The portrait of an _Old Man in a Divided Fur_ _Cap_, of the following year, is likewise admirable--not a line too much and every line full of significance. _Jan Cornelis Sylvius_, of 1646, shows in a marked degree Rembrandt’s sympathy with, and appreciation of the beauty of old age. The face is treated in a delicate and sensitive manner, and, with the fewest possible strokes, Rembrandt has indicated the texture and growth of the sparse beard of his aged sitter. Sulphur-tint has been used to give additional modelling to the face, while the background and costume are finished in a way which would have won the admiration of Dürer himself. _Ephraim Bonus_, _Jan Asselyn_, and _Jan Six_ are Rembrandt’s three portrait etchings for the year 1647. _Jan Six_ is Rembrandt’s masterpiece, so far as elaborate finish is concerned. He has availed himself of all the resources of etching, dry-point, and of the burin--used freely as an etcher may use it--to carry forward this plate. The center of the room is bathed in subdued light, which melts into rich and mysterious shadows in the corners. [Illustration: REMBRANDT. JAN CORNELIS SYLVIUS Size of the original etching, 10⅞ × 7½ inches In the Museum of Fine Arts, Boston] [Illustration: REMBRANDT. REMBRANDT LEANING ON A STONE SILL Size of the original etching, 8⅛ × 6½ inches In the Museum of Fine Arts, Boston] [Illustration: REMBRANDT. CLEMENT DE JONGHE (First State) Size of the original etching, 8⅛ × 6⅜ inches In the Museum of Fine Arts, Boston] [Illustration: REMBRANDT. JAN LUTMA (First State) Size of the original etching, 7⅞ × 5⅞ inches In the Museum of Fine Arts, Boston] _Rembrandt Drawing at a Window_ is one of the most characterful of his portraits. It shows him at the age of forty-two. Years of sorrow have left their mark upon his countenance, but what a strong, resolute face it is! _Clement de Jonghe_ (which should be seen in the first state before the expression of the face was entirely changed) is executed in Rembrandt’s open, linear manner, without strong contrasts of light and dark. For beauty of drawing and subtlety of observation, it is one of his finest plates. _Old Haaring_, of 1655, is a magnificent dry-point, in which Rembrandt has built up, with many lines, a completely harmonious picture; but for grip of character and straightforward presentation of the personality of his sitter, it must yield precedence to the unsurpassed _Jan Lutma_, of the following year. This portrait, in the first state, before the introduction of the window in the background, is one of Rembrandt’s most mature works, in that the method is perfectly adapted to the result desired.