Following the dedication to Vossius is an explanatory note to “the Reader.” In this note the author explains that to make his meaning clear he has added four illustrations. He does not name the artist. But we know that he was none other than Menasseh’s neighbor and intimate, Rembrandt. Four etchings, signed by Rembrandt and dated 1654, are possessed by more than one library; probably the fullest sets are to be found in the Fitzwilliam and British Museums. They were originally etched on one plate, which was afterwards cut into four. When all four etchings formed one plate, the arrangement was (as Mr. Middleton explains in his _Descriptive Catalogue of the Etched Work of Rembrandt_, p. 240): (I) Upper left: _Nebuchadnezzar’s Image_. Clothed only about the loins; there is a band or fillet about the head, and a short cloak hangs behind. The stone which breaks the legs of the image (the feet are seen falling to the left) has been cast from a roughly shaped rock. The stone is near part of a globe; illustrating the text “And the stone that broke the image became a great mountain, _and filed the whole earth_” (Daniel 2. 35). The brow is inscribed “Babel,” the right and left arms “Persae” and “Medi,” the waist “Graeci,” the legs “Romani” and “Mahometani.” These names only appear in the _fifth_ “state” of the etching. There’s a proof of the fourth “state” in Paris, which bears the names written in Rembrandt’s own hand. (II) Upper right: _Vision of Ezekiel_. The lower part, in the foreground, shows the four creatures of the chariot; above is a “glory,” amid the rays of which is seen the Almighty, surrounded by adoring angels. (III) Lower left: _Jacob’s Ladder_. The patriarch, bearded, lies half-way up the ladder, tended by an angel, others are bending down in gaze, while one figure is seen mounting the rungs immediately above. (IV) Lower right: _Combat of David and Goliath_. The most spirited drawing of all; in a scene overhung by rocks with warriors looking on, the giant grasps his lance in his left hand and with shield advanced on his right arm is charging David, who has his sling in action over his right shoulder. The Museum, as already implied, possesses proof of the etchings in various “states”--the artist touched and retouched them, until they assumed the state reproduced by the present writer in 1906, in commemoration of the tercentenary of Rembrandt’s birth. The etchings are beautiful tokens of sympathy between the Rabbi and the painter. The various “states” show, as Mr. I. Solomons has suggested, that Rembrandt took unremitting pains to obtain Menasseh’s approval of his work.