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