There are no more landscapes until 1650, a good year, since it gives us eight plates, every one worthy of the most serious consideration. Rembrandt by this time apparently had become dissatisfied with the relatively limited range of light and dark obtainable by the pure etched line, and from now onwards he relies more and more upon dry-point to obtain his effects, at times executing his plates entirely in that medium. The _Landscape with a Haybarn and a Flock of Sheep_ is one of the loveliest plates of this period. There is a brilliancy in the first state, a quiet harmony in the elaborated second state, which makes a choice difficult. Each, in its way, is of compelling beauty. Hardly less delightful is the _Landscape with a Milkman_, with a view of the sea to the right, while at the left the cottages snuggle beneath their protecting trees. [Illustration: REMBRANDT. SIX’S BRIDGE Size of the original etching, 5⅛ × 8¾ inches In the Museum of Fine Arts, Boston] [Illustration: REMBRANDT. LANDSCAPE WITH A RUINED TOWER AND CLEAR FOREGROUND Size of the original etching, 4⅞ × 12⅝ inches In the Museum of Fine Arts, Boston] [Illustration: REMBRANDT. LANDSCAPE WITH A HAYBARN AND A FLOCK OF SHEEP Size of the original etching, 3¼ × 7 inches In the Museum of Fine Arts, Boston] [Illustration: REMBRANDT. THREE COTTAGES Size of the original etching, 6¼ × 8 inches In the Museum of Fine Arts, Boston] The _Landscape with a Ruined Tower and Clear Foreground_ is, perhaps, of all these etchings the noblest and the most dramatic. In the sky to the left are piled thunder clouds. A faint breeze, the precursor of a coming storm, gently moves the upper branches of the trees. There is an expectant hush, a tenseness, and we are made to feel that in a few minutes the first heavy raindrops will be driving through the over-charged air. Otherwise all is still, the sky to the right being yet quiet and undisturbed. With the fewest etched lines Rembrandt has indicated the form and growth of the trees, adding, just where needed to give emphasis and enrichment, touches of dry-point, concentrating his richest blacks on the noble clump which shuts off the road leading toward the left. With such simple means, with black lines and white paper, he has given us by his art a more convincing record of one of Nature’s noblest spectacles than most painters, with a full palette at their command, could achieve in a lifetime of labor.