Rembrandt also painted "St. Jerome," now at Aix-la-Chapelle, the lost pictures of "Lot and his Daughters," and the "Baptism of the Eunuch;" "The Young Man," now at Windsor; the "Prophetess Anna," in the Oldenbourg Gallery; the "Portrait of a Man," in the Brunswick Museum; and about forty etchings, among them two portraits of his mother, several of himself; the "Bath of Diana," and the Meeting of "Danaë and Jupiter." In 1632, Rembrandt painted his famous "School of Anatomy," now at the Hague, for which the Dutch government, two centuries later, gave thirty-two thousand florins. "This picture represents the celebrated anatomist, Nicolaus Tulp, a friend and patron of Rembrandt, in a vaulted saloon, engaged in explaining the anatomy of the arm of a corpse. He wears a black cloak with a lace collar, and a broad-brimmed soft hat. With his half-raised left hand, he makes a gesture of explanation, while with his right he is dissecting a sinew of the arm of his subject. The corpse lies on a table before him. To the right of Tulp is a group of five figures; and two other men are sitting at the table in front. These listeners are not students, but members of the guild of surgeons of Amsterdam, as shown by a paper held by one of them. They are attending to the lecture with very various expressions. "They are all bare-headed, dressed in black, and with turned-over collars except one, who still wears the old-fashioned upright ruff. There are, perhaps, other persons present in the hall, as Tulp appears to be looking beyond the picture, as if about to address an audience not visible to the spectator; and it is here worthy of remark that Rembrandt's compositions are never imprisoned in their frames, but convey an idea of a wide space beyond them. It is somewhat singular that the spectator seems hardly to notice the corpse lying before him at full length, the feet of which he can almost touch, although it is strongly lighted in contrast to the surrounding black garments, and most faithfully presents the peculiar hue of a dead body, leaving no doubt that it was painted from nature, as well as the living heads. The admirable art of the composition consists in its power of riveting the attention to the living in the presence of death."