth in <a href="#pglicense3" class="tei tei-ref">Section 3</a> below.</p></div></div><div id="pglicense1F" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.F.</span></h3><div id="pglicense1F1" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.1.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Project Gutenberg volunteers and employees expend considerable effort to identify,
+                do copyright research on, transcribe and proofread public domain works
+                in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™
+                electronic works, and the medium on which they may be stored, may
+                contain <span class="tei tei-q">“Defects,”</span> such as, but not limited to, incomplete,
+                inaccurate or corrupt data, transcription errors, a copyright or other
+                intellectual property infringement, a defective or damaged disk or other
+                medium, a computer virus, or computer codes that damage or cannot be
+                read by your equipment.</p></div><div id="pglicense1F2" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.2.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">LIMITED WARRANTY, DISCLAIMER OF DAMAGES — Except for the <span class="tei tei-q">“Right of
+                Replacement or Refund”</span> described in <a href="#pglicense1F3" class="tei tei-ref">paragraph
+                1.F.3</a>, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any
+                other party distributing a Project Gutenberg™ electronic work under this agreement,
+                disclaim all liability to you for damages, costs and expenses, including
+                legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+                LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+                PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK
+                OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO
+                YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL
+                DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.</p></div><div id="pglicense1F3" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.3.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">LIMITED RIGHT OF REPLACEMENT OR REFUND — If you discover a defect in
+                this electronic work within 90 days of receiving it, you can receive a
+                refund of the money (if any) you paid for it by sending a written
+                explanation to the person you received the work from. If you received
+                the work on a physical medium, you must return the medium with your
+                written explanation. The person or entity that provided you with the
+                defective work may elect to provide a replacement copy in lieu of a
+                refund. If you received the work electronically, the person or entity
+                providing it to you may choose to give you a second opportunity to
+                receive the work electronically in lieu of a refund. If the second copy
+                is also defective, you may demand a refund in writing without further
+                opportunities to fix the problem.</p></div><div id="pglicense1F4" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.4.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Except for the limited right of replacement or refund set forth in
+                <a href="#pglicense1F3" class="tei tei-ref">paragraph 1.F.3</a>, this work is provided
+                to you 'AS-IS,' WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR
+                IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTIBILITY OR
+                FITNESS FOR ANY PURPOSE.</p></div><div id="pglicense1F5" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.5.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Some states do not allow disclaimers of certain implied warranties or
+                the exclusion or limitation of certain types of damages. If any
+                disclaimer or limitation set forth in this agreement violates the law of
+                the state applicable to this agreement, the agreement shall be
+                interpreted to make the maximum disclaimer or limitation permitted by
+                the applicable state law. The invalidity or unenforceability of any
+                provision of this agreement shall not void the remaining provisions.</p></div><div id="pglicense1F6" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.6.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">INDEMNITY — You agree to indemnify and hold the Foundation, the
+                trademark owner, any agent or employee of the Foundation, anyone
+                providing copies of Project Gutenberg™ electronic works in accordance with this
+                agreement, and any volunteers associated with the production, promotion
+                and distribution of Project Gutenberg™ electronic works, harmless from all
+                liability, costs and expenses, including legal fees, that arise directly
+                or indirectly from any of the following which you do or cause to occur:
+                (a) distribution of this or any Project Gutenberg™ work, (b) alteration,
+                modification, or additions or deletions to any Project Gutenberg™ work, and (c) any
+                Defect you cause.</p></div></div></div><div id="pglicense2" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section  2.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Information about the Mission of Project Gutenberg™</span></h2><p class="tei tei-p" style="margin-bottom: 1.00em">Project Gutenberg™ is synonymous with the free distribution of electronic works
+            in formats readable by the widest variety of computers including
+            obsolete, old, middle-aged and new computers. It exists because of the
+            efforts of hundreds of volunteers and donations from people in all walks
+            of life.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Volunteers and financial support to provide volunteers with the
+            assistance they need, is critical to reaching Project Gutenberg™'s goals and
+            ensuring that the Project Gutenberg™ collection will remain freely available for
+            generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a
+            secure and permanent future for Project Gutenberg™ and future generations. To learn
+            more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see
+            Sections <a href="#pglicense3" class="tei tei-ref">3</a> and <a href="#pglicense4" class="tei tei-ref">4</a> and the Foundation web page at <a href="http://www.pglaf.org" class="tei tei-xref">http://www.pglaf.org</a>.</p></div><div id="pglicense3" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 3.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Information about the Project Gutenberg Literary Archive Foundation</span></h2><p class="tei tei-p" style="margin-bottom: 1.00em">The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation
+            organized under the laws of the state of Mississippi and granted tax
+            exempt status by the Internal Revenue Service. The Foundation's EIN or
+            federal tax identification number is 64-6221541. Its 501(c)(3) letter
+            is posted at <a href="http://www.gutenberg.org/fundraising/pglaf" class="tei tei-xref">http://www.gutenberg.org/fundraising/pglaf</a>. Contributions
+            to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S.
+            federal laws and your state's laws.</p><p class="tei tei-p" style="margin-bottom: 1.00em">The Foundation's principal office is located at 4557 Melan Dr.
+            S. Fairbanks, AK, 99712., but its volunteers and employees are
+            scattered throughout numerous locations. Its business office is
+            located at 809 North 1500 West, Salt Lake City, UT 84116, (801)
+            596-1887, email business@pglaf.org. Email contact links and up to date
+            contact information can be found at the Foundation's web site and
+            official page at <a href="http://www.pglaf.org" class="tei tei-xref">http://www.pglaf.org</a></p><p class="tei tei-p" style="margin-bottom: 1.00em">For additional contact information:
+
+              </p><div class="block tei tei-address" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><span class="tei tei-addrLine"><span style="font-size: 90%">Dr. Gregory B. Newby</span></span><br /><span class="tei tei-addrLine"><span style="font-size: 90%">Chief Executive and Director</span></span><br /><span class="tei tei-addrLine"><span style="font-size: 90%">gbnewby@pglaf.org</span></span><br /></div></div><div id="pglicense4" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 4.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Information about Donations to the Project Gutenberg Literary Archive Foundation</span></h2><p class="tei tei-p" style="margin-bottom: 1.00em">Project Gutenberg™ depends upon and cannot survive without wide spread public
+            support and donations to carry out its mission of increasing the number
+            of public domain and licensed works that can be freely distributed in
+            machine readable form accessible by the widest array of equipment
+            including outdated equipment. Many small donations ($1 to $5,000) are
+            particularly important to maintaining tax exempt status with the
+            IRS.</p><p class="tei tei-p" style="margin-bottom: 1.00em">The Foundation is committed to complying with the laws regulating
+            charities and charitable donations in all 50 states of the United
+            States. Compliance requirements are not uniform and it takes a
+            considerable effort, much paperwork and many fees to meet and keep up
+            with these requirements. We do not solicit donations in locations where
+            we have not received written confirmation of compliance. To SEND
+            DONATIONS or determine the status of compliance for any particular state
+            visit <a href="http://www.gutenberg.org/fundraising/donate" class="tei tei-xref">http://www.gutenberg.org/fundraising/donate</a></p><p class="tei tei-p" style="margin-bottom: 1.00em">While we cannot and do not solicit contributions from states where we
+            have not met the solicitation requirements, we know of no prohibition
+            against accepting unsolicited donations from donors in such states who
+            approach us with offers to donate.</p><p class="tei tei-p" style="margin-bottom: 1.00em">International donations are gratefully accepted, but we cannot make
+            any statements concerning tax treatment of donations received from
+            outside the United States. U.S. laws alone swamp our small staff.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Please check the Project Gutenberg Web pages for current donation methods and
+            addresses. Donations are accepted in a number of other ways including
+            checks, online payments and credit card donations. To donate, please
+            visit: <a href="http://www.gutenberg.org/fundraising/donate" class="tei tei-xref">http://www.gutenberg.org/fundraising/donate</a></p></div><div id="pglicense5" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 5.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">General Information About Project Gutenberg™ electronic
+            works.</span></h2><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-name">Professor Michael S. Hart</span> is the
+            originator of the Project Gutenberg™ concept of a library of electronic works that
+            could be freely shared with anyone. For thirty years, he produced and
+            distributed Project Gutenberg™ eBooks with only a loose network of volunteer
+            support.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Project Gutenberg™ eBooks are often created from several printed editions, all of
+            which are confirmed as Public Domain in the U.S. unless a copyright
+            notice is included. Thus, we do not necessarily keep eBooks in
+            compliance with any particular paper edition.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Each eBook is in a subdirectory of the same number as the eBook's
+            eBook number, often in several formats including plain vanilla ASCII,
+            compressed (zipped), HTML and others.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Corrected <em class="tei tei-emph"><span style="font-style: italic">editions</span></em> of our eBooks replace the old file
+            and take over the old filename and etext number. The replaced older file
+            is renamed. <em class="tei tei-emph"><span style="font-style: italic">Versions</span></em> based on separate sources are treated
+            as new eBooks receiving new filenames and etext numbers.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Most people start at our Web site which has the main PG search
+            facility: 
+            
+              <a href="http://www.gutenberg.org" class="block tei tei-xref" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><span style="font-size: 90%">http://www.gutenberg.org</span></a></p><p class="tei tei-p" style="margin-bottom: 1.00em">This Web site includes information about Project Gutenberg™, including how to
+            make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and
+            how to subscribe to our email newsletter to hear about new eBooks.</p></div></div></div>
+</div>
+</div>
+
+</div>
+</body></html>
diff --git a/31183-h/images/40139164.jpg b/31183-h/images/40139164.jpg
new file mode 100644
index 0000000..63f3eff
--- /dev/null
+++ b/31183-h/images/40139164.jpg
diff --git a/31183-h/images/no175196.jpg b/31183-h/images/no175196.jpg
new file mode 100644
index 0000000..642e4dd
--- /dev/null
+++ b/31183-h/images/no175196.jpg
diff --git a/31183-h/images/no_001.jpg b/31183-h/images/no_001.jpg
new file mode 100644
index 0000000..b885da4
--- /dev/null
+++ b/31183-h/images/no_001.jpg
diff --git a/31183-h/images/no_007.jpg b/31183-h/images/no_007.jpg
new file mode 100644
index 0000000..58ff062
--- /dev/null
+++ b/31183-h/images/no_007.jpg
diff --git a/31183-h/images/no_020.jpg b/31183-h/images/no_020.jpg
new file mode 100644
index 0000000..c928bdf
--- /dev/null
+++ b/31183-h/images/no_020.jpg
diff --git a/31183-h/images/no_023.jpg b/31183-h/images/no_023.jpg
new file mode 100644
index 0000000..0900788
--- /dev/null
+++ b/31183-h/images/no_023.jpg
diff --git a/31183-h/images/no_038.jpg b/31183-h/images/no_038.jpg
new file mode 100644
index 0000000..cc65b66
--- /dev/null
+++ b/31183-h/images/no_038.jpg
diff --git a/31183-h/images/no_052.jpg b/31183-h/images/no_052.jpg
new file mode 100644
index 0000000..fc709e7
--- /dev/null
+++ b/31183-h/images/no_052.jpg
diff --git a/31183-h/images/no_054.jpg b/31183-h/images/no_054.jpg
new file mode 100644
index 0000000..9d4cf22
--- /dev/null
+++ b/31183-h/images/no_054.jpg
diff --git a/31183-h/images/no_057.jpg b/31183-h/images/no_057.jpg
new file mode 100644
index 0000000..cfd76dc
--- /dev/null
+++ b/31183-h/images/no_057.jpg
diff --git a/31183-h/images/no_097.jpg b/31183-h/images/no_097.jpg
new file mode 100644
index 0000000..f1c2519
--- /dev/null
+++ b/31183-h/images/no_097.jpg
diff --git a/31183-h/images/no_110.jpg b/31183-h/images/no_110.jpg
new file mode 100644
index 0000000..fd173af
--- /dev/null
+++ b/31183-h/images/no_110.jpg
diff --git a/31183-h/images/no_112.jpg b/31183-h/images/no_112.jpg
new file mode 100644
index 0000000..9ad0b67
--- /dev/null
+++ b/31183-h/images/no_112.jpg
diff --git a/31183-h/images/no_127.jpg b/31183-h/images/no_127.jpg
new file mode 100644
index 0000000..d900b41
--- /dev/null
+++ b/31183-h/images/no_127.jpg
diff --git a/31183-h/images/no_129.jpg b/31183-h/images/no_129.jpg
new file mode 100644
index 0000000..92abbc9
--- /dev/null
+++ b/31183-h/images/no_129.jpg
diff --git a/31183-h/images/no_144.jpg b/31183-h/images/no_144.jpg
new file mode 100644
index 0000000..2cd74c1
--- /dev/null
+++ b/31183-h/images/no_144.jpg
diff --git a/31183-h/images/no_147.jpg b/31183-h/images/no_147.jpg
new file mode 100644
index 0000000..0893890
--- /dev/null
+++ b/31183-h/images/no_147.jpg
diff --git a/31183-h/images/no_151.jpg b/31183-h/images/no_151.jpg
new file mode 100644
index 0000000..c9b0df6
--- /dev/null
+++ b/31183-h/images/no_151.jpg
diff --git a/31183-h/images/no_153.jpg b/31183-h/images/no_153.jpg
new file mode 100644
index 0000000..436aa99
--- /dev/null
+++ b/31183-h/images/no_153.jpg
diff --git a/31183-h/images/no_161.jpg b/31183-h/images/no_161.jpg
new file mode 100644
index 0000000..9a99fb4
--- /dev/null
+++ b/31183-h/images/no_161.jpg
diff --git a/31183-h/images/no_167.jpg b/31183-h/images/no_167.jpg
new file mode 100644
index 0000000..854e450
--- /dev/null
+++ b/31183-h/images/no_167.jpg
diff --git a/31183-h/images/no_168.jpg b/31183-h/images/no_168.jpg
new file mode 100644
index 0000000..3f706df
--- /dev/null
+++ b/31183-h/images/no_168.jpg
diff --git a/31183-h/images/no_172.jpg b/31183-h/images/no_172.jpg
new file mode 100644
index 0000000..f23123c
--- /dev/null
+++ b/31183-h/images/no_172.jpg
diff --git a/31183-h/images/no_176.jpg b/31183-h/images/no_176.jpg
new file mode 100644
index 0000000..ffb8579
--- /dev/null
+++ b/31183-h/images/no_176.jpg
diff --git a/31183-h/images/no_179.jpg b/31183-h/images/no_179.jpg
new file mode 100644
index 0000000..881b6a3
--- /dev/null
+++ b/31183-h/images/no_179.jpg
diff --git a/31183-h/images/no_184.jpg b/31183-h/images/no_184.jpg
new file mode 100644
index 0000000..8083098
--- /dev/null
+++ b/31183-h/images/no_184.jpg
diff --git a/31183-h/images/no_198.jpg b/31183-h/images/no_198.jpg
new file mode 100644
index 0000000..847cf6b
--- /dev/null
+++ b/31183-h/images/no_198.jpg
diff --git a/31183-h/images/no_205.jpg b/31183-h/images/no_205.jpg
new file mode 100644
index 0000000..ae9e8f5
--- /dev/null
+++ b/31183-h/images/no_205.jpg
diff --git a/31183-h/images/no_209.jpg b/31183-h/images/no_209.jpg
new file mode 100644
index 0000000..29d4757
--- /dev/null
+++ b/31183-h/images/no_209.jpg
diff --git a/31183-h/images/no_215.jpg b/31183-h/images/no_215.jpg
new file mode 100644
index 0000000..6775e3b
--- /dev/null
+++ b/31183-h/images/no_215.jpg
diff --git a/31183-h/images/no_216.jpg b/31183-h/images/no_216.jpg
new file mode 100644
index 0000000..b2446e3
--- /dev/null
+++ b/31183-h/images/no_216.jpg
diff --git a/31183-h/images/no_228.jpg b/31183-h/images/no_228.jpg
new file mode 100644
index 0000000..983f972
--- /dev/null
+++ b/31183-h/images/no_228.jpg
diff --git a/31183-h/images/no_229.jpg b/31183-h/images/no_229.jpg
new file mode 100644
index 0000000..e01e014
--- /dev/null
+++ b/31183-h/images/no_229.jpg
diff --git a/31183-h/images/no_231.jpg b/31183-h/images/no_231.jpg
new file mode 100644
index 0000000..5858471
--- /dev/null
+++ b/31183-h/images/no_231.jpg
diff --git a/31183-h/images/no_232.jpg b/31183-h/images/no_232.jpg
new file mode 100644
index 0000000..ebded83
--- /dev/null
+++ b/31183-h/images/no_232.jpg
diff --git a/31183-h/images/no_234.jpg b/31183-h/images/no_234.jpg
new file mode 100644
index 0000000..996ff86
--- /dev/null
+++ b/31183-h/images/no_234.jpg
diff --git a/31183-h/images/no_236.jpg b/31183-h/images/no_236.jpg
new file mode 100644
index 0000000..7fbe144
--- /dev/null
+++ b/31183-h/images/no_236.jpg
diff --git a/31183-h/images/no_239.jpg b/31183-h/images/no_239.jpg
new file mode 100644
index 0000000..3aad0b3
--- /dev/null
+++ b/31183-h/images/no_239.jpg
diff --git a/31183-h/images/no_242.jpg b/31183-h/images/no_242.jpg
new file mode 100644
index 0000000..db035fc
--- /dev/null
+++ b/31183-h/images/no_242.jpg
diff --git a/31183-h/images/no_244.jpg b/31183-h/images/no_244.jpg
new file mode 100644
index 0000000..b0c4f0d
--- /dev/null
+++ b/31183-h/images/no_244.jpg
diff --git a/31183-h/images/no_249.jpg b/31183-h/images/no_249.jpg
new file mode 100644
index 0000000..1b8c94e
--- /dev/null
+++ b/31183-h/images/no_249.jpg
diff --git a/31183-h/images/no_251.jpg b/31183-h/images/no_251.jpg
new file mode 100644
index 0000000..968a0b7
--- /dev/null
+++ b/31183-h/images/no_251.jpg
diff --git a/31183-h/images/no_252.jpg b/31183-h/images/no_252.jpg
new file mode 100644
index 0000000..a632e76
--- /dev/null
+++ b/31183-h/images/no_252.jpg
diff --git a/31183-h/images/no_254.jpg b/31183-h/images/no_254.jpg
new file mode 100644
index 0000000..d8e3695
--- /dev/null
+++ b/31183-h/images/no_254.jpg
diff --git a/31183-h/images/no_256.jpg b/31183-h/images/no_256.jpg
new file mode 100644
index 0000000..49ca6ff
--- /dev/null
+++ b/31183-h/images/no_256.jpg
diff --git a/31183-h/images/no_257.jpg b/31183-h/images/no_257.jpg
new file mode 100644
index 0000000..fdf9cef
--- /dev/null
+++ b/31183-h/images/no_257.jpg
diff --git a/31183-h/images/no_261.jpg b/31183-h/images/no_261.jpg
new file mode 100644
index 0000000..f215ff1
--- /dev/null
+++ b/31183-h/images/no_261.jpg
diff --git a/31183-h/images/no_264.jpg b/31183-h/images/no_264.jpg
new file mode 100644
index 0000000..e6d3b37
--- /dev/null
+++ b/31183-h/images/no_264.jpg
diff --git a/31183-h/images/no_267.jpg b/31183-h/images/no_267.jpg
new file mode 100644
index 0000000..04c2f44
--- /dev/null
+++ b/31183-h/images/no_267.jpg
diff --git a/31183-h/images/no_270_1.jpg b/31183-h/images/no_270_1.jpg
new file mode 100644
index 0000000..7363034
--- /dev/null
+++ b/31183-h/images/no_270_1.jpg
diff --git a/31183-h/images/no_270_4.jpg b/31183-h/images/no_270_4.jpg
new file mode 100644
index 0000000..a61739e
--- /dev/null
+++ b/31183-h/images/no_270_4.jpg
diff --git a/31183-h/images/no_271_1.jpg b/31183-h/images/no_271_1.jpg
new file mode 100644
index 0000000..4a4e630
--- /dev/null
+++ b/31183-h/images/no_271_1.jpg
diff --git a/31183-h/images/no_271_5.jpg b/31183-h/images/no_271_5.jpg
new file mode 100644
index 0000000..a5e4b01
--- /dev/null
+++ b/31183-h/images/no_271_5.jpg
diff --git a/31183-h/images/no_275.jpg b/31183-h/images/no_275.jpg
new file mode 100644
index 0000000..aadd249
--- /dev/null
+++ b/31183-h/images/no_275.jpg
diff --git a/31183-h/images/no_279.jpg b/31183-h/images/no_279.jpg
new file mode 100644
index 0000000..ce04aac
--- /dev/null
+++ b/31183-h/images/no_279.jpg
diff --git a/31183-h/images/no_281.jpg b/31183-h/images/no_281.jpg
new file mode 100644
index 0000000..91d4810
--- /dev/null
+++ b/31183-h/images/no_281.jpg
diff --git a/31183-h/images/no_282.jpg b/31183-h/images/no_282.jpg
new file mode 100644
index 0000000..73cea17
--- /dev/null
+++ b/31183-h/images/no_282.jpg
diff --git a/31183-h/images/no_286.jpg b/31183-h/images/no_286.jpg
new file mode 100644
index 0000000..1156dd6
--- /dev/null
+++ b/31183-h/images/no_286.jpg
diff --git a/31183-h/images/no_287.jpg b/31183-h/images/no_287.jpg
new file mode 100644
index 0000000..7954d5c
--- /dev/null
+++ b/31183-h/images/no_287.jpg
diff --git a/31183-h/images/no_288.jpg b/31183-h/images/no_288.jpg
new file mode 100644
index 0000000..fe1bbee
--- /dev/null
+++ b/31183-h/images/no_288.jpg
diff --git a/31183-h/images/no_289.jpg b/31183-h/images/no_289.jpg
new file mode 100644
index 0000000..74fba5b
--- /dev/null
+++ b/31183-h/images/no_289.jpg
diff --git a/31183-h/images/no_290.jpg b/31183-h/images/no_290.jpg
new file mode 100644
index 0000000..f230f25
--- /dev/null
+++ b/31183-h/images/no_290.jpg
diff --git a/31183-h/images/no_303.jpg b/31183-h/images/no_303.jpg
new file mode 100644
index 0000000..aac6269
--- /dev/null
+++ b/31183-h/images/no_303.jpg
diff --git a/31183-h/images/tp.jpg b/31183-h/images/tp.jpg
new file mode 100644
index 0000000..62d536c
--- /dev/null
+++ b/31183-h/images/tp.jpg
diff --git a/31183-pdf.pdf b/31183-pdf.pdf
new file mode 100644
index 0000000..d87a145
--- /dev/null
+++ b/31183-pdf.pdf
diff --git a/31183-pdf.zip b/31183-pdf.zip
new file mode 100644
index 0000000..82f0bd5
--- /dev/null
+++ b/31183-pdf.zip
diff --git a/31183-tei.zip b/31183-tei.zip
new file mode 100644
index 0000000..471fecb
--- /dev/null
+++ b/31183-tei.zip
diff --git a/31183-tei/31183-tei.tei b/31183-tei/31183-tei.tei
new file mode 100644
index 0000000..4712685
--- /dev/null
+++ b/31183-tei/31183-tei.tei
@@ -0,0 +1,1050 @@
+<?xml version="1.0" encoding="iso-8859-1" ?>
+<!DOCTYPE TEI.2 SYSTEM "http://www.gutenberg.org/tei/marcello/0.4/dtd/pgtei.dtd">
+
+<TEI.2 lang="en">
+<teiHeader>
+ <fileDesc>
+ <titleStmt>
+ <title>Rembrandt, With a Complete List of His Etchings
+</title>
+ <author>Arthur Mayger Hind</author>
+ </titleStmt>
+ <editionStmt>
+  <edition n="1">Edition 1</edition>
+ </editionStmt>
+ <publicationStmt>
+ <publisher>Project Gutenberg</publisher>
+ <date value="2010-02-05">February 5, 2010</date>
+ <idno type="etext-no">31183</idno>
+ <availability>
+ <p>This eBook is for the use of anyone anywhere at no cost and
+ with almost no restrictions whatsoever. You may copy it, give it
+ away or re-use it under the terms of the Project Gutenberg
+ License online at www.gutenberg.org/license</p>
+ </availability>
+ </publicationStmt>
+
+ <sourceDesc>
+  <bibl>
+  <title>Rembrandt, With a Complete List of His Etchings</title>
+  <author>Arthur Mayger Hind</author>
+  <imprint>
+   <pubPlace>New York</pubPlace>
+   <publisher>Fredk. A. Stokes Company</publisher>
+   <date>1912</date>
+  </imprint>
+  </bibl>
+ </sourceDesc>
+ </fileDesc>
+
+ <encodingDesc>
+ <classDecl>
+  <taxonomy id="lc">
+  <bibl>
+   <title>Library of Congress Classification</title>
+  </bibl>
+  </taxonomy>
+ </classDecl>
+ </encodingDesc>
+ <profileDesc>
+ <langUsage>
+  <language id="en"></language>
+  <language id="la"></language>
+ </langUsage>
+<textClass>
+  <classCode scheme="lc">PR</classCode>
+<keywords>
+<list>
+<item>Rembrandt Harmenszoon van Rijn, 1606-1669</item>
+</list>
+</keywords>
+</textClass>
+ 
+ </profileDesc>
+ <revisionDesc>
+ <change>
+  <date value="2010-02-05">February 5, 2010</date>
+  <respStmt>
+  <name>Martin Schub<lb /></name>
+  </respStmt>
+  <item>Project Gutenberg Edition</item>
+ </change>
+ </revisionDesc>
+</teiHeader>
+
+<pgExtensions>
+  <pgStyleSheet>
+    .boxed           { x-class: boxed }
+    .shaded          { x-class: shaded }
+    .rules           { x-class: rules; rules: all }
+    .indent          { margin-left: 2 }
+    .bold            { font-weight: bold }
+    .italic          { font-style: italic }
+
+    figure           { text-align: center; page-float: 'p' }
+    .floatleft       { float: left;  margin-right: 2em }
+    .floatright      { float: right; margin-left:  2em }
+    .w90             { }
+    .w80             { }
+    .w70             { }
+    .w60             { }
+    .w50             { }
+    .w40             { }
+    .w20             { }
+    .w05             { }
+    @media pdf {
+      .w90             { width: 90% }
+      .w80             { width: 80% }
+      .w70             { width: 70% }
+      .w60             { width: 60% }
+      .w50             { width: 50% }
+      .w40             { width: 40% }
+      .w20             { width: 20% }
+      .w05             { width: 5% }
+    }
+  </pgStyleSheet>
+</pgExtensions>
+
+<text lang="en">
+
+<front>
+
+<div>
+<divGen type="pgheader" />
+</div>
+<div>
+  <divGen type="encodingDesc" />
+</div>
+
+
+<titlePage rend="page-break-before: right">
+ <docTitle><titlePart type="main" rend="font-size: x-large">Rembrandt, With a Complete List of his Etchings</titlePart><lb /><lb/>
+</docTitle>
+
+ <byline><lb /><lb /><lb /><docAuthor>Arthur M. Hind</docAuthor><lb /><lb /><lb /><lb /></byline>
+
+<docImprint>Fredk. A. Stokes Company</docImprint><lb />
+<docDate>1912</docDate>
+</titlePage>
+
+<div rend="page-break-before: right">
+<figure url="images/tp.jpg" rend="w90">
+</figure>
+<p></p>
+</div>
+
+<div rend="page-break-before: right">
+<figure url="images/no_144.jpg" rend="w90">
+<index index="fig" />
+<head>144, II. Rembrandt and his Wife, Saskia, 1636, B. 19</head>
+<figDesc>144, II. Rembrandt and his Wife, Saskia, 1636, B. 19</figDesc>
+</figure>
+<p></p>
+</div>
+
+<div rend="page-break-before: right">
+<index index="pdf" />
+<head>Contents</head>
+<divGen type="toc" />
+</div>
+
+<div rend="page-break-before: right">
+<head>Illustrations</head>
+<divGen type="fig" />
+</div>
+
+</front>
+
+<body rend="page-break-before: right">
+
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>REMBRANDT</head>
+<pb n="5" />
+<p>
+<q rend="display">
+Rembrandt Harmensz van Ryn, son of Harmen Gerritsz van Ryn, miller (d. 1630), and Neeltge Willemsdochter (d. 1640), daughter of a baker of Zuytbroeck; born at Leyden, July 15, 1606; entered Leyden University as a student of letters, May 20, 1620, but left before the end of the year; studied painting for about three years in his native town under Jacob Isaaksz van Swanenburgh, and at the age of seventeen for about six months under Pieter Lastman in Amsterdam; settled in Leyden from 1624 until 1631, removing with his sister Lysbeth to Amsterdam in the latter half of 1631; married Saskia van Ulenburch, June 1634; from 1639 to 1658 lived in the Breestraat (in the house which is now open to the public); lost his wife in 1642; from about 1652 Hendrikje Stoffels, who had been his servant, lived with him as his wife, until her death about 1664; Rembrandt's material success as a painter was counterbalanced by his zeal for collecting works of art, and in 1656 he was forced by his creditors to declare bankrupt; an inventory of the contents of his house, made in view of the sales which took place in 1657 and 1658, is still preserved; the last part of his life was spent in a lodging on the Rozengracht, and all the money that he earned went to his creditors whom he never satisfied; he died and was buried in the Westerkerk, Amsterdam, October 4, 1669.
+</q>
+</p>
+<p>
+The formal style of art, the essence of line-engraving, reached its zenith in Albrecht D&uuml;rer.  And D&uuml;rer was so great a master that human feeling told through the medium of the severest formalism.  But it was not till a century later that human expression found its full outlet in an artist whose sympathy was at once penetrating and comprehensive, who perfected a medium capable of the most spontaneous rendering of the deepest as well as the most fleeting emotions of life.
+</p>
+<p>
+As a painter Rembrandt was chiefly devoted to portraiture, a devotion no doubt largely due to the conviction that its study gives the most immediate opportunity for depicting human character.
+<pb n="6" />
+But it must also be confessed that the overwhelmingly large proportion of portraits to other subjects in his painted work may be partly owing to the demands of clients.  That it was not entirely so is immediately evident when one considers the master's untiring industry in painting portraits of himself after his popularity had waned, and commissions nearly ceased.  Nevertheless as works for the most part uncommissioned and less lucrative than the paintings, we may take it that the etchings are a true reflection of the actual tendency of Rembrandt's genius when least affected by demands from outside.  In his etched work we find that portraits are much less numerous, and by far the largest place is given to the subjects from scripture, treated with the same reality that characterises his sketches from daily life.
+</p>
+<p>
+Rembrandt's affection for scriptural subjects is a striking fact in face of the general character of Dutch art in the seventeenth century.  The reformation in Holland seems to have helped towards the exclusion of art from the domain of religion; and the merely formal and superficial rendering of biblical stories by the classicists of the late sixteenth century may have also had much to account for the secular reaction of the succeeding period.  But Rembrandt had no need to seek new ground to escape from a formal rendering of well-known themes.  Like most masters of supreme genius, his originality consisted in the realisation of his own deepest and most personal emotion in his treatment of the old stories.  They appealed to him as the vehicle of the noblest thoughts of man in relation to himself and God, and he was practically the first artist who dared approach the Scriptures in the spirit of reality that implied a living faith rather than an official creed.
+</p>
+<p>
+It is perhaps still not superfluous to emphasise the fact that the etchings of Rembrandt (as of nearly all the painter-engravers or etchers) are original works distinct in methods and aims from the paintings or works in any other medium.  In Rembrandt's work of rather more than three hundred etchings there are scarcely half a dozen subjects that correspond with his pictures.  In general the original engraver or etcher conceives and carries out his design in specific relation to its medium; its expression in another would demand an entirely different treatment.
+</p>
+<p>
+Rembrandt worked on copper in pure etching and dry-point.  In pure etching the plate is first covered with a thin layer or ground of wax composition; the etcher draws through this ground (which offers scarcely any resistance) with an etching needle, opening up the
+<pb n="7" />
+surface of the copper where he wishes his lines to appear.  The plate is then put in a bath of acid which bites the furrows in the unprotected parts of the plate, <foreign lang="la">i.e.</foreign> wherever the needle has been drawn through the ground.  Dry-point, though generally regarded as a branch of etching, as it is so constantly used on the same plate as bitten work, is in reality more akin to line-engraving.  No acid is used, and the lines are scratched on the surface of the copper by a strong steel point.  The artist does not push this point before the hand like the graver, but uses it in the same way as a pencil.  The curl of metal thrown up at the side of the line is not scraped away as in line-engraving, where the aim is clearness of designs, but left to hold the ink, enwrapping the line, as printed from the furrows, in a rich cloudy tone.  This curl of metal, or <q>burr</q> (a term also applied to the velvety tone which it causes), is extremely delicate, and a comparatively few impressions suffice to level it with the surface of the copper, and leave the effect a mere ghost of the artist's intention.  So that rich impressions from dry-points are infinitely rarer than good ones from the pure etchings, which often yield hundreds of prints without greatly deteriorating in quality.  But the more delicate the etching and the closer the mesh of line, the sooner will deterioration of quality set in, so that a glance at the character of an etching, granting that the plate was not destroyed after a very limited issue, will almost immediately reveal one important point, <foreign lang="la">i.e.</foreign> the comparative rarity of good impressions.  It is clear and strong open line prints such as the <title>Christ at Emmaus</title> of 1654 (<ref target="no282" rend="color: blue">282</ref>) of which moderate impressions are not so valuable, for such plates were still in fair condition for printing as late as the eighteenth century.
+</p>
+<p>
+Pure etching is often combined with dry-point, the latter being used to give emphasis and strength to an etching of greater uniformity of tone.  Rembrandt did not begin to use dry-point until about 1639, <foreign lang="la">e.g.</foreign> in the <title>Death of the Virgin</title> (<ref target="no161" rend="color: blue">161</ref>), but it is not handled with any richness of effect until such works as the <title>Triumph of Mordecai</title> (<ref target="no172" rend="color: blue">172</ref>) which probably dates several years later.  A print like the <title>Three Trees</title> (<ref target="no205" rend="color: blue">205</ref>) might seem from the reproduction to have the rich tone that comes from dry-point, but in this case the dark effect is almost entirely due to a close mesh of pure etched lines.  The real quality of dry-point may be better studied in some of the lightly sketched lines in the foreground of the <title>Artist drawing from a model</title> (<ref target="no231" rend="color: blue">231</ref>), e.g. the palm branch on the right.
+</p>
+<p>
+In his early period up till about 1640, Rembrandt's etching is characterised by a clear lineal manner with little tendency to the
+<pb n="8" />
+chiaroscuro which gradually became the characteristic feature of his artistic style in etching as well as in painting.  Later he tends to a greater breadth of treatment in line, and a less imitative treatment of physical form.  At first his experiments in chiaroscuro were produced by the close mesh of etched lines, but it must be confessed that etching as such rather loses its character when the line is so entirely lost in tone.  Even the <title>Hundred Guilder Print</title> (<ref target="no236" rend="color: blue">236</ref>) holds its unrivalled place in the art of etching rather for the genius that overcame supreme difficulties than for the supreme fitness of the style in relation to the medium.  Rembrandt never showed the breadth of his sympathy and his powers of observation better than in this plate, but for grandeur of conception, concentration of material, and a vigorous handling more in keeping with the scale of his subject, he attained a nobler&mdash;I think his noblest&mdash;creation in the <title>Three Crosses</title> (<ref target="no270" rend="color: blue">270</ref>).  The changes introduced in this plate in a later state are remarkable, and show how completely the etcher can transform his subject.  Here the changes are astonishingly drastic, and may have been intended to direct us to an entirely different moment in the drama of the Crucifixion.  In other examples, such as the <title>Christ presented to the People</title>  (<ref target="no271" rend="color: blue">271</ref>) and the <title>Landscape with trees, farm-buildings, and a tower</title> (<ref target="no244" rend="color: blue">244</ref>), one sees how Rembrandt was constantly striving in the progress of his states towards greater concentration of idea, effecting it in the former by the removal of an entire group of figures, in the latter by the lopping of a cupola on the church tower.  Except for an occasional plate like the <title>Clement de Jonghe</title> (<ref target="no251" rend="color: blue">251</ref>) with its open line after the manner of Van Dyck, Rembrandt kept to the method of close painter-like shading throughout the latter part of his life, but in his subject prints he almost entirely discarded this method of chiaroscuro for a more luminous and mysterious shadow effected by the surface tinting of a more broadly etched plate. The various states of the <title>Entombment</title> (<ref target="no281" rend="color: blue">281</ref>), first with the line quite open, then with some added shading partially aided by a surface tint, exemplify the manner of his progress. In this wonderful plate, and nearly all the subjects of his later period, Rembrandt had attained a dignity of composition which we find in few painters outside Venice.  In spite of his thoroughly Dutch temperament, Rembrandt had learnt much from the Italians, and in nothing more than in space composition.  A very large proportion of his early etchings are studies of seperate figures.  Only by this constant study of pieces of life was perfected the power by which his greater conceptions were realised with such unity of effect.
+</p>
+<pb n="9" />
+<p>
+Rembrandt took longer than many a weaker artist to reach his maturity, not that his progress was slower, but the maturity much higher, and even his old age seemed like youth in its perennial receptivity and power of vigorous growth.  A well-known connoisseur of the time, Constantin Huygens, writing in 1631, was more impressed by Lievens's brilliant flights of invention than by Rembrandt's vivid power of expressing character and emotion.  But while the former and so many of his contemporaries were content with their own facility and the convention they had reached, Rembrandt never remitted the ardour of the great quest which was the very blood of his life.  Constantly breaking new paths, and losing at each new turn his earlier patrons, who failed to follow the progress of his genius, he died in comparative neglect, only to be rediscovered by the moderns as one who still belongs to the most living style of art.
+</p>
+<p>
+A few etchers of the last two or three generations have taken a step further or aside in this or that direction, more particularly in the art of landscape, but even Whistler, at once the supreme virtuoso and the greatest individuality of nineteenth-century etching, falls far short of Rembrandt in the one thing which makes or mars genius of the highest order, <foreign lang="la">i.e.</foreign> depth of humanity, without surpassing him in the technical mastery of expressive line.  Rembrandt remains for us the greatest etcher who has ever lived, as well as one of the noblest exponents in art of the deepest and most generous emotions of life.
+</p>
+</div>
+
+<pb n="10" />
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>BOOKS OF REFERENCE</head>
+<div>
+<head type="sub">CATALOGUES</head>
+<list>
+<item>Gersaint, E. F. Paris 1751</item>
+<item>Yver, P. Amsterdam 1756 (supplement to Gersaint)</item>
+<item>Bartsch, Adam. Vienna 1797</item>
+<item>Claussin, J. J. de. Paris 1824 (supplement 1828)</item>
+<item>Wilson, T. London 1836</item>
+<item>Blanc, C. Paris 1859-61 (1873, and with a complete series of reproductions, 1880)</item>
+<item>Middleton-Wake, C. H. London 1878</item>
+<item>Dutuit, E. Paris 1881-4 (with a complete series of reproductions in heliogravure); Manuel de l'Amateur V (1882), and VI (1885).</item>
+<item>Rovinski, D. St. Petersburg 1890 (with atlas of reproductions covering all the etchings in practically every state)</item>
+<item>Rovinski, D. Les &Eacute;l&egrave;ves de Rembrandt. St. Petersburg 1894</item>
+<item>Seidlitz, W. von. Leipzig 1895</item>
+<item>Dodgson, C. In Hamerton. the Etchings of Rembrandt, London 1904</item>
+<item>Singer, H. W. Stuttgart 1906 (and 1910)</item>
+<item>Hind, A. M. London 1912</item>
+</list>
+</div>
+
+<div>
+<head type="sub">GENERAL</head>
+<p>
+Also including the most important works on Rembrandt's paintings
+and drawings
+</p>
+<list>
+<item>Vosmaer, C. Rembrandt, sa vie et ses &oelig;uvres. The Hague 1868 (and 1877)</item>
+<item>Haden, (Sir) F. Seymour. The Etched Work of Rembrandt. London 1879</item>
+<item>Michel, E. Rembrandt, sa vie, son &oelig;uvre, et son temps. Paris 1893</item>
+<item>Hamerton, P. G. The Etchings of Rembrandt. London 1894 (and 1904, with catalogue by C. Dodgson)</item>
+<item>Bode, W., and Groot, C. H. de. The Complete Work of Rembrandt (reproduced in photogravure). 8 vols. Paris 1897&mdash;1906</item>
+<item>Groot, C. H. de. Die Urkunden &uuml;ber Rembrandt (1575-1721). The Hague 1906. (English version in vol. 8 of Bode)</item>
+<item>Groot, C. H. de. Die Handzeichnungen Rembrandts. Versuch eines beschreibenden und kritischen Katalogs. Haarlem 1906</item>
+<item>Hamann, R. Rembrandt's Radierungen. Berlin 1906</item>
+<item>Holmes, C. J. The Development of Rembrandt as an Etcher. <title>Burlington Magazine</title> IX (1906), 87, 245, 313, 383</item>
+<item>Holmes, C. J.  Notes on the Art of Rembrandt. London 1911</item>
+<item>Brown, C. Baldwin. London 1907</item>
+<item>Six, J. Gersaint's l&yuml;st van Rembrandts Prenten. <title>Oud-Holland</title> XXVII (1909), 65</item>
+</list>
+</div>
+</div>
+
+
+<pb n="11" />
+<div rend="page-break-before: right">
+  <index index="toc" />
+  <index index="pdf" />
+<head>A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS</head>
+<p>
+Arranged according to the author's complete catalogue in <title>Rembrandt's Etchings, an Essay and a Catalogue</title> (Methuen, 1912), which follows the chronological arrangement of the collection in the British Museum.  Numbers that are obelised (&dagger;) are plates of doubtful authenticity; starred numbers (*) refer to plates not represented in the British Museum.  Conjectural dates are cited within brackets.  Except for Nos. 144 (frontispiece), 139 and 164 (on same plate as No. 40), and 196 (on same plate as No. 175), the etchings reproduced (entirely from the British Museum collection) are given in the order of this catalogue, so that plate numbers have been dispensed with.  The Roman numerals following the catalogue numbers in the underlines to the plates refer to the states of the etchings as described in the complete catalogue.  B. = Bartsch.
+</p>
+<list>
+<item>1. Rembrandt's Mother: Head Bust, three-quarters r. 1628. B. 354.</item>
+<item>2. Rembrandt's Mother: Head only, full face. 1628. B. 352</item>
+<item>2.* Rembrandt with a Broad Nose. (1628) B. 4</item>
+<item>3. Rembrandt Bareheaded, with High Curly Hair: Head and Bust. (1628.) B. 27</item>
+<item>4. Rembrandt Bareheaded: A Large Plate Roughly Etched: Head and Bust. 1629. B. 338</item>
+<item>4.* Aged Man of Letters. (1629.) B. 149</item>
+<item>5. Peter and John at the Gate of the Temple: Roughly Etched. (1629-30.) B. 95</item>
+<item>6. The Small Lion Hunt (with one Lion). (1629-30.) B. 116</item>
+<item>7. Beggar Man and Beggar Woman Conversing. 1630. B. 164</item>
+<item>8. Beggar Seated Warming his Hands at a Chafing Dish. (1630.) B. 173</item>
+<item>9. Beggar Leaning on a Stick, facing l. (1630.) B. 163</item>
+<item>10. Beggar in a Long Cloak, Sitting in an Arm-chair. (1630.) B. 160</item>
+<item>11. Beggar Seated on a Bank. 1630. B. 174</item>
+<item>12. Beggar with a Wooden Leg. (1630.) B. 179</item>
+<item>13. Beggar Man and Beggar Woman Behind a Bank. (1630) B. 165</item>
+<item>14. Man in a Cloak and Fur Cap Leaning against a Bank. (1630.) B. 151</item>
+<item>15. Beggar in a High Cap, Standing and Leaning on a Stick. (1630.) B. 162</item>
+<item>16. Ragged Peasant with his Hands Behind Him, Holding a Stick. (1630.) B. 172</item>
+<item>17. The Flight into Egypt: A Sketch. (1630.) B. 54</item>
+<item>18. The Presentation in the Temple (with the Angel): small plate. 1630. B. 51</item>
+<item>19. The Circumcision: small plate. (1630.) B. 48</item>
+<item>20. Christ Disputing with the Doctors: small plate. 1630. B. 66</item>
+<item>21. Bust of a Man (Rembrandt's Father?) in full face, wearing a Close Cap. 1630. B. 304</item>
+<item>22. Bust of a Man (Rembrandt's Father?) wearing a High Cap, three-quarters r. 1630. B. 321</item>
+<pb n="12" />
+<item>23. Bald-headed Man (Rembrandt's Father?) in Profile r; head only; bust added afterwards. 1630. B. 292</item>
+<item>24. Bald-headed Man (Rembrandt's Father?) in Profile r.; small bust. 1630. B. 294</item>
+<item>25. Three Studies of Old Men's Heads. (1630.) B. 374</item>
+<item>26. Bust of an Old Man with Flowing Beard and White Sleeve. (1630.) B. 291</item>
+<item>27. Bust of an Old Man with Flowing Beard: the Head Bowed Forward: l. shoulder unshaded. 1630. B. 325</item>
+<item>28. Bust of an Old Man with Flowing Beard: the head inclined three-quarters r. 1630. B. 309</item>
+<item>29. Rembrandt in a Fur Cap: the Dress Light: bust. 1630. B. 24</item>
+<item>30. Rembrandt Bareheaded, in Sharp Light from r.; Looking over his Shoulder: bust. 1630. B. 10</item>
+<item>31. Rembrandt Bareheaded and Open-mouthed, as if Shouting: bust. 1630. B. 13</item>
+<item>32. Rembrandt in a Cap, Open-mouthed and Staring: bust in outline. 1630. B. 320</item>
+<item>33. Rembrandt Bareheaded, with Thick Curling Hair and Small White Collar: bust. (1630.) B. 1</item>
+<item>34. Rembrandt in a Cap, Laughing: Bust. 1630. B. 316</item>
+<item>35. Rembrandt Bareheaded, Leaning Forwards as if Listening: bust. (1630.) B. 9</item>
+<item>36. Rembrandt Bareheaded, Leaning Forward: bust lightly indicated. (1630-1.) B. 5</item>
+<item>37. Head of a Man in a Fur Cup, Crying Out. (1631.) B. 327</item>
+<item>38. The Blind Fiddler.  1631. B. 138</item>
+<item>39. Head of a Man in a High Cap: three-quarters r. (1631.) B. 302</item>
+<item>40. A Polander standing with Stick: profile to r. (the <q>Little Polander</q>). 1631. B. 142</item>
+<item>41. Sheet of Studies of Men's Heads (the plate afterwards cut into five parts). (1631.) B. 366</item>
+<item>42. Diana at the Bath. (1631.) B. 201</item>
+<item>43. Naked Woman Seated on a Mound. (1631.) B. 198</item>
+<item>44. Jupiter and Antiope: the smaller Plate. (1631.) B. 204</item>
+<item>45. A Man Making Water. 1631. B. 190</item>
+<item>46. A Woman Making Water. 1631. B. 191</item>
+<item>47. Bust of an Old Bearded Man Looking Down, three-quarters r. 1631. B. 260</item>
+<item>48. Bust of an Old Man with Flowing Beard: Head Nearly Erect: Eyes Cast Down: Looking Slightly l. 1631. B. 315</item>
+<item>49. Bust of an Old Man with Fur Cap and Flowing Beard: nearly full face: Eyes Direct. (1631.) B. 312</item>
+<item>50. Rembrandt's Mother with Hand on Chest: small bust. 1631. B. 349</item>
+<item>51. Rembrandt's Mother Seated Facing r., in an Oriental Headdress: half length, Showing Hands. 1631. B. 348</item>
+<item>52. Rembrandt's Mother Seated at a Table Looking r.: three-quarter length. (1631.) B. 343</item>
+<pb n="13" />
+<item>53. Bearded Man (Rembrandt's Father?) in Furred Oriental Cap and Robe: half length. 1631. B. 263</item>
+<item>54. Rembrandt Wearing a Soft Hat, Cocked: head only: body added afterwards. 1631. B. 7</item>
+<item>55. Rembrandt with Long Bushy Hair: head only. (1631.) B. 8</item>
+<item>56. Rembrandt in a Heavy Fur Cap: full face: bust. 1631. B. 16</item>
+<item>57. Rembrandt Wearing a Soft Cap: full face: head only. (1631.) B. 2</item>
+<item>58. Rembrandt with Cap Pulled Forward: bust. (1631.) B. 319</item>
+<item>59. Rembrandt with Fur Cap, in an Oval Border: bust. (1631.) B. 12</item>
+<item>&dagger;60.  Rembrandt with Bushy Hair and Contracted Eyebrows: bust. 1631. B. 25</item>
+<item>61. Rembrandt  Bareheaded, the Light Falling from the r.: bust. (1631.) B. 332</item>
+<item>&dagger;62. Rembrandt in a Slant Fur Cap: bust.  1631.  B. 14</item>
+<item>63. Rembrandt in a Cloak with Falling Collar: bust. 1631. B. 15</item>
+<item>&dagger;64. Rembrandt with a Jewel in his Cap. (1631.) Middleton, 18</item>
+<item>&dagger;65. Bust of a Young Man in a Cap. (1631.) B. 322</item>
+<item>66. Rembrandt in a Dark Cloak and Cap: bust. (1631.) B. 6</item>
+<item>67. Rembrandt(?), Scowling, in an Octagon: head only. (1631.) B. 336</item>
+<item>68. Grotesque Profile: Man in High Cap. (1631.) B. 326</item>
+<item>69. Peasant with his Hands Behind his Back. 1631. B. 135</item>
+<item>&dagger;70. Bust of a Snub-nosed Man in a Cap: Profile r. 1631. B. 317</item>
+<item>&dagger;71. Bust of a Man in a Cap, Bound Round the Ears and Chin. (1631.) B. 323</item>
+<item>72. Beggar with a Stick, Walking l. 1631. B. 167</item>
+<item>73. Beggar with his l. Hand Extended. 1631. B. 150</item>
+<item>74. The Blindness of Tobit: A Sketch. (1631.) B. 153</item>
+<item>75. Seated Beggar and his Dog. 1631. B. 175</item>
+<item>75.* A Stout Man in a Large Cloak. (1631.) B. 184</item>
+<item>&dagger;76. Old Woman Seated in a Cottage, with a String of Onions on the Wall. 1631. B. 134</item>
+<item>77. The Leper (<q>Lazarus Klap</q>). 1631. B. 171</item>
+<item>77.* Beggar Man and Beggar Woman. (1631.) B. 183</item>
+<item>78. Two Beggars Tramping towards the r. (1631.) B. 154</item>
+<item>78.* Two Studies of Beggars. (1631.) B. 182</item>
+<item>79. Beggar with a Crippled Hand Leaning on a Stick r. (1631.) B. 166</item>
+<item>80. Old Beggar Woman with a Gourd. (1631.) B. 168</item>
+<item>&dagger;8l. Beggar Standing Leaning on a Stick l.: small plate. (1631.) B. 169</item>
+<item>&dagger;82. Bust of an Old Woman in Furred Cloak and Heavy Headdress. 1631. B. 355</item>
+<item>&dagger;83. Bust of an Old Woman in a High Head-dress Bound Round the Chin. (1631.) B. 358</item>
+<item>&dagger;84. Bust of a Beardless Man (Rembrandt's Father?) in a Fur Cloak and Cap: Looking Down: three-quarters l. 1631. B. 307</item>
+<item>&dagger;85. Bust of a Bald Man (Rembrandt's Father?) in a Fur Cloak Looking r. 1631. B. 324</item>
+<pb n="14" />
+
+<item>&dagger;86. Bust of a Bald Man Looking Down, Grinning. 1631. B. 298</item>
+<item>&dagger;87. Bust of Bearded Old Man with High Forehead and Close Cap. 1631. B. 314</item>
+<item>&dagger;88. Bust of an Old Man Looking Down, with Wavy Hair and Beard:  cap added afterwards. (1631.)  B. 337 </item>
+<item>&dagger;89. Small Bust of Bearded Man Looking Down, with Eyes Nearly Closed. (1631.) B. 296</item>
+<item>90. Sheet of Studies:  Head of Rembrandt, Beggar Couple, Heads of Old Man and Old Woman, etc. (1632.)  B. 363</item>
+<item>&dagger;91. Rembrandt's  Mother  in Widow's Dress and Black Gloves. (1632) B. 344</item>
+<item>92. Old Man Seated, with Flowing Beard, Fur Cap and Velvet Cloak. (1632.) B. 262</item>
+<item>93. Man Standing in Oriental Costume and Plumed Fur Cap. 1632. B. 152</item>
+<item>94. St. Jerome Playing: Arched Print. 1632. B. 101</item>
+<item>95. The Holy Family. (1632.) B. 62</item>
+<item>96. The Raising of Lazarus: the larger Plate. (1632.) B. 73</item>
+<item>97. The Rat-Killer. 1632. B. 121</item>
+<item>98. Polander Leaning on a Stick: Profile l. (1632.) B. 141</item>
+<item>99. A Turbaned Soldier on Horseback. (1632.) B. 139</item>
+<item>100. A Cavalry Fight. (1632-3.) B. 117</item>
+<item>101. The Good Samaritan. 1633. B. 90</item>
+<item>102. The Descent from the Cross: first plate. 1633. B. 81, I</item>
+<item>103. The Descent from the Cross: second plate. 1633. B. 81, II, etc.</item>
+<item>104. Joseph's Coat Brought to Jacob. (1633.) B. 38</item>
+<item>105. The Flight into Egypt: small plate. 1633. B. 52</item>
+<item>106. The Ship of Fortune. 1633. B. 111</item>
+<item>107. Rembrandt's Mother in a Cloth Head-dress, Looking Down: head only. 1633. B. 351</item>
+<item>108. Rembrandt in Cap and Scarf: the Face Dark: bust. 1633. B. 17</item>
+<item>109. Rembrandt with Raised Sabre: half-length. 1634. B. 18</item>
+<item>110. Rembrandt with Plumed Cap and Lowered Sabre: three-quarter length: afterwards bust in oval. 1634. B. 23</item>
+<item>111. Jan Cornelis Sylvius, Preacher (r). 1634. B. 266</item>
+<item>112. Rembrandt's Wife Saskia, with Pearls in her Hair, bust. 1634. B. 347</item>
+<item>113. Woman Reading.  1634. B. 345</item>
+<item>114. A Peasant: One of a Pair, Calling Out. 1634. B. 177</item>
+<item>115. A Peasant: the Other of the Pair, Replying. 1634. B. 178</item>
+<item>116. Two Tramps, a Man and a Woman. (1634.) B. 144</item>
+<item>117. Sheet of Two Slight Studies: One of Two Peasants. (1634.) B. 373</item>
+<item>118. Joseph and Potiphar's Wife. 1634. B. 39</item>
+<item>119. St. Jerome Reading. 1634. B. 100</item>
+<item>120. The Angel Appearing to the Shepherds. 1634. B. 44</item>
+<item>121. Christ at Emmaus: the smaller plate. 1634. B. 88</item>
+<item>122. Christ and the Woman of Samaria: among Ruins. 1634. B. 71</item>
+<pb n="15" />
+<item>123. The Crucifixion: small plate. (1634.) B. 80</item>
+<item>124. The Tribute-Money. (1634.) B. 68</item>
+<item>125. The Stoning of S. Stephen. 1635. B. 97</item>
+<item>126. Christ Driving the Money-Changers from the Temple. 1635. B. 69</item>
+<item>127. Girl with Hair Falling on her Shoulders (the <q>Great Jewish Bride</q>). 1635. B. 340</item>
+<item>128. Jan Uytenbogaert, Preacher of the Sect of Arminian Remonstrants. 1635. B. 279</item>
+<item>129. Old Woman Sleeping. (1635-7.) B. 350</item>
+<item>130. Old Bearded Man in a High Fur Cap, with Closed Eyes. (1635.) B. 290</item>
+<item>131. The First Oriental Head (Rembrandt's Father?). 1635. B. 286</item>
+<item>132. The Second Oriental Head (Rembrandt's Father?). (1635.) B. 287</item>
+<item>133. The Third Oriental Head. 163;. B. 288</item>
+<item>134. The Fourth Oriental Head. (1635.)  B. 289</item>
+<item>&dagger;l35. Head of an Old Man in a High Fur Cap. (1635.) B. 299</item>
+<item>136. Bald Old Man with a Short Beard, in profile r.  0635.) B. 306</item>
+<item>&dagger;137. Curly-headed Man with a Wry Mouth.  (1635.)  B. 305</item>
+<item>138. Polander Standing with Arms Folded. (1635.) B. 140</item>
+<item>139. The Quacksalver. 1635. B. 129</item>
+<item>140. St. Jerome Kneeling in Prayer, Looking Down. 1635. B. 102</item>
+<item>141. The Pan-cake Woman. 1635. B. 124</item>
+<item>&dagger;142. The Strolling Musicians. (1635.) B. 119</item>
+<item>143. Christ before Pilate: large plate. 1635-6. B. 77</item>
+<item>144. Rembrandt and his Wife Saskia: busts. 1636. B. 19</item>
+<item>145. Studies of the Head of Saskia and others. 1636. B. 365</item>
+<item>146. Samuel Manasseh Ben Israel, Jewish Author. 1636. B. 269</item>
+<item>147. The Return of the Prodigal Son. 1636. B. 91</item>
+<item>148. Abraham  Caressing Isaac. (1637.) B. 33</item>
+<item>149. Abraham Casting Out Hagar and Ishmael. 1637. B. 30</item>
+<item>150. Bearded Man Wearing a Velvet Cap with a Jewel Clasp. 1637. B. 313</item>
+<item>151. Young Man in a Velvet Cap with Books Beside Him. 1637. B. 268</item>
+<item>152. Three Heads of Women, one Asleep. 1637. B. 368</item>
+<item>153. Three Heads of Women, one Lightly Etched. (1637.) B. 367</item>
+<item>154. Study of Saskia as S. Catherine (the <q>Little Jewish Bride</q>). 1638. B. 342</item>
+<item>155. Sheet with Two Studies: a Tree, and the Upper Part of a Head Wearing a Velvet Cap. (1638.) B. 372</item>
+<item>156. Rembrandt in Velvet Cap and Plume, with an Embroidered Dress: bust. 1638. B. 20</item>
+<item>157. Rembrandt in a Flat Cap with a Shawl About His Shoulders. (1638.) B. 26</item>
+<item>158. Man in a Broad-Brimmed Hat and Ruff. (1630.) B. 311</item>
+<item>159. Adam and Eve. 1638. B. 28</item>
+<pb n="16" />
+
+<item>160. Joseph Telling His Dreams. 1638. B. 37</item>
+<item>161. The Death of the Virgin. 1639. B. 99</item>
+<item>162. The Presentation in the Temple: an oblong print. (1639.) B. 49</item>
+<item>163. Sheet of Studies, with a Woman Lying Ill in Bed, etc. (1639.) B. 369</item>
+<item>164. A Peasant in a High Cap, Standing Leaning on a Stick. 1639. B. 133</item>
+<item>165. Death Appearing to a Wedded Couple From An Open Grave. 1639. B. 109</item>
+<item>166. The Skater. (1639.) B. 156</item>
+<item>167. Jan Uytenbogaert, Receiver-General (the <q>Gold-Weigher</q>). 1639. B. 281</item>
+<item>168. Rembrandt Leaning on a Stone Sill: half length. 1639. B. 21</item>
+<item>169. Old Man Shading His Eyes with His Hand. (1639.) B. 259</item>
+<item>170. Old Man with a Divided Fur Cap. 1640. B. 265</item>
+<item>171. The Beheading of John the Baptist. 1640. B. 92</item>
+<item>172. The Triumph of Mordecai. (1640.) B. 40</item>
+<item>173. Christ Crucified Between the Two Thieves: an oval plate. (1640.) B. 79</item>
+<item>174. Sleeping Puppy. (1640.) B. 158</item>
+<item>175. Small Grey Landscape: A House and Trees Beside a Pool. (1640.) B. 207</item>
+<item>176. View of Amsterdam. (1640.) B. 210</item>
+<item>177. Landscape with a Cottage and Hay Barn: oblong. 1641. B. 225</item>
+<item>178. Landscape with a Cottage and a Large Tree. 1641. B. 226</item>
+<item>179. The Windmill.  1641.  B. 233</item>
+<item>180. The Small Lion Hunt (with Two Lions). (1641.) B. 115</item>
+<item>181. The Large Lion Hunt. 1641. B. 114</item>
+<item>182. The Baptism of the Eunuch. 1641. B. 98</item>
+<item>183. Jacob and Laban(?). 1641. B. 118</item>
+<item>184. The Spanish Gipsy (Preciosa). (1641.) B. 120</item>
+<item>185. The Angel Departing from the Family of Tobias. 1641. B. 185.</item>
+<item>186. Virgin and Child in the Clouds. 1641. B. 61</item>
+<item>187. Cornelis Claesz Anslo, Mennonite Preacher. 1641. B. 271</item>
+<item>188. Portrait of a Boy, in profile. 1641. B. 310</item>
+<item>189. Man at Desk, Wearing Cross and Chain. 1641. B. 261.</item>
+<item>190. The Card-Player. 1641. B. 136</item>
+<item>191. Man Drawing from a Cast. (1641.) B. 130</item>
+<item>192. Woman at a Door-hatch Talking to a Man and Children (the <q>Schoolmaster</q>). 1641. B. 128</item>
+<item>193. The Virgin with the Instruments of the Passion. (1641.) B. 85</item>
+<item>194. Man in an Arbour. 1642. B. 257</item>
+<item>195. Girl with a Basket. (1642.) B. 356</item>
+<item>196. Sick Woman with Large White Head-dress (Saskia). (1642.) B. 359</item>
+<pb n="17" />
+<item>197. Woman in Spectacles, Reading. (1642.) B. 362</item>
+<item>198. The Raising of Lazarus: the smaller plate.  1642.  B. 72</item>
+<item>199. The Descent from the Cross: a Sketch.  1642. B. 82</item>
+<item>200. The Flute-Player (L'Espiegle). 1642.  B. 188</item>
+<item>201. St. Jerome in a Dark Chamber. 1642.  B. 105</item>
+<item>202. Student at a Table by Candlelight. (1642.) B. 148</item>
+<item>203. Cottage with a White Paling. 1642. B. 232</item>
+<item>204. The Hog.  1643.  B. 157</item>
+<item>205. The Three Trees.  1643. B. 212</item>
+<item>206. The Shepherd and his Family. 1644. B. 220</item>
+<item>207. The Sleeping Herdsman. (1644.) B. 189</item>
+<item>208. The Rest on the Flight: a Night Piece. (1644.) B. 57</item>
+<item>209. Six's Bridge.  1645.  B. 208</item>
+<item>210. The Omval.  1645.  B. 209</item>
+<item>211. The Boat-house. 1645. B. 231</item>
+<item>212. Cottages beside a Canal: with a Church and Sailing Boat. (1645.) B. 228</item>
+<item>213. Cottages and Farm Buildings with a Man Sketching. (1645.) B. 219</item>
+<item>214. Abraham and Isaac.  1645. B. 34</item>
+<item>215. Christ Carried to the Tomb. (1645.) B. 84</item>
+<item>216. The Rest on the Flight: lightly etched. 1645. B. 58</item>
+<item>217. S. Peter in Penitence. 1645. B. 96</item>
+<item>218. Old Man in Meditation, Leaning on a Book. (1645.) B. 147</item>
+<item>219. Beggar Woman Leaning on a Stick. 1646. B. 70</item>
+<item>220. Study from the Nude: Man Seated Before a Curtain. 1646. B. 193</item>
+<item>221.  Study from the Nude: Man Seated on the Ground with One Leg Extended. 1646. B. 196</item>
+<item>222. Studies from the Nude: One Man Seated and Another Standing: with a Woman and Baby lightly etched in the background. (1646.) B. 194</item>
+<item>223. Le Lit &agrave; la Fran&ccedil;aise (Ledekant). 1646. B. 186</item>
+<item>224. The Monk in the Cornfield. (1646.) B. 187</item>
+<item>225. Jan Cornells Sylvius, Preacher: posthumous portrait. 1646. B. 280</item>
+<item>226. Ephraim Bonus, Jewish Physician. 1647. B. 278</item>
+<item>227. Jan Asselyn, Painter. (1647.) B. 277</item>
+<item>228. Jan Six. 1647.  B. 285</item>
+<item>229. Rembrandt Drawing at a Window. 1648. B. 22</item>
+<item>230. Sheet of Studies with the Head of Rembrandt, a Beggar Man, Woman and Child. (1648.) B. 370</item>
+<item>231. The Artist Drawing from a Model: unfinished plate. (1648.) B. 192</item>
+<item>232. S. Jerome Beside a Pollard Willow. 1648. B. 103</item>
+<item>233. Beggars Receiving Alms at the Door of a House. 1648. B. 176</item>
+<item>234. Jews in a Synagogue. 1648. B. 126</item>
+<item>235. Medea: or the Marriage of Jason and Creusa. 1648. B. 112</item>
+<item>236. Christ, with the Sick Around Him, receiving Little Children (the <q>Hundred Guilder Print</q>). (1649.) B. 74</item>
+<pb n="18" />
+
+
+<item>237. The Incredulity of Thomas. 1650. B. 89</item>
+<item>238. Canal with an Angler and Two Swans. 1650. B. 235</item>
+<item>239. Canal with a Large Boat and Bridge. 1650. B. 236</item>
+<item>240. Landscape with a Cow Drinking. (1650.) B. 237</item>
+<item>241. Landscape with a Hay Barn and a Flock of Sheep. 1650. B. 224</item>
+<item>242. Landscape with a Milk-man. (1650.) B. 213</item>
+<item>243. Landscape with an Obelisk. (1650.) B. 227</item>
+<item>244. Landscape with Trees, Farm-buildings and a Tower. 1650. B. 223</item>
+<item>245. Landscape with a Square Tower. 1650. B. 218</item>
+<item>246. Landscape with Three Gabled Cottages Beside a Road. 1650. B. 217</item>
+<item>247. The Bull. (1650.) B. 253</item>
+<item>248. The Shell.  1650. B. 159</item>
+<item>249. The  Goldweigher's  Field. 1651. B. 234</item>
+<item>250. The Bathers. 1651. B. 195</item>
+<item>251. Clement de Jonghe, Printseller. 1651. B. 272</item>
+<item>252. The Blindness of Tobit: the larger plate. 1651. B. 42</item>
+<item>253. The Flight into Egypt: a Night Piece. 1651. B. 53</item>
+<item>254. The Star of the Kings: a Night Piece. (1652.) B. 113</item>
+<item>255. Adoration of the Shepherds; a Night Piece. (1652.) B. 46</item>
+<item>256. Christ Preaching (<q>la Petite Tombe</q>). (1652.) B. 57</item>
+<item>257. Christ Disputing with the Doctors: a sketch. 1652. B. 65</item>
+<item>258. David in Prayer.  1652. B. 41</item>
+<item>259. Peasant Family on the Tramp. (1652.) B. 131</item>
+<item>260. Faust in His Study, Watching a Magic Disk. (1652.) B. 270</item>
+<item>261. Titus Van Ryn, Rembrandt's Son. (1656.) B. 11</item>
+<item>262. Sheet of Studies, with a Wood and Paling, Part of Two Heads, and a Horse and Cart. (1652.) B. 364</item>
+<item>263. Clump of Trees with a Vista. 1652.  B. 222</item>
+<item>264. Landscape with a Road Beside a Canal. (1652.) B. 221</item>
+<item>265. Landscape with Sportsman and Dogs. (1653.) B. 211</item>
+<item>266. The Flight into Egypt: altered from Tobias and the Angel by Hercules Seghers. (1653.) B. 56</item>
+<item>267. S. Jerome Reading, in an Italian Landscape.  (1653.) B. 104</item>
+<item>268. Jan Antonides van der Linden, Professor of Medicine.  1665. B. 264</item>
+<item>269. Lieven Willemsz Van Coppenol, Writing-Master: the smaller plate. (1653.) B. 282 270. Christ Crucified between the Two Thieves: large oblong plate (the <q>Three Crosses</q>).  1653. B. 78</item>
+<item>271. Christ Presented to the People: large oblong plate.  1655.  B. 76 </item>
+<item>272. The Golf-Player.  1654. B. 125</item>
+<item>273. The Adoration of the Shepherds (with the Lamp). (1654.) B. 45</item>
+<item>274. The Circumcision (in the Stable). 1654. B. 47</item>
+<item>275. The Virgin and Child with the Cat: and Joseph at the Window. 1654. B. 63</item>
+<item>276. The Flight into Egypt: Holy Family Crossing a Brook. 1654. B. 55.</item>
+<item>277. Christ Seated Disputing with the Doctors. 1654. B. 64</item>
+<item>278. Christ Between His Parents, Returning from the Temple. 1654. B. 60</item>
+<item>279. The Presentation in the Temple: in the Dark Manner. (1654.) B. 50</item>
+<item>280. The Descent from the Cross: by Torchlight. 1654. B. 83</item>
+<item>281. The Entombment. (1654.) B. 86</item>
+<item>282. Christ at Emmaus: the larger plate. 1654. B. 87.</item>
+<item>283. Abraham's Sacrifice.  1655. B. 35</item>
+<item>284. Four Illustrations to a Spanish Book. (A. The Image seen by Nebuchadnezzar. B. Jacob's Ladder. C. David and Goliath. D. Daniel's Vision of Four Beasts.) 1655. B. 36</item>
+<item>285. The Goldsmith. 1655. B. 123</item>
+<item>286. Abraham Entertaining the Angels. 1656. B. 29</item>
+<item>287. Jacob Haaring (the <q>Old Haaring</q>). (1655.) B. 274</item>
+<item>288. Thomas Jacobsz Haaring (the <q>Young Haaring.</q>) 1655. B. 275</item>
+<item>289. Arnold Tholinx, Inspector of Medical Colleges at Amsterdam. (1656.) B. 284</item>
+<item>290. Jan Lutma, the Elder, Goldsmith and Sculptor. 1656. B. 276</item>
+<item>291. Abraham Francen, Art Dealer. (1656.) B. 273</item>
+<item>292. S. Francis Beneath a Tree, Praying. 1657. B. 107</item>
+<item>293. The Agony in the Garden. (1657.) B. 75</item>
+<item>294. Christ and the Woman of Samaria: an Arched Print. 1658. B. 70</item>
+<item>295. The Phrenix; or the Statue Overthrown: an Allegory of Doubtful Meaning. 1658. B. 110</item>
+<item>296. Woman Sitting Half Dressed Beside a Stove. 1658. B. 197</item>
+<item>297. Woman at the Bath, with a Hat Beside Her. 1658. B. 199</item>
+<item>298. Woman Bathing Her Feet at a Brook. 1658. B. 200</item>
+<item>299. Negress Lying Down. 1658. B. 205</item>
+<item>300. Lieven Willemsz Van Coppenol, Writing-Master: the larger plate. (1658.) B. 283</item>
+<item>300*. Rembrandt Etching. 1658. Seidlitz, 379</item>
+<item>301. Peter and John Healing the Cripple at the Gate of the Temple. 1659. B. 94</item>
+<item>302. Jupiter and Antiope: the larger plate. 1659. B. 103</item>
+<item>303. The Woman with the Arrow. 1661. B. 202</item>
+</list>
+<p>
+The title-page border is taken from a portrait etching by Juriaen Ovens, of Frederick III of Holstein Gottdorp.
+</p>
+</div>
+
+<div>
+<pb n="21" />
+<figure url="images/no_001.jpg" rend="w60">
+<index index="fig" />
+<head>1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.</head>
+<figDesc>1, I, REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.</figDesc>
+</figure>
+
+<pb n="23" />
+<figure url="images/no_007.jpg" rend="w60">
+<index index="fig" />
+<head>7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164</head>
+<figDesc>7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164</figDesc>
+</figure>
+
+<pb n="25" />
+<figure url="images/no_020.jpg" rend="w60">
+<index index="fig" />
+<head>20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66</head>
+<figDesc>20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66</figDesc>
+</figure>
+
+<pb n="27" />
+<figure url="images/no_023.jpg" rend="w60">
+<index index="fig" />
+<head>23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile <emph>r.;</emph> head only, bust added afterwards. 1630. B. 292. First state, the body being merely indicated in ink</head>
+<figDesc>23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile <emph>r.;</emph> head only, bust added afterwards. 1630. B. 292. First state, the body being merely indicated in ink</figDesc>
+</figure>
+
+<pb n="29" />
+<figure url="images/no_038.jpg" rend="w50">
+<index index="fig" />
+<head>38, II. THE BLIND FIDDLER. 1631. B. 138</head>
+<figDesc>38, II. THE BLIND FIDDLER. 1631. B. 138</figDesc>
+</figure>
+
+<pb n="31" />
+<figure url="images/40139164.jpg" rend="w70">
+<index index="fig" />
+<head>40. THE LITTLE POLANDER. 1631. B. 142.  139. THE QUACKSALVER. 1635. B. 129.  164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133</head>
+<figDesc>40139164. THE LITTLE POLANDER. 1631. B. 142.  139. THE QUACKSALVER. 1635. B. 129.  164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133</figDesc>
+</figure>
+
+<pb n="33" />
+<figure url="images/no_052.jpg" rend="w90">
+<index index="fig" />
+<head>52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.</head>
+<figDesc>52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.</figDesc>
+</figure>
+
+<pb n="35" />
+<figure url="images/no_054.jpg" rend="w90">
+<index index="fig" />
+<head>54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the body added.</head>
+<figDesc>54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the body added.</figDesc>
+</figure>
+
+<pb n="37" />
+<figure url="images/no_057.jpg" rend="w40">
+<index index="fig" />
+<head>57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2</head>
+<figDesc>57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2</figDesc>
+</figure>
+
+<pb n="39" />
+<figure url="images/no_097.jpg" rend="w90">
+<index index="fig" />
+<head>97, I. THE RAT-KILLER. 1632. B. 121</head>
+<figDesc>97, I. THE RAT-KILLER. 1632. B. 121</figDesc>
+</figure>
+
+<pb n="41" />
+<figure url="images/no_110.jpg" rend="w90">
+<index index="fig" />
+<head>110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was afterwards cut down to a bust in an oval.</head>
+<figDesc>110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was afterwards cut down to a bust in an oval.</figDesc>
+</figure>
+
+<pb n="43" />
+<figure url="images/no_112.jpg" rend="w60">
+<index index="fig" />
+<head>112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347</head>
+<figDesc>112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347</figDesc>
+</figure>
+
+<pb n="45" />
+<figure url="images/no_127.jpg" rend="w90">
+<index index="fig" />
+<head>127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state</head>
+<figDesc>127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state</figDesc>
+</figure>
+
+<pb n="47" />
+<figure url="images/no_129.jpg" rend="w50">
+<index index="fig" />
+<head>129. OLD WOMAN SLEEPING. (1635-7.) B. 350.</head>
+<figDesc>129. OLD WOMAN SLEEPING. (1635-7.) B. 350.</figDesc>
+</figure>
+
+<pb n="49" />
+<figure url="images/no_147.jpg" rend="w90">
+<index index="fig" />
+<head>147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91</head>
+<figDesc>147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91</figDesc>
+</figure>
+
+<pb n="51" />
+<figure url="images/no_151.jpg" rend="w60">
+<index index="fig" />
+<head>151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268</head>
+<figDesc>151, II. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. 1637. B. 268</figDesc>
+</figure>
+
+<pb n="53" />
+<figure url="images/no_153.jpg" rend="w90">
+<index index="fig" />
+<head>153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only</head>
+<figDesc>153, I. THREE HEADS OF WOMEN. (1637.) B. 367. First state, with one head (portrait of Saskia) only</figDesc>
+</figure>
+
+<pb n="55" />
+<figure url="images/no_161.jpg" rend="w90">
+<index index="fig" />
+<anchor id="no161" />
+<head>161, I. THE DEATH OF THE VIRGIN. 1639. B. 99</head>
+<figDesc>161, I. THE DEATH OF THE VIRGIN. 1639. B. 99</figDesc>
+</figure>
+
+<pb n="57" />
+<figure url="images/no_167.jpg" rend="w90">
+<index index="fig" />
+<head>167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE <q>GOLD-WEIGHER</q>). 1639. B-281. First state, the face only lightly indicated</head>
+<figDesc>167, I. JAN UYTENBOGAERT, RECEIVER-GENERAL (THE <q>GOLD-WEIGHER</q>). 1639. B-281. First state, the face only lightly indicated</figDesc>
+</figure>
+
+<pb n="59" />
+<figure url="images/no_168.jpg" rend="w90">
+<index index="fig" />
+<head>168, I. REMBRANDT LEANING ON A STONE SILL. 1639.  B. 21 From an impression touched by the artist in black chalk</head>
+<figDesc>168, I. REMBRANDT LEANING ON A STONE SILL. 1639.  B. 21 From an impression touched by the artist in black chalk</figDesc>
+</figure>
+
+<pb n="61" />
+<figure url="images/no_172.jpg" rend="w90">
+<index index="fig" />
+<anchor id="no172" />
+<head>172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40</head>
+<figDesc>172. THE TRIUMPH OF MORDECAI. (1640, or later.) B. 40</figDesc>
+</figure>
+
+<pb n="63" />
+<figure url="images/no175196.jpg" rend="w70">
+<index index="fig" />
+<head>175. SMALL GREY LANDSCAPE. (1640.) B. 207.  196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359</head>
+<figDesc>175. SMALL GREY LANDSCAPE. (1640.) B. 207.  196. SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). (1642.) B. 359</figDesc>
+</figure>
+
+<pb n="65" />
+<figure url="images/no_176.jpg" rend="w70">
+<index index="fig" />
+<head>176, II. VIEW OF AMSTERDAM. (1640.) B. 210</head>
+<figDesc>176, II. VIEW OF AMSTERDAM. (1640.) B. 210</figDesc>
+</figure>
+
+<pb n="67" />
+<figure url="images/no_179.jpg" rend="w70">
+<index index="fig" />
+<head>179. THE WINDMILL. 1641. B. 233</head>
+<figDesc>179. THE WINDMILL. 1641. B. 233</figDesc>
+</figure>
+
+<pb n="69" />
+<figure url="images/no_184.jpg" rend="w90">
+<index index="fig" />
+<head>184. THE SPANISH GIPSY. (1641.) B. 120</head>
+<figDesc>184. THE SPANISH GIPSY. (1641.) B. 120</figDesc>
+</figure>
+
+<pb n="71" />
+<figure url="images/no_198.jpg" rend="w90">
+<index index="fig" />
+<head>198, I. THE RAISING OF LAZARUS. 1642. B. 72</head>
+<figDesc>198, I. THE RAISING OF LAZARUS. 1642. B. 72</figDesc>
+</figure>
+
+<pb n="73" />
+<figure url="images/no_205.jpg" rend="w90">
+<index index="fig" />
+<anchor id="no205" />
+<head>205. THE THREE TREES. (1643.) B. 212</head>
+<figDesc>205. THE THREE TREES. (1643.) B. 212</figDesc>
+</figure>
+
+<pb n="75" />
+<figure url="images/no_209.jpg" rend="w70">
+<index index="fig" />
+<head>209, I. SIX'S BRIDGE. 1645. B. 208</head>
+<figDesc>209, I. SIX'S BRIDGE. 1645. B. 208</figDesc>
+</figure>
+
+<pb n="77" />
+<figure url="images/no_215.jpg" rend="w90">
+<index index="fig" />
+<head>215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84</head>
+<figDesc>215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84</figDesc>
+</figure>
+
+<pb n="79" />
+<figure url="images/no_216.jpg" rend="w90">
+<index index="fig" />
+<head>216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58</head>
+<figDesc>216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58</figDesc>
+</figure>
+
+<pb n="81" />
+<figure url="images/no_228.jpg" rend="w90">
+<index index="fig" />
+<head>228, II. JAN SIX. 1647. B. 285</head>
+<figDesc>228, II. JAN SIX. 1647. B. 285</figDesc>
+</figure>
+
+<pb n="83" />
+<figure url="images/no_229.jpg" rend="w90">
+<index index="fig" />
+<head>229, I. REMBRANDT DRAWING AT A WINDOW.  1648. B. 22. Unfinished state.</head>
+<figDesc>229, I. REMBRANDT DRAWING AT A WINDOW.  1648. B. 22. Unfinished state.</figDesc>
+</figure>
+
+<pb n="85" />
+<figure url="images/no_231.jpg" rend="w90">
+<index index="fig" />
+<anchor id="no231" />
+<head>231, I. THE ARTIST DRAWING FROM A MODEL, (1648, or later?)  B. 192. Unfinished plate</head>
+<figDesc>231, I. THE ARTIST DRAWING FROM A MODEL, (1648, or later?)  B. 192. Unfinished plate</figDesc>
+</figure>
+
+<pb n="87" />
+<figure url="images/no_232.jpg" rend="w90">
+<index index="fig" />
+<head>232, I. ST. JEROME BESIDE A POLLARD WILLOW.  1648. B. 103</head>
+<figDesc>232, I. ST. JEROME BESIDE A POLLARD WILLOW.  1648. B. 103</figDesc>
+</figure>
+
+<pb n="89" />
+<figure url="images/no_234.jpg" rend="w60">
+<index index="fig" />
+<head>234, I. JEWS IN SYNAGOGUE. 1648. B. 126</head>
+<figDesc>234, I. JEWS IN SYNAGOGUE. 1648. B. 126</figDesc>
+</figure>
+
+<pb n="91" />
+<figure url="images/no_236.jpg" rend="w90">
+<index index="fig" />
+<anchor id="no236" />
+<head>236, I. CHRIST, WITH THE SICK AROUND HIM, RECEIVING LITTLE CHILDREN (The <q>Hundred Guilder Print</q>). (1649.) B. 74. First state, before adding shading on the neck of the ass, <emph>r.</emph>  Only nine impressions of this state are known, two being in the British Museum</head>
+<figDesc>236, I. CHRIST, WITH THE SICK AROUND HIM, RECEIVING LITTLE CHILDREN (The <q>Hundred Guilder Print</q>). (1649.) B. 74. First state, before adding shading on the neck of the ass, <emph>r.</emph>  Only nine impressions of this state are known, two being in the British Museum</figDesc>
+</figure>
+
+<pb n="93" />
+<figure url="images/no_239.jpg" rend="w60">
+<index index="fig" />
+<head>239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236</head>
+<figDesc>239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236</figDesc>
+</figure>
+
+<pb n="95" />
+<figure url="images/no_242.jpg" rend="w50">
+<index index="fig" />
+<head>242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213</head>
+<figDesc>242, I. LANDSCAPE WITH A MILKMAN. (1650.) B. 213</figDesc>
+</figure>
+
+<pb n="97" />
+<figure url="images/no_244.jpg" rend="w50">
+<index index="fig" />
+<anchor id="no244" />
+<head>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</head>
+<figDesc>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</figDesc>
+</figure>
+
+<pb n="99" />
+<figure url="images/no_249.jpg" rend="w50">
+<index index="fig" />
+<head>249. THE GOLDWEIGHER'S FIELD. 1651. B. 234</head>
+<figDesc>249. THE GOLDWEIGHER'S FIELD. 1651. B. 234</figDesc>
+</figure>
+
+<pb n="101" />
+<figure url="images/no_251.jpg" rend="w90">
+<index index="fig" />
+<anchor id="no251" />
+<head>251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272</head>
+<figDesc>251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272</figDesc>
+</figure>
+
+<pb n="103" />
+<figure url="images/no_252.jpg" rend="w90">
+<index index="fig" />
+<head>252. THE BLINDNESS OF TOBIT: THE LARGER PLATE.  1651. B. 42</head>
+<figDesc>252. THE BLINDNESS OF TOBIT: THE LARGER PLATE.  1651. B. 42</figDesc>
+</figure>
+
+<pb n="105" />
+<figure url="images/no_254.jpg" rend="w80">
+<index index="fig" />
+<head>254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113</head>
+<figDesc>254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113</figDesc>
+</figure>
+
+<pb n="107" />
+<figure url="images/no_256.jpg" rend="w90">
+<index index="fig" />
+<head>256. CHRIST PREACHING (<q>LA PETITE TOMBE</q>). 1652 B. 67</head>
+<figDesc>256. CHRIST PREACHING (<q>LA PETITE TOMBE</q>). 1652 B. 67</figDesc>
+</figure>
+
+<pb n="109" />
+<figure url="images/no_257.jpg" rend="w80">
+<index index="fig" />
+<head>257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65</head>
+<figDesc>257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65</figDesc>
+</figure>
+
+<pb n="111" />
+<figure url="images/no_261.jpg" rend="w60">
+<index index="fig" />
+<head>261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11</head>
+<figDesc>261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11</figDesc>
+</figure>
+
+<pb n="113" />
+<figure url="images/no_264.jpg" rend="w50">
+<index index="fig" />
+<head>264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221</head>
+<figDesc>264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221</figDesc>
+</figure>
+
+<pb n="115" />
+<figure url="images/no_267.jpg" rend="w90">
+<index index="fig" />
+<head>267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104</head>
+<figDesc>267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104</figDesc>
+</figure>
+
+<pb n="117" />
+<figure url="images/no_270_1.jpg" rend="w90">
+<index index="fig" />
+<anchor id="no270" />
+<head>270, I. THE THREE CROSSES. 1653. B. 78. First state</head>
+<figDesc>270, I. THE THREE CROSSES. 1653. B. 78. First state</figDesc>
+</figure>
+
+<pb n="119" />
+<figure url="images/no_270_4.jpg" rend="w90">
+<index index="fig" />
+<head>270, IV. THE THREE CROSSES. 1653. B. 78. Fourth state. The plate entirely transformed: ihe figures in the middle and foreground, <emph>l.</emph>, almost entirely effaced; a new group added <emph>l.</emph> of the central cross,</head>
+<figDesc>270, IV. THE THREE CROSSES. 1653. B. 78. Fourth state. The plate entirely transformed: ihe figures in the middle and foreground, <emph>l.</emph>, almost entirely effaced; a new group added <emph>l.</emph> of the central cross,</figDesc>
+</figure>
+
+<pb n="121" />
+<figure url="images/no_271_1.jpg" rend="w90">
+<index index="fig" />
+<anchor id="no271" />
+<head>271, I. CHRIST PRESENTED TO THE PEOPLE.  1655.  B 76. First state</head>
+<figDesc>271, I. CHRIST PRESENTED TO THE PEOPLE.  1655.  B 76. First state</figDesc>
+</figure>
+
+<pb n="123" />
+<figure url="images/no_271_5.jpg" rend="w90">
+<index index="fig" />
+<head>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</head>
+<figDesc>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</figDesc>
+</figure>
+
+<pb n="125" />
+<figure url="images/no_275.jpg" rend="w90">
+<index index="fig" />
+<head>275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63</head>
+<figDesc>275, I. THE VIRGIN AND CHILD WITH THE CAT. 1654. B. 63</figDesc>
+</figure>
+
+<pb n="127" />
+<figure url="images/no_279.jpg" rend="w90">
+<index index="fig" />
+<head>279. THE PRESENTATION IN THE TEMPLE: IN THE DARK MANNER. (1654.) B. 50.</head>
+<figDesc>279. THE PRESENTATION IN THE TEMPLE: IN THE DARK MANNER. (1654.) B. 50.</figDesc>
+</figure>
+
+<pb n="129" />
+<figure url="images/no_281.jpg" rend="w90">
+<index index="fig" />
+<anchor id="no281" />
+<head>281, I. THE ENTOMBMENT.  (1654.)  B. 86. The Print is greatly darkened in its later states</head>
+<figDesc>281, I. THE ENTOMBMENT.  (1654.)  B. 86. The Print is greatly darkened in its later states</figDesc>
+</figure>
+
+<pb n="131" />
+<figure url="images/no_282.jpg" rend="w90">
+<index index="fig" />
+<anchor id="no282" />
+<head>282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87</head>
+<figDesc>282, I. CHRIST AT EMMAUS: THE LARGER PLATE. 1654. B. 87</figDesc>
+</figure>
+
+<pb n="133" />
+<figure url="images/no_286.jpg" rend="w90">
+<index index="fig" />
+<head>286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29</head>
+<figDesc>286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29</figDesc>
+</figure>
+
+<pb n="135" />
+<figure url="images/no_287.jpg" rend="w90">
+<index index="fig" />
+<head>287, II. JACOB HAARING (THE <q>OLD HAARING</q>). (1655.) B. 274</head>
+<figDesc>287, II. JACOB HAARING (THE <q>OLD HAARING</q>). (1655.) B. 274</figDesc>
+</figure>
+
+<pb n="137" />
+<figure url="images/no_288.jpg" rend="w90">
+<index index="fig" />
+<head>288, I. THOMAS JACOBSZ HAARIXG (THE <q>YOUNG HAARING</q>). 1655. B. 275</head>
+<figDesc>288, I. THOMAS JACOBSZ HAARIXG (THE <q>YOUNG HAARING</q>). 1655. B. 275</figDesc>
+</figure>
+
+<pb n="139" />
+<figure url="images/no_289.jpg" rend="w90">
+<index index="fig" />
+<head>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)</head>
+<figDesc>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)</figDesc>
+</figure>
+
+<pb n="141" />
+<figure url="images/no_290.jpg" rend="w90">
+<index index="fig" />
+<head>290, I. JAN LUTMA, THE ELDER, GOLDSMITH AND SCULPTOR. 1656. B. 276. First state, before the addition of a window in the background</head>
+<figDesc>290, I. JAN LUTMA, THE ELDER, GOLDSMITH AND SCULPTOR. 1656. B. 276. First state, before the addition of a window in the background</figDesc>
+</figure>
+
+<pb n="143" />
+<figure url="images/no_303.jpg" rend="w80">
+<index index="fig" />
+<head>303, I. THE WOMAN WITH THE ARROW. 1661. B. 202</head>
+<figDesc>303, I. THE WOMAN WITH THE ARROW. 1661. B. 202</figDesc>
+</figure>
+
+<p>
+PRINTED AT THE BALLANTYNE PRESS LONDON
+</p>
+</div>
+
+</body>
+
+<back rend="page-break-before: right">
+<div rend="page-break-before: right">
+<divGen type="pgfooter" />
+</div>
+</back>
+
+</text>
+</TEI.2>
+
diff --git a/31183-tei/images/40139164.jpg b/31183-tei/images/40139164.jpg
new file mode 100644
index 0000000..63f3eff
--- /dev/null
+++ b/31183-tei/images/40139164.jpg
diff --git a/31183-tei/images/no175196.jpg b/31183-tei/images/no175196.jpg
new file mode 100644
index 0000000..642e4dd
--- /dev/null
+++ b/31183-tei/images/no175196.jpg
diff --git a/31183-tei/images/no_001.jpg b/31183-tei/images/no_001.jpg
new file mode 100644
index 0000000..b885da4
--- /dev/null
+++ b/31183-tei/images/no_001.jpg
diff --git a/31183-tei/images/no_007.jpg b/31183-tei/images/no_007.jpg
new file mode 100644
index 0000000..58ff062
--- /dev/null
+++ b/31183-tei/images/no_007.jpg
diff --git a/31183-tei/images/no_020.jpg b/31183-tei/images/no_020.jpg
new file mode 100644
index 0000000..c928bdf
--- /dev/null
+++ b/31183-tei/images/no_020.jpg
diff --git a/31183-tei/images/no_023.jpg b/31183-tei/images/no_023.jpg
new file mode 100644
index 0000000..0900788
--- /dev/null
+++ b/31183-tei/images/no_023.jpg
diff --git a/31183-tei/images/no_038.jpg b/31183-tei/images/no_038.jpg
new file mode 100644
index 0000000..cc65b66
--- /dev/null
+++ b/31183-tei/images/no_038.jpg
diff --git a/31183-tei/images/no_052.jpg b/31183-tei/images/no_052.jpg
new file mode 100644
index 0000000..fc709e7
--- /dev/null
+++ b/31183-tei/images/no_052.jpg
diff --git a/31183-tei/images/no_054.jpg b/31183-tei/images/no_054.jpg
new file mode 100644
index 0000000..9d4cf22
--- /dev/null
+++ b/31183-tei/images/no_054.jpg
diff --git a/31183-tei/images/no_057.jpg b/31183-tei/images/no_057.jpg
new file mode 100644
index 0000000..cfd76dc
--- /dev/null
+++ b/31183-tei/images/no_057.jpg
diff --git a/31183-tei/images/no_097.jpg b/31183-tei/images/no_097.jpg
new file mode 100644
index 0000000..f1c2519
--- /dev/null
+++ b/31183-tei/images/no_097.jpg
diff --git a/31183-tei/images/no_110.jpg b/31183-tei/images/no_110.jpg
new file mode 100644
index 0000000..fd173af
--- /dev/null
+++ b/31183-tei/images/no_110.jpg
diff --git a/31183-tei/images/no_112.jpg b/31183-tei/images/no_112.jpg
new file mode 100644
index 0000000..9ad0b67
--- /dev/null
+++ b/31183-tei/images/no_112.jpg
diff --git a/31183-tei/images/no_127.jpg b/31183-tei/images/no_127.jpg
new file mode 100644
index 0000000..d900b41
--- /dev/null
+++ b/31183-tei/images/no_127.jpg
diff --git a/31183-tei/images/no_129.jpg b/31183-tei/images/no_129.jpg
new file mode 100644
index 0000000..92abbc9
--- /dev/null
+++ b/31183-tei/images/no_129.jpg
diff --git a/31183-tei/images/no_144.jpg b/31183-tei/images/no_144.jpg
new file mode 100644
index 0000000..2cd74c1
--- /dev/null
+++ b/31183-tei/images/no_144.jpg
diff --git a/31183-tei/images/no_147.jpg b/31183-tei/images/no_147.jpg
new file mode 100644
index 0000000..0893890
--- /dev/null
+++ b/31183-tei/images/no_147.jpg
diff --git a/31183-tei/images/no_151.jpg b/31183-tei/images/no_151.jpg
new file mode 100644
index 0000000..c9b0df6
--- /dev/null
+++ b/31183-tei/images/no_151.jpg
diff --git a/31183-tei/images/no_153.jpg b/31183-tei/images/no_153.jpg
new file mode 100644
index 0000000..436aa99
--- /dev/null
+++ b/31183-tei/images/no_153.jpg
diff --git a/31183-tei/images/no_161.jpg b/31183-tei/images/no_161.jpg
new file mode 100644
index 0000000..9a99fb4
--- /dev/null
+++ b/31183-tei/images/no_161.jpg
diff --git a/31183-tei/images/no_167.jpg b/31183-tei/images/no_167.jpg
new file mode 100644
index 0000000..854e450
--- /dev/null
+++ b/31183-tei/images/no_167.jpg
diff --git a/31183-tei/images/no_168.jpg b/31183-tei/images/no_168.jpg
new file mode 100644
index 0000000..3f706df
--- /dev/null
+++ b/31183-tei/images/no_168.jpg
diff --git a/31183-tei/images/no_172.jpg b/31183-tei/images/no_172.jpg
new file mode 100644
index 0000000..f23123c
--- /dev/null
+++ b/31183-tei/images/no_172.jpg
diff --git a/31183-tei/images/no_176.jpg b/31183-tei/images/no_176.jpg
new file mode 100644
index 0000000..ffb8579
--- /dev/null
+++ b/31183-tei/images/no_176.jpg
diff --git a/31183-tei/images/no_179.jpg b/31183-tei/images/no_179.jpg
new file mode 100644
index 0000000..881b6a3
--- /dev/null
+++ b/31183-tei/images/no_179.jpg
diff --git a/31183-tei/images/no_184.jpg b/31183-tei/images/no_184.jpg
new file mode 100644
index 0000000..8083098
--- /dev/null
+++ b/31183-tei/images/no_184.jpg
diff --git a/31183-tei/images/no_198.jpg b/31183-tei/images/no_198.jpg
new file mode 100644
index 0000000..847cf6b
--- /dev/null
+++ b/31183-tei/images/no_198.jpg
diff --git a/31183-tei/images/no_205.jpg b/31183-tei/images/no_205.jpg
new file mode 100644
index 0000000..ae9e8f5
--- /dev/null
+++ b/31183-tei/images/no_205.jpg
diff --git a/31183-tei/images/no_209.jpg b/31183-tei/images/no_209.jpg
new file mode 100644
index 0000000..29d4757
--- /dev/null
+++ b/31183-tei/images/no_209.jpg
diff --git a/31183-tei/images/no_215.jpg b/31183-tei/images/no_215.jpg
new file mode 100644
index 0000000..6775e3b
--- /dev/null
+++ b/31183-tei/images/no_215.jpg
diff --git a/31183-tei/images/no_216.jpg b/31183-tei/images/no_216.jpg
new file mode 100644
index 0000000..b2446e3
--- /dev/null
+++ b/31183-tei/images/no_216.jpg
diff --git a/31183-tei/images/no_228.jpg b/31183-tei/images/no_228.jpg
new file mode 100644
index 0000000..983f972
--- /dev/null
+++ b/31183-tei/images/no_228.jpg
diff --git a/31183-tei/images/no_229.jpg b/31183-tei/images/no_229.jpg
new file mode 100644
index 0000000..e01e014
--- /dev/null
+++ b/31183-tei/images/no_229.jpg
diff --git a/31183-tei/images/no_231.jpg b/31183-tei/images/no_231.jpg
new file mode 100644
index 0000000..5858471
--- /dev/null
+++ b/31183-tei/images/no_231.jpg
diff --git a/31183-tei/images/no_232.jpg b/31183-tei/images/no_232.jpg
new file mode 100644
index 0000000..ebded83
--- /dev/null
+++ b/31183-tei/images/no_232.jpg
diff --git a/31183-tei/images/no_234.jpg b/31183-tei/images/no_234.jpg
new file mode 100644
index 0000000..996ff86
--- /dev/null
+++ b/31183-tei/images/no_234.jpg
diff --git a/31183-tei/images/no_236.jpg b/31183-tei/images/no_236.jpg
new file mode 100644
index 0000000..7fbe144
--- /dev/null
+++ b/31183-tei/images/no_236.jpg
diff --git a/31183-tei/images/no_239.jpg b/31183-tei/images/no_239.jpg
new file mode 100644
index 0000000..3aad0b3
--- /dev/null
+++ b/31183-tei/images/no_239.jpg
diff --git a/31183-tei/images/no_242.jpg b/31183-tei/images/no_242.jpg
new file mode 100644
index 0000000..db035fc
--- /dev/null
+++ b/31183-tei/images/no_242.jpg
diff --git a/31183-tei/images/no_244.jpg b/31183-tei/images/no_244.jpg
new file mode 100644
index 0000000..b0c4f0d
--- /dev/null
+++ b/31183-tei/images/no_244.jpg
diff --git a/31183-tei/images/no_249.jpg b/31183-tei/images/no_249.jpg
new file mode 100644
index 0000000..1b8c94e
--- /dev/null
+++ b/31183-tei/images/no_249.jpg
diff --git a/31183-tei/images/no_251.jpg b/31183-tei/images/no_251.jpg
new file mode 100644
index 0000000..968a0b7
--- /dev/null
+++ b/31183-tei/images/no_251.jpg
diff --git a/31183-tei/images/no_252.jpg b/31183-tei/images/no_252.jpg
new file mode 100644
index 0000000..a632e76
--- /dev/null
+++ b/31183-tei/images/no_252.jpg
diff --git a/31183-tei/images/no_254.jpg b/31183-tei/images/no_254.jpg
new file mode 100644
index 0000000..d8e3695
--- /dev/null
+++ b/31183-tei/images/no_254.jpg
diff --git a/31183-tei/images/no_256.jpg b/31183-tei/images/no_256.jpg
new file mode 100644
index 0000000..49ca6ff
--- /dev/null
+++ b/31183-tei/images/no_256.jpg
diff --git a/31183-tei/images/no_257.jpg b/31183-tei/images/no_257.jpg
new file mode 100644
index 0000000..fdf9cef
--- /dev/null
+++ b/31183-tei/images/no_257.jpg
diff --git a/31183-tei/images/no_261.jpg b/31183-tei/images/no_261.jpg
new file mode 100644
index 0000000..f215ff1
--- /dev/null
+++ b/31183-tei/images/no_261.jpg
diff --git a/31183-tei/images/no_264.jpg b/31183-tei/images/no_264.jpg
new file mode 100644
index 0000000..e6d3b37
--- /dev/null
+++ b/31183-tei/images/no_264.jpg
diff --git a/31183-tei/images/no_267.jpg b/31183-tei/images/no_267.jpg
new file mode 100644
index 0000000..04c2f44
--- /dev/null
+++ b/31183-tei/images/no_267.jpg
diff --git a/31183-tei/images/no_270_1.jpg b/31183-tei/images/no_270_1.jpg
new file mode 100644
index 0000000..7363034
--- /dev/null
+++ b/31183-tei/images/no_270_1.jpg
diff --git a/31183-tei/images/no_270_4.jpg b/31183-tei/images/no_270_4.jpg
new file mode 100644
index 0000000..a61739e
--- /dev/null
+++ b/31183-tei/images/no_270_4.jpg
diff --git a/31183-tei/images/no_271_1.jpg b/31183-tei/images/no_271_1.jpg
new file mode 100644
index 0000000..4a4e630
--- /dev/null
+++ b/31183-tei/images/no_271_1.jpg
diff --git a/31183-tei/images/no_271_5.jpg b/31183-tei/images/no_271_5.jpg
new file mode 100644
index 0000000..a5e4b01
--- /dev/null
+++ b/31183-tei/images/no_271_5.jpg
diff --git a/31183-tei/images/no_275.jpg b/31183-tei/images/no_275.jpg
new file mode 100644
index 0000000..aadd249
--- /dev/null
+++ b/31183-tei/images/no_275.jpg
diff --git a/31183-tei/images/no_279.jpg b/31183-tei/images/no_279.jpg
new file mode 100644
index 0000000..ce04aac
--- /dev/null
+++ b/31183-tei/images/no_279.jpg
diff --git a/31183-tei/images/no_281.jpg b/31183-tei/images/no_281.jpg
new file mode 100644
index 0000000..91d4810
--- /dev/null
+++ b/31183-tei/images/no_281.jpg
diff --git a/31183-tei/images/no_282.jpg b/31183-tei/images/no_282.jpg
new file mode 100644
index 0000000..73cea17
--- /dev/null
+++ b/31183-tei/images/no_282.jpg
diff --git a/31183-tei/images/no_286.jpg b/31183-tei/images/no_286.jpg
new file mode 100644
index 0000000..1156dd6
--- /dev/null
+++ b/31183-tei/images/no_286.jpg
diff --git a/31183-tei/images/no_287.jpg b/31183-tei/images/no_287.jpg
new file mode 100644
index 0000000..7954d5c
--- /dev/null
+++ b/31183-tei/images/no_287.jpg
diff --git a/31183-tei/images/no_288.jpg b/31183-tei/images/no_288.jpg
new file mode 100644
index 0000000..fe1bbee
--- /dev/null
+++ b/31183-tei/images/no_288.jpg
diff --git a/31183-tei/images/no_289.jpg b/31183-tei/images/no_289.jpg
new file mode 100644
index 0000000..74fba5b
--- /dev/null
+++ b/31183-tei/images/no_289.jpg
diff --git a/31183-tei/images/no_290.jpg b/31183-tei/images/no_290.jpg
new file mode 100644
index 0000000..f230f25
--- /dev/null
+++ b/31183-tei/images/no_290.jpg
diff --git a/31183-tei/images/no_303.jpg b/31183-tei/images/no_303.jpg
new file mode 100644
index 0000000..aac6269
--- /dev/null
+++ b/31183-tei/images/no_303.jpg
diff --git a/31183-tei/images/tp.jpg b/31183-tei/images/tp.jpg
new file mode 100644
index 0000000..62d536c
--- /dev/null
+++ b/31183-tei/images/tp.jpg
diff --git a/31183.txt b/31183.txt
new file mode 100644
index 0000000..789411e
--- /dev/null
+++ b/31183.txt
@@ -0,0 +1,1687 @@
+The Project Gutenberg EBook of Rembrandt, With a Complete List of His
+Etchings by Arthur Mayger Hind
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: Rembrandt, With a Complete List of His Etchings
+
+
+Author: Arthur Mayger Hind
+
+Release Date: February 5, 2010 [Ebook #31183]
+
+Language: English
+
+Character set encoding: US-ASCII
+
+
+***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS
+***
+
+
+
+
+
+Rembrandt, With a Complete List of his Etchings
+
+
+
+
+Arthur M. Hind
+
+
+
+Fredk. A. Stokes Company
+1912
+
+
+
+
+
+                                 [image]
+
+
+
+
+
+          [144, II. Rembrandt and his Wife, Saskia, 1636, B. 19]
+
+           144, II. Rembrandt and his Wife, Saskia, 1636, B. 19
+
+
+
+
+
+CONTENTS
+
+
+REMBRANDT
+BOOKS OF REFERENCE
+A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS
+
+
+
+
+
+ILLUSTRATIONS
+
+
+144, II. Rembrandt and his Wife, Saskia, 1636, B. 19
+1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.
+7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164
+20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66
+23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile _r.;_ head only,
+bust added afterwards. 1630. B. 292. First state, the body being merely
+indicated in ink
+38, II. THE BLIND FIDDLER. 1631. B. 138
+40. THE LITTLE POLANDER. 1631. B. 142.  139. THE QUACKSALVER. 1635. B.
+129.  164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B.
+133
+52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.
+54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the
+body added.
+57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2
+97, I. THE RAT-KILLER. 1632. B. 121
+110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was
+afterwards cut down to a bust in an oval.
+112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347
+127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state
+129. OLD WOMAN SLEEPING. (1635-7.) B. 350.
+147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91
+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
+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
+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
+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
+179. THE WINDMILL. 1641. B. 233
+184. THE SPANISH GIPSY. (1641.) B. 120
+198, I. THE RAISING OF LAZARUS. 1642. B. 72
+205. THE THREE TREES. (1643.) B. 212
+209, I. SIX'S BRIDGE. 1645. B. 208
+215. CHRIST CARRIED TO THE TOMB. (1645.) B. 84
+216. THE REST ON THE FLIGHT: LIGHTLY ETCHED. 1645. B. 58
+228, II. JAN SIX. 1647. B. 285
+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
+232, I. ST. JEROME BESIDE A POLLARD WILLOW.  1648. B. 103
+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
+239, I. CANAL WITH A LARGE BOAT AND BRIDGE. 1650. B. 236
+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
+249. THE GOLDWEIGHER'S FIELD. 1651. B. 234
+251, I. CLEMENT DE JONGHE, PRINTSELLER. 1651. B. 272
+252. THE BLINDNESS OF TOBIT: THE LARGER PLATE.  1651. B. 42
+254. THE STAR OF THE KINGS: A NIGHT PIECE. (1652.) B. 113
+256. CHRIST PREACHING ("LA PETITE TOMBE"). 1652 B. 67
+257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. 1652. B. 65
+261. TITUS VAN RYN, REMBRANDT'S SON. (1656.) B. 11
+264. LANDSCAPE WITH A ROAD BESIDE A CANAL. 1652. B. 221
+267, I. ST. JEROME READING, IN AN ITALIAN LANDSCAPE. (1653.) B. 104
+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,
+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
+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.
+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
+286. ABRAHAM ENTERTAINING THE ANGELS. 1656. B. 29
+287, II. JACOB HAARING (THE "OLD HAARING"). (1655.) B. 274
+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)
+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
+
+
+
+
+
+
+REMBRANDT
+
+
+    Rembrandt Harmensz van Ryn, son of Harmen Gerritsz van Ryn, miller
+    (d. 1630), and Neeltge Willemsdochter (d. 1640), daughter of a
+    baker of Zuytbroeck; born at Leyden, July 15, 1606; entered Leyden
+    University as a student of letters, May 20, 1620, but left before
+    the end of the year; studied painting for about three years in his
+    native town under Jacob Isaaksz van Swanenburgh, and at the age of
+    seventeen for about six months under Pieter Lastman in Amsterdam;
+    settled in Leyden from 1624 until 1631, removing with his sister
+    Lysbeth to Amsterdam in the latter half of 1631; married Saskia
+    van Ulenburch, June 1634; from 1639 to 1658 lived in the
+    Breestraat (in the house which is now open to the public); lost
+    his wife in 1642; from about 1652 Hendrikje Stoffels, who had been
+    his servant, lived with him as his wife, until her death about
+    1664; Rembrandt's material success as a painter was
+    counterbalanced by his zeal for collecting works of art, and in
+    1656 he was forced by his creditors to declare bankrupt; an
+    inventory of the contents of his house, made in view of the sales
+    which took place in 1657 and 1658, is still preserved; the last
+    part of his life was spent in a lodging on the Rozengracht, and
+    all the money that he earned went to his creditors whom he never
+    satisfied; he died and was buried in the Westerkerk, Amsterdam,
+    October 4, 1669.
+
+
+The formal style of art, the essence of line-engraving, reached its zenith
+in Albrecht Duerer.  And Duerer was so great a master that human feeling
+told through the medium of the severest formalism.  But it was not till a
+century later that human expression found its full outlet in an artist
+whose sympathy was at once penetrating and comprehensive, who perfected a
+medium capable of the most spontaneous rendering of the deepest as well as
+the most fleeting emotions of life.
+
+As a painter Rembrandt was chiefly devoted to portraiture, a devotion no
+doubt largely due to the conviction that its study gives the most
+immediate opportunity for depicting human character. But it must also be
+confessed that the overwhelmingly large proportion of portraits to other
+subjects in his painted work may be partly owing to the demands of
+clients.  That it was not entirely so is immediately evident when one
+considers the master's untiring industry in painting portraits of himself
+after his popularity had waned, and commissions nearly ceased.
+Nevertheless as works for the most part uncommissioned and less lucrative
+than the paintings, we may take it that the etchings are a true reflection
+of the actual tendency of Rembrandt's genius when least affected by
+demands from outside.  In his etched work we find that portraits are much
+less numerous, and by far the largest place is given to the subjects from
+scripture, treated with the same reality that characterises his sketches
+from daily life.
+
+Rembrandt's affection for scriptural subjects is a striking fact in face
+of the general character of Dutch art in the seventeenth century.  The
+reformation in Holland seems to have helped towards the exclusion of art
+from the domain of religion; and the merely formal and superficial
+rendering of biblical stories by the classicists of the late sixteenth
+century may have also had much to account for the secular reaction of the
+succeeding period.  But Rembrandt had no need to seek new ground to escape
+from a formal rendering of well-known themes.  Like most masters of
+supreme genius, his originality consisted in the realisation of his own
+deepest and most personal emotion in his treatment of the old stories.
+They appealed to him as the vehicle of the noblest thoughts of man in
+relation to himself and God, and he was practically the first artist who
+dared approach the Scriptures in the spirit of reality that implied a
+living faith rather than an official creed.
+
+It is perhaps still not superfluous to emphasise the fact that the
+etchings of Rembrandt (as of nearly all the painter-engravers or etchers)
+are original works distinct in methods and aims from the paintings or
+works in any other medium.  In Rembrandt's work of rather more than three
+hundred etchings there are scarcely half a dozen subjects that correspond
+with his pictures.  In general the original engraver or etcher conceives
+and carries out his design in specific relation to its medium; its
+expression in another would demand an entirely different treatment.
+
+Rembrandt worked on copper in pure etching and dry-point.  In pure etching
+the plate is first covered with a thin layer or ground of wax composition;
+the etcher draws through this ground (which offers scarcely any
+resistance) with an etching needle, opening up the surface of the copper
+where he wishes his lines to appear.  The plate is then put in a bath of
+acid which bites the furrows in the unprotected parts of the plate, i.e.
+wherever the needle has been drawn through the ground.  Dry-point, though
+generally regarded as a branch of etching, as it is so constantly used on
+the same plate as bitten work, is in reality more akin to line-engraving.
+No acid is used, and the lines are scratched on the surface of the copper
+by a strong steel point.  The artist does not push this point before the
+hand like the graver, but uses it in the same way as a pencil.  The curl
+of metal thrown up at the side of the line is not scraped away as in
+line-engraving, where the aim is clearness of designs, but left to hold
+the ink, enwrapping the line, as printed from the furrows, in a rich
+cloudy tone.  This curl of metal, or "burr" (a term also applied to the
+velvety tone which it causes), is extremely delicate, and a comparatively
+few impressions suffice to level it with the surface of the copper, and
+leave the effect a mere ghost of the artist's intention.  So that rich
+impressions from dry-points are infinitely rarer than good ones from the
+pure etchings, which often yield hundreds of prints without greatly
+deteriorating in quality.  But the more delicate the etching and the
+closer the mesh of line, the sooner will deterioration of quality set in,
+so that a glance at the character of an etching, granting that the plate
+was not destroyed after a very limited issue, will almost immediately
+reveal one important point, i.e. the comparative rarity of good
+impressions.  It is clear and strong open line prints such as the _Christ
+at Emmaus_ of 1654 (_282_) of which moderate impressions are not so
+valuable, for such plates were still in fair condition for printing as
+late as the eighteenth century.
+
+Pure etching is often combined with dry-point, the latter being used to
+give emphasis and strength to an etching of greater uniformity of tone.
+Rembrandt did not begin to use dry-point until about 1639, e.g. in the
+_Death of the Virgin_ (_161_), but it is not handled with any richness of
+effect until such works as the _Triumph of Mordecai_ (_172_) which
+probably dates several years later.  A print like the _Three Trees_
+(_205_) might seem from the reproduction to have the rich tone that comes
+from dry-point, but in this case the dark effect is almost entirely due to
+a close mesh of pure etched lines.  The real quality of dry-point may be
+better studied in some of the lightly sketched lines in the foreground of
+the _Artist drawing from a model_ (_231_), e.g. the palm branch on the
+right.
+
+In his early period up till about 1640, Rembrandt's etching is
+characterised by a clear lineal manner with little tendency to the
+chiaroscuro which gradually became the characteristic feature of his
+artistic style in etching as well as in painting.  Later he tends to a
+greater breadth of treatment in line, and a less imitative treatment of
+physical form.  At first his experiments in chiaroscuro were produced by
+the close mesh of etched lines, but it must be confessed that etching as
+such rather loses its character when the line is so entirely lost in tone.
+Even the _Hundred Guilder Print_ (_236_) holds its unrivalled place in the
+art of etching rather for the genius that overcame supreme difficulties
+than for the supreme fitness of the style in relation to the medium.
+Rembrandt never showed the breadth of his sympathy and his powers of
+observation better than in this plate, but for grandeur of conception,
+concentration of material, and a vigorous handling more in keeping with
+the scale of his subject, he attained a nobler--I think his
+noblest--creation in the _Three Crosses_ (_270_).  The changes introduced
+in this plate in a later state are remarkable, and show how completely the
+etcher can transform his subject.  Here the changes are astonishingly
+drastic, and may have been intended to direct us to an entirely different
+moment in the drama of the Crucifixion.  In other examples, such as the
+_Christ presented to the People_  (_271_) and the _Landscape with trees,
+farm-buildings, and a tower_ (_244_), one sees how Rembrandt was
+constantly striving in the progress of his states towards greater
+concentration of idea, effecting it in the former by the removal of an
+entire group of figures, in the latter by the lopping of a cupola on the
+church tower.  Except for an occasional plate like the _Clement de Jonghe_
+(_251_) with its open line after the manner of Van Dyck, Rembrandt kept to
+the method of close painter-like shading throughout the latter part of his
+life, but in his subject prints he almost entirely discarded this method
+of chiaroscuro for a more luminous and mysterious shadow effected by the
+surface tinting of a more broadly etched plate. The various states of the
+_Entombment_ (_281_), first with the line quite open, then with some added
+shading partially aided by a surface tint, exemplify the manner of his
+progress. In this wonderful plate, and nearly all the subjects of his
+later period, Rembrandt had attained a dignity of composition which we
+find in few painters outside Venice.  In spite of his thoroughly Dutch
+temperament, Rembrandt had learnt much from the Italians, and in nothing
+more than in space composition.  A very large proportion of his early
+etchings are studies of seperate figures.  Only by this constant study of
+pieces of life was perfected the power by which his greater conceptions
+were realised with such unity of effect.
+
+Rembrandt took longer than many a weaker artist to reach his maturity, not
+that his progress was slower, but the maturity much higher, and even his
+old age seemed like youth in its perennial receptivity and power of
+vigorous growth.  A well-known connoisseur of the time, Constantin
+Huygens, writing in 1631, was more impressed by Lievens's brilliant
+flights of invention than by Rembrandt's vivid power of expressing
+character and emotion.  But while the former and so many of his
+contemporaries were content with their own facility and the convention
+they had reached, Rembrandt never remitted the ardour of the great quest
+which was the very blood of his life.  Constantly breaking new paths, and
+losing at each new turn his earlier patrons, who failed to follow the
+progress of his genius, he died in comparative neglect, only to be
+rediscovered by the moderns as one who still belongs to the most living
+style of art.
+
+A few etchers of the last two or three generations have taken a step
+further or aside in this or that direction, more particularly in the art
+of landscape, but even Whistler, at once the supreme virtuoso and the
+greatest individuality of nineteenth-century etching, falls far short of
+Rembrandt in the one thing which makes or mars genius of the highest
+order, i.e. depth of humanity, without surpassing him in the technical
+mastery of expressive line.  Rembrandt remains for us the greatest etcher
+who has ever lived, as well as one of the noblest exponents in art of the
+deepest and most generous emotions of life.
+
+
+
+
+
+BOOKS OF REFERENCE
+
+
+
+
+                                CATALOGUES
+
+
+      Gersaint, E. F. Paris 1751
+      Yver, P. Amsterdam 1756 (supplement to Gersaint)
+      Bartsch, Adam. Vienna 1797
+      Claussin, J. J. de. Paris 1824 (supplement 1828)
+      Wilson, T. London 1836
+      Blanc, C. Paris 1859-61 (1873, and with a complete series of
+      reproductions, 1880)
+      Middleton-Wake, C. H. London 1878
+      Dutuit, E. Paris 1881-4 (with a complete series of reproductions in
+      heliogravure); Manuel de l'Amateur V (1882), and VI (1885).
+      Rovinski, D. St. Petersburg 1890 (with atlas of reproductions
+      covering all the etchings in practically every state)
+      Rovinski, D. Les Eleves de Rembrandt. St. Petersburg 1894
+      Seidlitz, W. von. Leipzig 1895
+      Dodgson, C. In Hamerton. the Etchings of Rembrandt, London 1904
+      Singer, H. W. Stuttgart 1906 (and 1910)
+      Hind, A. M. London 1912
+
+
+
+
+                                 GENERAL
+
+
+Also including the most important works on Rembrandt's paintings and
+drawings
+
+      Vosmaer, C. Rembrandt, sa vie et ses oeuvres. The Hague 1868 (and
+      1877)
+      Haden, (Sir) F. Seymour. The Etched Work of Rembrandt. London 1879
+      Michel, E. Rembrandt, sa vie, son oeuvre, et son temps. Paris 1893
+      Hamerton, P. G. The Etchings of Rembrandt. London 1894 (and 1904,
+      with catalogue by C. Dodgson)
+      Bode, W., and Groot, C. H. de. The Complete Work of Rembrandt
+      (reproduced in photogravure). 8 vols. Paris 1897--1906
+      Groot, C. H. de. Die Urkunden ueber Rembrandt (1575-1721). The Hague
+      1906. (English version in vol. 8 of Bode)
+      Groot, C. H. de. Die Handzeichnungen Rembrandts. Versuch eines
+      beschreibenden und kritischen Katalogs. Haarlem 1906
+      Hamann, R. Rembrandt's Radierungen. Berlin 1906
+      Holmes, C. J. The Development of Rembrandt as an Etcher. _Burlington
+      Magazine_ IX (1906), 87, 245, 313, 383
+      Holmes, C. J.  Notes on the Art of Rembrandt. London 1911
+      Brown, C. Baldwin. London 1907
+      Six, J. Gersaint's lyst van Rembrandts Prenten. _Oud-Holland_ XXVII
+      (1909), 65
+
+
+
+
+
+A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS
+
+
+Arranged according to the author's complete catalogue in _Rembrandt's
+Etchings, an Essay and a Catalogue_ (Methuen, 1912), which follows the
+chronological arrangement of the collection in the British Museum.
+Numbers that are obelised ({~DAGGER~}) are plates of doubtful authenticity; starred
+numbers (*) refer to plates not represented in the British Museum.
+Conjectural dates are cited within brackets.  Except for Nos. 144
+(frontispiece), 139 and 164 (on same plate as No. 40), and 196 (on same
+plate as No. 175), the etchings reproduced (entirely from the British
+Museum collection) are given in the order of this catalogue, so that plate
+numbers have been dispensed with.  The Roman numerals following the
+catalogue numbers in the underlines to the plates refer to the states of
+the etchings as described in the complete catalogue.  B. = Bartsch.
+
+      1. Rembrandt's Mother: Head Bust, three-quarters r. 1628. B. 354.
+      2. Rembrandt's Mother: Head only, full face. 1628. B. 352
+      2.* Rembrandt with a Broad Nose. (1628) B. 4
+      3. Rembrandt Bareheaded, with High Curly Hair: Head and Bust.
+      (1628.) B. 27
+      4. Rembrandt Bareheaded: A Large Plate Roughly Etched: Head and
+      Bust. 1629. B. 338
+      4.* Aged Man of Letters. (1629.) B. 149
+      5. Peter and John at the Gate of the Temple: Roughly Etched.
+      (1629-30.) B. 95
+      6. The Small Lion Hunt (with one Lion). (1629-30.) B. 116
+      7. Beggar Man and Beggar Woman Conversing. 1630. B. 164
+      8. Beggar Seated Warming his Hands at a Chafing Dish. (1630.) B. 173
+      9. Beggar Leaning on a Stick, facing l. (1630.) B. 163
+      10. Beggar in a Long Cloak, Sitting in an Arm-chair. (1630.) B. 160
+      11. Beggar Seated on a Bank. 1630. B. 174
+      12. Beggar with a Wooden Leg. (1630.) B. 179
+      13. Beggar Man and Beggar Woman Behind a Bank. (1630) B. 165
+      14. Man in a Cloak and Fur Cap Leaning against a Bank. (1630.) B.
+      151
+      15. Beggar in a High Cap, Standing and Leaning on a Stick. (1630.)
+      B. 162
+      16. Ragged Peasant with his Hands Behind Him, Holding a Stick.
+      (1630.) B. 172
+      17. The Flight into Egypt: A Sketch. (1630.) B. 54
+      18. The Presentation in the Temple (with the Angel): small plate.
+      1630. B. 51
+      19. The Circumcision: small plate. (1630.) B. 48
+      20. Christ Disputing with the Doctors: small plate. 1630. B. 66
+      21. Bust of a Man (Rembrandt's Father?) in full face, wearing a
+      Close Cap. 1630. B. 304
+      22. Bust of a Man (Rembrandt's Father?) wearing a High Cap,
+      three-quarters r. 1630. B. 321
+      23. Bald-headed Man (Rembrandt's Father?) in Profile r; head only;
+      bust added afterwards. 1630. B. 292
+      24. Bald-headed Man (Rembrandt's Father?) in Profile r.; small bust.
+      1630. B. 294
+      25. Three Studies of Old Men's Heads. (1630.) B. 374
+      26. Bust of an Old Man with Flowing Beard and White Sleeve. (1630.)
+      B. 291
+      27. Bust of an Old Man with Flowing Beard: the Head Bowed Forward:
+      l. shoulder unshaded. 1630. B. 325
+      28. Bust of an Old Man with Flowing Beard: the head inclined
+      three-quarters r. 1630. B. 309
+      29. Rembrandt in a Fur Cap: the Dress Light: bust. 1630. B. 24
+      30. Rembrandt Bareheaded, in Sharp Light from r.; Looking over his
+      Shoulder: bust. 1630. B. 10
+      31. Rembrandt Bareheaded and Open-mouthed, as if Shouting: bust.
+      1630. B. 13
+      32. Rembrandt in a Cap, Open-mouthed and Staring: bust in outline.
+      1630. B. 320
+      33. Rembrandt Bareheaded, with Thick Curling Hair and Small White
+      Collar: bust. (1630.) B. 1
+      34. Rembrandt in a Cap, Laughing: Bust. 1630. B. 316
+      35. Rembrandt Bareheaded, Leaning Forwards as if Listening: bust.
+      (1630.) B. 9
+      36. Rembrandt Bareheaded, Leaning Forward: bust lightly indicated.
+      (1630-1.) B. 5
+      37. Head of a Man in a Fur Cup, Crying Out. (1631.) B. 327
+      38. The Blind Fiddler.  1631. B. 138
+      39. Head of a Man in a High Cap: three-quarters r. (1631.) B. 302
+      40. A Polander standing with Stick: profile to r. (the "Little
+      Polander"). 1631. B. 142
+      41. Sheet of Studies of Men's Heads (the plate afterwards cut into
+      five parts). (1631.) B. 366
+      42. Diana at the Bath. (1631.) B. 201
+      43. Naked Woman Seated on a Mound. (1631.) B. 198
+      44. Jupiter and Antiope: the smaller Plate. (1631.) B. 204
+      45. A Man Making Water. 1631. B. 190
+      46. A Woman Making Water. 1631. B. 191
+      47. Bust of an Old Bearded Man Looking Down, three-quarters r. 1631.
+      B. 260
+      48. Bust of an Old Man with Flowing Beard: Head Nearly Erect: Eyes
+      Cast Down: Looking Slightly l. 1631. B. 315
+      49. Bust of an Old Man with Fur Cap and Flowing Beard: nearly full
+      face: Eyes Direct. (1631.) B. 312
+      50. Rembrandt's Mother with Hand on Chest: small bust. 1631. B. 349
+      51. Rembrandt's Mother Seated Facing r., in an Oriental Headdress:
+      half length, Showing Hands. 1631. B. 348
+      52. Rembrandt's Mother Seated at a Table Looking r.: three-quarter
+      length. (1631.) B. 343
+      53. Bearded Man (Rembrandt's Father?) in Furred Oriental Cap and
+      Robe: half length. 1631. B. 263
+      54. Rembrandt Wearing a Soft Hat, Cocked: head only: body added
+      afterwards. 1631. B. 7
+      55. Rembrandt with Long Bushy Hair: head only. (1631.) B. 8
+      56. Rembrandt in a Heavy Fur Cap: full face: bust. 1631. B. 16
+      57. Rembrandt Wearing a Soft Cap: full face: head only. (1631.) B. 2
+      58. Rembrandt with Cap Pulled Forward: bust. (1631.) B. 319
+      59. Rembrandt with Fur Cap, in an Oval Border: bust. (1631.) B. 12
+      {~DAGGER~}60.  Rembrandt with Bushy Hair and Contracted Eyebrows: bust. 1631.
+      B. 25
+      61. Rembrandt  Bareheaded, the Light Falling from the r.: bust.
+      (1631.) B. 332
+      {~DAGGER~}62. Rembrandt in a Slant Fur Cap: bust.  1631.  B. 14
+      63. Rembrandt in a Cloak with Falling Collar: bust. 1631. B. 15
+      {~DAGGER~}64. Rembrandt with a Jewel in his Cap. (1631.) Middleton, 18
+      {~DAGGER~}65. Bust of a Young Man in a Cap. (1631.) B. 322
+      66. Rembrandt in a Dark Cloak and Cap: bust. (1631.) B. 6
+      67. Rembrandt(?), Scowling, in an Octagon: head only. (1631.) B. 336
+      68. Grotesque Profile: Man in High Cap. (1631.) B. 326
+      69. Peasant with his Hands Behind his Back. 1631. B. 135
+      {~DAGGER~}70. Bust of a Snub-nosed Man in a Cap: Profile r. 1631. B. 317
+      {~DAGGER~}71. Bust of a Man in a Cap, Bound Round the Ears and Chin. (1631.)
+      B. 323
+      72. Beggar with a Stick, Walking l. 1631. B. 167
+      73. Beggar with his l. Hand Extended. 1631. B. 150
+      74. The Blindness of Tobit: A Sketch. (1631.) B. 153
+      75. Seated Beggar and his Dog. 1631. B. 175
+      75.* A Stout Man in a Large Cloak. (1631.) B. 184
+      {~DAGGER~}76. Old Woman Seated in a Cottage, with a String of Onions on the
+      Wall. 1631. B. 134
+      77. The Leper ("Lazarus Klap"). 1631. B. 171
+      77.* Beggar Man and Beggar Woman. (1631.) B. 183
+      78. Two Beggars Tramping towards the r. (1631.) B. 154
+      78.* Two Studies of Beggars. (1631.) B. 182
+      79. Beggar with a Crippled Hand Leaning on a Stick r. (1631.) B. 166
+      80. Old Beggar Woman with a Gourd. (1631.) B. 168
+      {~DAGGER~}8l. Beggar Standing Leaning on a Stick l.: small plate. (1631.) B.
+      169
+      {~DAGGER~}82. Bust of an Old Woman in Furred Cloak and Heavy Headdress. 1631.
+      B. 355
+      {~DAGGER~}83. Bust of an Old Woman in a High Head-dress Bound Round the Chin.
+      (1631.) B. 358
+      {~DAGGER~}84. Bust of a Beardless Man (Rembrandt's Father?) in a Fur Cloak
+      and Cap: Looking Down: three-quarters l. 1631. B. 307
+      {~DAGGER~}85. Bust of a Bald Man (Rembrandt's Father?) in a Fur Cloak Looking
+      r. 1631. B. 324
+      {~DAGGER~}86. Bust of a Bald Man Looking Down, Grinning. 1631. B. 298
+      {~DAGGER~}87. Bust of Bearded Old Man with High Forehead and Close Cap. 1631.
+      B. 314
+      {~DAGGER~}88. Bust of an Old Man Looking Down, with Wavy Hair and Beard:  cap
+      added afterwards. (1631.)  B. 337
+      {~DAGGER~}89. Small Bust of Bearded Man Looking Down, with Eyes Nearly
+      Closed. (1631.) B. 296
+      90. Sheet of Studies:  Head of Rembrandt, Beggar Couple, Heads of
+      Old Man and Old Woman, etc. (1632.)  B. 363
+      {~DAGGER~}91. Rembrandt's  Mother  in Widow's Dress and Black Gloves. (1632)
+      B. 344
+      92. Old Man Seated, with Flowing Beard, Fur Cap and Velvet Cloak.
+      (1632.) B. 262
+      93. Man Standing in Oriental Costume and Plumed Fur Cap. 1632. B.
+      152
+      94. St. Jerome Playing: Arched Print. 1632. B. 101
+      95. The Holy Family. (1632.) B. 62
+      96. The Raising of Lazarus: the larger Plate. (1632.) B. 73
+      97. The Rat-Killer. 1632. B. 121
+      98. Polander Leaning on a Stick: Profile l. (1632.) B. 141
+      99. A Turbaned Soldier on Horseback. (1632.) B. 139
+      100. A Cavalry Fight. (1632-3.) B. 117
+      101. The Good Samaritan. 1633. B. 90
+      102. The Descent from the Cross: first plate. 1633. B. 81, I
+      103. The Descent from the Cross: second plate. 1633. B. 81, II, etc.
+      104. Joseph's Coat Brought to Jacob. (1633.) B. 38
+      105. The Flight into Egypt: small plate. 1633. B. 52
+      106. The Ship of Fortune. 1633. B. 111
+      107. Rembrandt's Mother in a Cloth Head-dress, Looking Down: head
+      only. 1633. B. 351
+      108. Rembrandt in Cap and Scarf: the Face Dark: bust. 1633. B. 17
+      109. Rembrandt with Raised Sabre: half-length. 1634. B. 18
+      110. Rembrandt with Plumed Cap and Lowered Sabre: three-quarter
+      length: afterwards bust in oval. 1634. B. 23
+      111. Jan Cornelis Sylvius, Preacher (r). 1634. B. 266
+      112. Rembrandt's Wife Saskia, with Pearls in her Hair, bust. 1634.
+      B. 347
+      113. Woman Reading.  1634. B. 345
+      114. A Peasant: One of a Pair, Calling Out. 1634. B. 177
+      115. A Peasant: the Other of the Pair, Replying. 1634. B. 178
+      116. Two Tramps, a Man and a Woman. (1634.) B. 144
+      117. Sheet of Two Slight Studies: One of Two Peasants. (1634.) B.
+      373
+      118. Joseph and Potiphar's Wife. 1634. B. 39
+      119. St. Jerome Reading. 1634. B. 100
+      120. The Angel Appearing to the Shepherds. 1634. B. 44
+      121. Christ at Emmaus: the smaller plate. 1634. B. 88
+      122. Christ and the Woman of Samaria: among Ruins. 1634. B. 71
+      123. The Crucifixion: small plate. (1634.) B. 80
+      124. The Tribute-Money. (1634.) B. 68
+      125. The Stoning of S. Stephen. 1635. B. 97
+      126. Christ Driving the Money-Changers from the Temple. 1635. B. 69
+      127. Girl with Hair Falling on her Shoulders (the "Great Jewish
+      Bride"). 1635. B. 340
+      128. Jan Uytenbogaert, Preacher of the Sect of Arminian
+      Remonstrants. 1635. B. 279
+      129. Old Woman Sleeping. (1635-7.) B. 350
+      130. Old Bearded Man in a High Fur Cap, with Closed Eyes. (1635.) B.
+      290
+      131. The First Oriental Head (Rembrandt's Father?). 1635. B. 286
+      132. The Second Oriental Head (Rembrandt's Father?). (1635.) B. 287
+      133. The Third Oriental Head. 163;. B. 288
+      134. The Fourth Oriental Head. (1635.)  B. 289
+      {~DAGGER~}l35. Head of an Old Man in a High Fur Cap. (1635.) B. 299
+      136. Bald Old Man with a Short Beard, in profile r.  0635.) B. 306
+      {~DAGGER~}137. Curly-headed Man with a Wry Mouth.  (1635.)  B. 305
+      138. Polander Standing with Arms Folded. (1635.) B. 140
+      139. The Quacksalver. 1635. B. 129
+      140. St. Jerome Kneeling in Prayer, Looking Down. 1635. B. 102
+      141. The Pan-cake Woman. 1635. B. 124
+      {~DAGGER~}142. The Strolling Musicians. (1635.) B. 119
+      143. Christ before Pilate: large plate. 1635-6. B. 77
+      144. Rembrandt and his Wife Saskia: busts. 1636. B. 19
+      145. Studies of the Head of Saskia and others. 1636. B. 365
+      146. Samuel Manasseh Ben Israel, Jewish Author. 1636. B. 269
+      147. The Return of the Prodigal Son. 1636. B. 91
+      148. Abraham  Caressing Isaac. (1637.) B. 33
+      149. Abraham Casting Out Hagar and Ishmael. 1637. B. 30
+      150. Bearded Man Wearing a Velvet Cap with a Jewel Clasp. 1637. B.
+      313
+      151. Young Man in a Velvet Cap with Books Beside Him. 1637. B. 268
+      152. Three Heads of Women, one Asleep. 1637. B. 368
+      153. Three Heads of Women, one Lightly Etched. (1637.) B. 367
+      154. Study of Saskia as S. Catherine (the "Little Jewish Bride").
+      1638. B. 342
+      155. Sheet with Two Studies: a Tree, and the Upper Part of a Head
+      Wearing a Velvet Cap. (1638.) B. 372
+      156. Rembrandt in Velvet Cap and Plume, with an Embroidered Dress:
+      bust. 1638. B. 20
+      157. Rembrandt in a Flat Cap with a Shawl About His Shoulders.
+      (1638.) B. 26
+      158. Man in a Broad-Brimmed Hat and Ruff. (1630.) B. 311
+      159. Adam and Eve. 1638. B. 28
+      160. Joseph Telling His Dreams. 1638. B. 37
+      161. The Death of the Virgin. 1639. B. 99
+      162. The Presentation in the Temple: an oblong print. (1639.) B. 49
+      163. Sheet of Studies, with a Woman Lying Ill in Bed, etc. (1639.)
+      B. 369
+      164. A Peasant in a High Cap, Standing Leaning on a Stick. 1639. B.
+      133
+      165. Death Appearing to a Wedded Couple From An Open Grave. 1639. B.
+      109
+      166. The Skater. (1639.) B. 156
+      167. Jan Uytenbogaert, Receiver-General (the "Gold-Weigher"). 1639.
+      B. 281
+      168. Rembrandt Leaning on a Stone Sill: half length. 1639. B. 21
+      169. Old Man Shading His Eyes with His Hand. (1639.) B. 259
+      170. Old Man with a Divided Fur Cap. 1640. B. 265
+      171. The Beheading of John the Baptist. 1640. B. 92
+      172. The Triumph of Mordecai. (1640.) B. 40
+      173. Christ Crucified Between the Two Thieves: an oval plate.
+      (1640.) B. 79
+      174. Sleeping Puppy. (1640.) B. 158
+      175. Small Grey Landscape: A House and Trees Beside a Pool. (1640.)
+      B. 207
+      176. View of Amsterdam. (1640.) B. 210
+      177. Landscape with a Cottage and Hay Barn: oblong. 1641. B. 225
+      178. Landscape with a Cottage and a Large Tree. 1641. B. 226
+      179. The Windmill.  1641.  B. 233
+      180. The Small Lion Hunt (with Two Lions). (1641.) B. 115
+      181. The Large Lion Hunt. 1641. B. 114
+      182. The Baptism of the Eunuch. 1641. B. 98
+      183. Jacob and Laban(?). 1641. B. 118
+      184. The Spanish Gipsy (Preciosa). (1641.) B. 120
+      185. The Angel Departing from the Family of Tobias. 1641. B. 185.
+      186. Virgin and Child in the Clouds. 1641. B. 61
+      187. Cornelis Claesz Anslo, Mennonite Preacher. 1641. B. 271
+      188. Portrait of a Boy, in profile. 1641. B. 310
+      189. Man at Desk, Wearing Cross and Chain. 1641. B. 261.
+      190. The Card-Player. 1641. B. 136
+      191. Man Drawing from a Cast. (1641.) B. 130
+      192. Woman at a Door-hatch Talking to a Man and Children (the
+      "Schoolmaster"). 1641. B. 128
+      193. The Virgin with the Instruments of the Passion. (1641.) B. 85
+      194. Man in an Arbour. 1642. B. 257
+      195. Girl with a Basket. (1642.) B. 356
+      196. Sick Woman with Large White Head-dress (Saskia). (1642.) B. 359
+      197. Woman in Spectacles, Reading. (1642.) B. 362
+      198. The Raising of Lazarus: the smaller plate.  1642.  B. 72
+      199. The Descent from the Cross: a Sketch.  1642. B. 82
+      200. The Flute-Player (L'Espiegle). 1642.  B. 188
+      201. St. Jerome in a Dark Chamber. 1642.  B. 105
+      202. Student at a Table by Candlelight. (1642.) B. 148
+      203. Cottage with a White Paling. 1642. B. 232
+      204. The Hog.  1643.  B. 157
+      205. The Three Trees.  1643. B. 212
+      206. The Shepherd and his Family. 1644. B. 220
+      207. The Sleeping Herdsman. (1644.) B. 189
+      208. The Rest on the Flight: a Night Piece. (1644.) B. 57
+      209. Six's Bridge.  1645.  B. 208
+      210. The Omval.  1645.  B. 209
+      211. The Boat-house. 1645. B. 231
+      212. Cottages beside a Canal: with a Church and Sailing Boat.
+      (1645.) B. 228
+      213. Cottages and Farm Buildings with a Man Sketching. (1645.) B.
+      219
+      214. Abraham and Isaac.  1645. B. 34
+      215. Christ Carried to the Tomb. (1645.) B. 84
+      216. The Rest on the Flight: lightly etched. 1645. B. 58
+      217. S. Peter in Penitence. 1645. B. 96
+      218. Old Man in Meditation, Leaning on a Book. (1645.) B. 147
+      219. Beggar Woman Leaning on a Stick. 1646. B. 70
+      220. Study from the Nude: Man Seated Before a Curtain. 1646. B. 193
+      221.  Study from the Nude: Man Seated on the Ground with One Leg
+      Extended. 1646. B. 196
+      222. Studies from the Nude: One Man Seated and Another Standing:
+      with a Woman and Baby lightly etched in the background. (1646.) B.
+      194
+      223. Le Lit a la Francaise (Ledekant). 1646. B. 186
+      224. The Monk in the Cornfield. (1646.) B. 187
+      225. Jan Cornells Sylvius, Preacher: posthumous portrait. 1646. B.
+      280
+      226. Ephraim Bonus, Jewish Physician. 1647. B. 278
+      227. Jan Asselyn, Painter. (1647.) B. 277
+      228. Jan Six. 1647.  B. 285
+      229. Rembrandt Drawing at a Window. 1648. B. 22
+      230. Sheet of Studies with the Head of Rembrandt, a Beggar Man,
+      Woman and Child. (1648.) B. 370
+      231. The Artist Drawing from a Model: unfinished plate. (1648.) B.
+      192
+      232. S. Jerome Beside a Pollard Willow. 1648. B. 103
+      233. Beggars Receiving Alms at the Door of a House. 1648. B. 176
+      234. Jews in a Synagogue. 1648. B. 126
+      235. Medea: or the Marriage of Jason and Creusa. 1648. B. 112
+      236. Christ, with the Sick Around Him, receiving Little Children
+      (the "Hundred Guilder Print"). (1649.) B. 74
+      237. The Incredulity of Thomas. 1650. B. 89
+      238. Canal with an Angler and Two Swans. 1650. B. 235
+      239. Canal with a Large Boat and Bridge. 1650. B. 236
+      240. Landscape with a Cow Drinking. (1650.) B. 237
+      241. Landscape with a Hay Barn and a Flock of Sheep. 1650. B. 224
+      242. Landscape with a Milk-man. (1650.) B. 213
+      243. Landscape with an Obelisk. (1650.) B. 227
+      244. Landscape with Trees, Farm-buildings and a Tower. 1650. B. 223
+      245. Landscape with a Square Tower. 1650. B. 218
+      246. Landscape with Three Gabled Cottages Beside a Road. 1650. B.
+      217
+      247. The Bull. (1650.) B. 253
+      248. The Shell.  1650. B. 159
+      249. The  Goldweigher's  Field. 1651. B. 234
+      250. The Bathers. 1651. B. 195
+      251. Clement de Jonghe, Printseller. 1651. B. 272
+      252. The Blindness of Tobit: the larger plate. 1651. B. 42
+      253. The Flight into Egypt: a Night Piece. 1651. B. 53
+      254. The Star of the Kings: a Night Piece. (1652.) B. 113
+      255. Adoration of the Shepherds; a Night Piece. (1652.) B. 46
+      256. Christ Preaching ("la Petite Tombe"). (1652.) B. 57
+      257. Christ Disputing with the Doctors: a sketch. 1652. B. 65
+      258. David in Prayer.  1652. B. 41
+      259. Peasant Family on the Tramp. (1652.) B. 131
+      260. Faust in His Study, Watching a Magic Disk. (1652.) B. 270
+      261. Titus Van Ryn, Rembrandt's Son. (1656.) B. 11
+      262. Sheet of Studies, with a Wood and Paling, Part of Two Heads,
+      and a Horse and Cart. (1652.) B. 364
+      263. Clump of Trees with a Vista. 1652.  B. 222
+      264. Landscape with a Road Beside a Canal. (1652.) B. 221
+      265. Landscape with Sportsman and Dogs. (1653.) B. 211
+      266. The Flight into Egypt: altered from Tobias and the Angel by
+      Hercules Seghers. (1653.) B. 56
+      267. S. Jerome Reading, in an Italian Landscape.  (1653.) B. 104
+      268. Jan Antonides van der Linden, Professor of Medicine.  1665. B.
+      264
+      269. Lieven Willemsz Van Coppenol, Writing-Master: the smaller
+      plate. (1653.) B. 282 270. Christ Crucified between the Two Thieves:
+      large oblong plate (the "Three Crosses").  1653. B. 78
+      271. Christ Presented to the People: large oblong plate.  1655.  B.
+      76
+      272. The Golf-Player.  1654. B. 125
+      273. The Adoration of the Shepherds (with the Lamp). (1654.) B. 45
+      274. The Circumcision (in the Stable). 1654. B. 47
+      275. The Virgin and Child with the Cat: and Joseph at the Window.
+      1654. B. 63
+      276. The Flight into Egypt: Holy Family Crossing a Brook. 1654. B.
+      55.
+      277. Christ Seated Disputing with the Doctors. 1654. B. 64
+      278. Christ Between His Parents, Returning from the Temple. 1654. B.
+      60
+      279. The Presentation in the Temple: in the Dark Manner. (1654.) B.
+      50
+      280. The Descent from the Cross: by Torchlight. 1654. B. 83
+      281. The Entombment. (1654.) B. 86
+      282. Christ at Emmaus: the larger plate. 1654. B. 87.
+      283. Abraham's Sacrifice.  1655. B. 35
+      284. Four Illustrations to a Spanish Book. (A. The Image seen by
+      Nebuchadnezzar. B. Jacob's Ladder. C. David and Goliath. D. Daniel's
+      Vision of Four Beasts.) 1655. B. 36
+      285. The Goldsmith. 1655. B. 123
+      286. Abraham Entertaining the Angels. 1656. B. 29
+      287. Jacob Haaring (the "Old Haaring"). (1655.) B. 274
+      288. Thomas Jacobsz Haaring (the "Young Haaring.") 1655. B. 275
+      289. Arnold Tholinx, Inspector of Medical Colleges at Amsterdam.
+      (1656.) B. 284
+      290. Jan Lutma, the Elder, Goldsmith and Sculptor. 1656. B. 276
+      291. Abraham Francen, Art Dealer. (1656.) B. 273
+      292. S. Francis Beneath a Tree, Praying. 1657. B. 107
+      293. The Agony in the Garden. (1657.) B. 75
+      294. Christ and the Woman of Samaria: an Arched Print. 1658. B. 70
+      295. The Phrenix; or the Statue Overthrown: an Allegory of Doubtful
+      Meaning. 1658. B. 110
+      296. Woman Sitting Half Dressed Beside a Stove. 1658. B. 197
+      297. Woman at the Bath, with a Hat Beside Her. 1658. B. 199
+      298. Woman Bathing Her Feet at a Brook. 1658. B. 200
+      299. Negress Lying Down. 1658. B. 205
+      300. Lieven Willemsz Van Coppenol, Writing-Master: the larger plate.
+      (1658.) B. 283
+      300*. Rembrandt Etching. 1658. Seidlitz, 379
+      301. Peter and John Healing the Cripple at the Gate of the Temple.
+      1659. B. 94
+      302. Jupiter and Antiope: the larger plate. 1659. B. 103
+      303. The Woman with the Arrow. 1661. B. 202
+
+The title-page border is taken from a portrait etching by Juriaen Ovens,
+of Frederick III of Holstein Gottdorp.
+
+
+
+
+
+       [1, I, REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.]
+
+        1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354.
+
+
+       [7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164]
+
+        7, I. BEGGAR MAN AND BEGGAR WOMAN CONVERSING. 1630. B. 164
+
+
+   [20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66]
+
+    20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66
+
+
+[23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile _r.;_ head only,
+ bust added afterwards. 1630. B. 292. First state, the body being merely
+                            indicated in ink]
+
+ 23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) In profile _r.;_ head only,
+ bust added afterwards. 1630. B. 292. First state, the body being merely
+                             indicated in ink
+
+
+                [38, II. THE BLIND FIDDLER. 1631. B. 138]
+
+                 38, II. THE BLIND FIDDLER. 1631. B. 138
+
+
+[40139164. THE LITTLE POLANDER. 1631. B. 142.  139. THE QUACKSALVER. 1635.
+B. 129.  164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639.
+                                 B. 133]
+
+  40. THE LITTLE POLANDER. 1631. B. 142.  139. THE QUACKSALVER. 1635. B.
+129.  164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B.
+                                   133
+
+
+          [52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.]
+
+           52, III. REMBRANDT'S MOTHER SEATED. (1631.) B. 343.
+
+
+ [54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state,
+                             the body added.]
+
+54, VI. REMBRANDT WEARING A SOFT HAT, COCKED. 1631. B. 7. Later state, the
+                               body added.
+
+
+             [57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2]
+
+              57. REMBRANDT WEARING A SOFT CAP. (1631.) B. 2
+
+
+                  [97, I. THE RAT-KILLER. 1632. B. 121]
+
+                   97, I. THE RAT-KILLER. 1632. B. 121
+
+
+[110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was
+                afterwards cut down to a bust in an oval.]
+
+110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. 1634. B. 23. This plate was
+                afterwards cut down to a bust in an oval.
+
+
+  [112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347]
+
+   112. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1634. B. 347
+
+
+     [127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state]
+
+      127, I. THE GREAT JEWISH BRIDE. 1635. B. 340. Unfinished state
+
+
+               [129. OLD WOMAN SLEEPING. (1635-7.) B. 350.]
+
+                129. OLD WOMAN SLEEPING. (1635-7.) B. 350.
+
+
+            [147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91]
+
+             147. THE RETURN OF THE PRODIGAL SON. 1636. B. 91
+
+
+[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
+
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS
+***
+
+
+
+CREDITS
+
+
+February 5, 2010
+
+            Project Gutenberg Edition
+            Martin Schub
+
+
+
+A WORD FROM PROJECT GUTENBERG
+
+
+This file should be named 31183.txt or 31183.zip.
+
+This and all associated files of various formats will be found in:
+
+
+    http://www.gutenberg.org/dirs/3/1/1/8/31183/
+
+
+Updated editions will replace the previous one -- the old editions will be
+renamed.
+
+Creating the works from public domain print editions means that no one
+owns a United States copyright in these works, so the Foundation (and
+you!) can copy and distribute it in the United States without permission
+and without paying copyright royalties. Special rules, set forth in the
+General Terms of Use part of this license, apply to copying and
+distributing Project Gutenberg{~TRADE MARK SIGN~} electronic works to protect the Project
+Gutenberg{~TRADE MARK SIGN~} concept and trademark. Project Gutenberg is a registered
+trademark, and may not be used if you charge for the eBooks, unless you
+receive specific permission. If you do not charge anything for copies of
+this eBook, complying with the rules is very easy. You may use this eBook
+for nearly any purpose such as creation of derivative works, reports,
+performances and research. They may be modified and printed and given away
+-- you may do practically _anything_ with public domain eBooks.
+Redistribution is subject to the trademark license, especially commercial
+redistribution.
+
+
+
+THE FULL PROJECT GUTENBERG LICENSE
+
+
+_Please read this before you distribute or use this work._
+
+To protect the Project Gutenberg{~TRADE MARK SIGN~} mission of promoting the free
+distribution of electronic works, by using or distributing this work (or
+any other work associated in any way with the phrase "Project Gutenberg"),
+you agree to comply with all the terms of the Full Project Gutenberg{~TRADE MARK SIGN~}
+License (available with this file or online at
+http://www.gutenberg.org/license).
+
+
+Section 1.
+
+
+General Terms of Use & Redistributing Project Gutenberg{~TRADE MARK SIGN~} electronic works
+
+
+1.A.
+
+
+By reading or using any part of this Project Gutenberg{~TRADE MARK SIGN~} electronic work,
+you indicate that you have read, understand, agree to and accept all the
+terms of this license and intellectual property (trademark/copyright)
+agreement. If you do not agree to abide by all the terms of this
+agreement, you must cease using and return or destroy all copies of
+Project Gutenberg{~TRADE MARK SIGN~} electronic works in your possession. If you paid a fee
+for obtaining a copy of or access to a Project Gutenberg{~TRADE MARK SIGN~} electronic work
+and you do not agree to be bound by the terms of this agreement, you may
+obtain a refund from the person or entity to whom you paid the fee as set
+forth in paragraph 1.E.8.
+
+
+1.B.
+
+
+"Project Gutenberg" is a registered trademark. It may only be used on or
+associated in any way with an electronic work by people who agree to be
+bound by the terms of this agreement. There are a few things that you can
+do with most Project Gutenberg{~TRADE MARK SIGN~} electronic works even without complying
+with the full terms of this agreement. See paragraph 1.C below. There are
+a lot of things you can do with Project Gutenberg{~TRADE MARK SIGN~} electronic works if you
+follow the terms of this agreement and help preserve free future access to
+Project Gutenberg{~TRADE MARK SIGN~} electronic works. See paragraph 1.E below.
+
+
+1.C.
+
+
+The Project Gutenberg Literary Archive Foundation ("the Foundation" or
+PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg{~TRADE MARK SIGN~} electronic works. Nearly all the individual works in the
+collection are in the public domain in the United States. If an individual
+work is in the public domain in the United States and you are located in
+the United States, we do not claim a right to prevent you from copying,
+distributing, performing, displaying or creating derivative works based on
+the work as long as all references to Project Gutenberg are removed. Of
+course, we hope that you will support the Project Gutenberg{~TRADE MARK SIGN~} mission of
+promoting free access to electronic works by freely sharing Project
+Gutenberg{~TRADE MARK SIGN~} works in compliance with the terms of this agreement for
+keeping the Project Gutenberg{~TRADE MARK SIGN~} name associated with the work. You can
+easily comply with the terms of this agreement by keeping this work in the
+same format with its attached full Project Gutenberg{~TRADE MARK SIGN~} License when you
+share it without charge with others.
+
+
+1.D.
+
+
+The copyright laws of the place where you are located also govern what you
+can do with this work. Copyright laws in most countries are in a constant
+state of change. If you are outside the United States, check the laws of
+your country in addition to the terms of this agreement before
+downloading, copying, displaying, performing, distributing or creating
+derivative works based on this work or any other Project Gutenberg{~TRADE MARK SIGN~} work.
+The Foundation makes no representations concerning the copyright status of
+any work in any country outside the United States.
+
+
+1.E.
+
+
+Unless you have removed all references to Project Gutenberg:
+
+
+1.E.1.
+
+
+The following sentence, with active links to, or other immediate access
+to, the full Project Gutenberg{~TRADE MARK SIGN~} License must appear prominently whenever
+any copy of a Project Gutenberg{~TRADE MARK SIGN~} work (any work on which the phrase
+"Project Gutenberg" appears, or with which the phrase "Project Gutenberg"
+is associated) is accessed, displayed, performed, viewed, copied or
+distributed:
+
+
+    This eBook is for the use of anyone anywhere at no cost and with
+    almost no restrictions whatsoever. You may copy it, give it away
+    or re-use it under the terms of the Project Gutenberg License
+    included with this eBook or online at http://www.gutenberg.org
+
+
+1.E.2.
+
+
+If an individual Project Gutenberg{~TRADE MARK SIGN~} electronic work is derived from the
+public domain (does not contain a notice indicating that it is posted with
+permission of the copyright holder), the work can be copied and
+distributed to anyone in the United States without paying any fees or
+charges. If you are redistributing or providing access to a work with the
+phrase "Project Gutenberg" associated with or appearing on the work, you
+must comply either with the requirements of paragraphs 1.E.1 through 1.E.7
+or obtain permission for the use of the work and the Project Gutenberg{~TRADE MARK SIGN~}
+trademark as set forth in paragraphs 1.E.8 or 1.E.9.
+
+
+1.E.3.
+
+
+If an individual Project Gutenberg{~TRADE MARK SIGN~} electronic work is posted with the
+permission of the copyright holder, your use and distribution must comply
+with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed
+by the copyright holder. Additional terms will be linked to the Project
+Gutenberg{~TRADE MARK SIGN~} License for all works posted with the permission of the
+copyright holder found at the beginning of this work.
+
+
+1.E.4.
+
+
+Do not unlink or detach or remove the full Project Gutenberg{~TRADE MARK SIGN~} License
+terms from this work, or any files containing a part of this work or any
+other work associated with Project Gutenberg{~TRADE MARK SIGN~}.
+
+
+1.E.5.
+
+
+Do not copy, display, perform, distribute or redistribute this electronic
+work, or any part of this electronic work, without prominently displaying
+the sentence set forth in paragraph 1.E.1 with active links or immediate
+access to the full terms of the Project Gutenberg{~TRADE MARK SIGN~} License.
+
+
+1.E.6.
+
+
+You may convert to and distribute this work in any binary, compressed,
+marked up, nonproprietary or proprietary form, including any word
+processing or hypertext form. However, if you provide access to or
+distribute copies of a Project Gutenberg{~TRADE MARK SIGN~} work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version posted
+on the official Project Gutenberg{~TRADE MARK SIGN~} web site (http://www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other form.
+Any alternate format must include the full Project Gutenberg{~TRADE MARK SIGN~} License as
+specified in paragraph 1.E.1.
+
+
+1.E.7.
+
+
+Do not charge a fee for access to, viewing, displaying, performing,
+copying or distributing any Project Gutenberg{~TRADE MARK SIGN~} works unless you comply
+with paragraph 1.E.8 or 1.E.9.
+
+
+1.E.8.
+
+
+You may charge a reasonable fee for copies of or providing access to or
+distributing Project Gutenberg{~TRADE MARK SIGN~} electronic works provided that
+
+    - You pay a royalty fee of 20% of the gross profits you derive from
+      the use of Project Gutenberg{~TRADE MARK SIGN~} works calculated using the method you
+      already use to calculate your applicable taxes. The fee is owed to
+      the owner of the Project Gutenberg{~TRADE MARK SIGN~} trademark, but he has agreed to
+      donate royalties under this paragraph to the Project Gutenberg
+      Literary Archive Foundation. Royalty payments must be paid within 60
+      days following each date on which you prepare (or are legally
+      required to prepare) your periodic tax returns. Royalty payments
+      should be clearly marked as such and sent to the Project Gutenberg
+      Literary Archive Foundation at the address specified in Section 4,
+      "Information about donations to the Project Gutenberg Literary
+      Archive Foundation."
+
+    - You provide a full refund of any money paid by a user who notifies
+      you in writing (or by e-mail) within 30 days of receipt that s/he
+      does not agree to the terms of the full Project Gutenberg{~TRADE MARK SIGN~} License.
+      You must require such a user to return or destroy all copies of the
+      works possessed in a physical medium and discontinue all use of and
+      all access to other copies of Project Gutenberg{~TRADE MARK SIGN~} works.
+
+    - You provide, in accordance with paragraph 1.F.3, a full refund of
+      any money paid for a work or a replacement copy, if a defect in the
+      electronic work is discovered and reported to you within 90 days of
+      receipt of the work.
+
+    - You comply with all other terms of this agreement for free
+      distribution of Project Gutenberg{~TRADE MARK SIGN~} works.
+
+
+1.E.9.
+
+
+If you wish to charge a fee or distribute a Project Gutenberg{~TRADE MARK SIGN~} electronic
+work or group of works on different terms than are set forth in this
+agreement, you must obtain permission in writing from both the Project
+Gutenberg Literary Archive Foundation and Michael Hart, the owner of the
+Project Gutenberg{~TRADE MARK SIGN~} trademark. Contact the Foundation as set forth in
+Section 3 below.
+
+
+1.F.
+
+
+1.F.1.
+
+
+Project Gutenberg volunteers and employees expend considerable effort to
+identify, do copyright research on, transcribe and proofread public domain
+works in creating the Project Gutenberg{~TRADE MARK SIGN~} collection. Despite these
+efforts, Project Gutenberg{~TRADE MARK SIGN~} electronic works, and the medium on which they
+may be stored, may contain "Defects," such as, but not limited to,
+incomplete, inaccurate or corrupt data, transcription errors, a copyright
+or other intellectual property infringement, a defective or damaged disk
+or other medium, a computer virus, or computer codes that damage or cannot
+be read by your equipment.
+
+
+1.F.2.
+
+
+LIMITED WARRANTY, DISCLAIMER OF DAMAGES -- Except for the "Right of
+Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg
+Literary Archive Foundation, the owner of the Project Gutenberg{~TRADE MARK SIGN~}
+trademark, and any other party distributing a Project Gutenberg{~TRADE MARK SIGN~}
+electronic work under this agreement, disclaim all liability to you for
+damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE
+NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH
+OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE
+FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT
+WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
+PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY
+OF SUCH DAMAGE.
+
+
+1.F.3.
+
+
+LIMITED RIGHT OF REPLACEMENT OR REFUND -- If you discover a defect in this
+electronic work within 90 days of receiving it, you can receive a refund
+of the money (if any) you paid for it by sending a written explanation to
+the person you received the work from. If you received the work on a
+physical medium, you must return the medium with your written explanation.
+The person or entity that provided you with the defective work may elect
+to provide a replacement copy in lieu of a refund. If you received the
+work electronically, the person or entity providing it to you may choose
+to give you a second opportunity to receive the work electronically in
+lieu of a refund. If the second copy is also defective, you may demand a
+refund in writing without further opportunities to fix the problem.
+
+
+1.F.4.
+
+
+Except for the limited right of replacement or refund set forth in
+paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+
+1.F.5.
+
+
+Some states do not allow disclaimers of certain implied warranties or the
+exclusion or limitation of certain types of damages. If any disclaimer or
+limitation set forth in this agreement violates the law of the state
+applicable to this agreement, the agreement shall be interpreted to make
+the maximum disclaimer or limitation permitted by the applicable state
+law. The invalidity or unenforceability of any provision of this agreement
+shall not void the remaining provisions.
+
+
+1.F.6.
+
+
+INDEMNITY -- You agree to indemnify and hold the Foundation, the trademark
+owner, any agent or employee of the Foundation, anyone providing copies of
+Project Gutenberg{~TRADE MARK SIGN~} electronic works in accordance with this agreement, and
+any volunteers associated with the production, promotion and distribution
+of Project Gutenberg{~TRADE MARK SIGN~} electronic works, harmless from all liability, costs
+and expenses, including legal fees, that arise directly or indirectly from
+any of the following which you do or cause to occur: (a) distribution of
+this or any Project Gutenberg{~TRADE MARK SIGN~} work, (b) alteration, modification, or
+additions or deletions to any Project Gutenberg{~TRADE MARK SIGN~} work, and (c) any Defect
+you cause.
+
+
+Section  2.
+
+
+           Information about the Mission of Project Gutenberg{~TRADE MARK SIGN~}
+
+
+Project Gutenberg{~TRADE MARK SIGN~} is synonymous with the free distribution of electronic
+works in formats readable by the widest variety of computers including
+obsolete, old, middle-aged and new computers. It exists because of the
+efforts of hundreds of volunteers and donations from people in all walks
+of life.
+
+Volunteers and financial support to provide volunteers with the assistance
+they need, is critical to reaching Project Gutenberg{~TRADE MARK SIGN~}'s goals and ensuring
+that the Project Gutenberg{~TRADE MARK SIGN~} collection will remain freely available for
+generations to come. In 2001, the Project Gutenberg Literary Archive
+Foundation was created to provide a secure and permanent future for
+Project Gutenberg{~TRADE MARK SIGN~} and future generations. To learn more about the Project
+Gutenberg Literary Archive Foundation and how your efforts and donations
+can help, see Sections 3 and 4 and the Foundation web page at
+http://www.pglaf.org.
+
+
+Section 3.
+
+
+   Information about the Project Gutenberg Literary Archive Foundation
+
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the state of
+Mississippi and granted tax exempt status by the Internal Revenue Service.
+The Foundation's EIN or federal tax identification number is 64-6221541.
+Its 501(c)(3) letter is posted at
+http://www.gutenberg.org/fundraising/pglaf. Contributions to the Project
+Gutenberg Literary Archive Foundation are tax deductible to the full
+extent permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr.
+S. Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations. Its business office is located at 809 North
+1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org. Email contact links and up to date contact information
+can be found at the Foundation's web site and official page at
+http://www.pglaf.org
+
+For additional contact information:
+
+
+    Dr. Gregory B. Newby
+    Chief Executive and Director
+    gbnewby@pglaf.org
+
+
+Section 4.
+
+
+  Information about Donations to the Project Gutenberg Literary Archive
+                                Foundation
+
+
+Project Gutenberg{~TRADE MARK SIGN~} depends upon and cannot survive without wide spread
+public support and donations to carry out its mission of increasing the
+number of public domain and licensed works that can be freely distributed
+in machine readable form accessible by the widest array of equipment
+including outdated equipment. Many small donations ($1 to $5,000) are
+particularly important to maintaining tax exempt status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United States.
+Compliance requirements are not uniform and it takes a considerable
+effort, much paperwork and many fees to meet and keep up with these
+requirements. We do not solicit donations in locations where we have not
+received written confirmation of compliance. To SEND DONATIONS or
+determine the status of compliance for any particular state visit
+http://www.gutenberg.org/fundraising/donate
+
+While we cannot and do not solicit contributions from states where we have
+not met the solicitation requirements, we know of no prohibition against
+accepting unsolicited donations from donors in such states who approach us
+with offers to donate.
+
+International donations are gratefully accepted, but we cannot make any
+statements concerning tax treatment of donations received from outside the
+United States. U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation methods
+and addresses. Donations are accepted in a number of other ways including
+checks, online payments and credit card donations. To donate, please
+visit: http://www.gutenberg.org/fundraising/donate
+
+
+Section 5.
+
+
+      General Information About Project Gutenberg{~TRADE MARK SIGN~} electronic works.
+
+
+Professor Michael S. Hart is the originator of the Project Gutenberg{~TRADE MARK SIGN~}
+concept of a library of electronic works that could be freely shared with
+anyone. For thirty years, he produced and distributed Project Gutenberg{~TRADE MARK SIGN~}
+eBooks with only a loose network of volunteer support.
+
+Project Gutenberg{~TRADE MARK SIGN~} eBooks are often created from several printed editions,
+all of which are confirmed as Public Domain in the U.S. unless a copyright
+notice is included. Thus, we do not necessarily keep eBooks in compliance
+with any particular paper edition.
+
+Each eBook is in a subdirectory of the same number as the eBook's eBook
+number, often in several formats including plain vanilla ASCII, compressed
+(zipped), HTML and others.
+
+Corrected _editions_ of our eBooks replace the old file and take over the
+old filename and etext number. The replaced older file is renamed.
+_Versions_ based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+
+    http://www.gutenberg.org
+
+
+This Web site includes information about Project Gutenberg{~TRADE MARK SIGN~}, including how
+to make donations to the Project Gutenberg Literary Archive Foundation,
+how to help produce our new eBooks, and how to subscribe to our email
+newsletter to hear about new eBooks.
+
+
+
+
+
+
+***FINIS***
+
\ No newline at end of file
diff --git a/31183.zip b/31183.zip
new file mode 100644
index 0000000..644a1eb
--- /dev/null
+++ b/31183.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..7b8c7ba
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #31183 (https://www.gutenberg.org/ebooks/31183)