In 1643 and '44, he painted "Bathsheba at the Bath." "The nude figure of Bathsheba," says Professor Mollett, "stands out in a dazzling effect of light from a background of warm, confused shadows. The figure is not beautiful to a sculptor's eye, nor in the Italian style; but in animation, in the flesh color, and in the modelling it is superb. The harmony of the tints and of the general tone is very beautiful; tints of bronze and gold combine with shades of violet, brown, green, and yellow ochre into a warm, poetic, and mysterious gamut. 'This picture should be hung in a strong light, that the eye may penetrate into the shadows,' said Rembrandt." The other works of this time were the "Diana and Endymion" of the Liechtenstein Gallery at Vienna; "Philemon and Baucis;" the "Old Woman Weighing Gold," now in the Dresden Museum; "The Woman taken in Adultery," which brought thirty thousand dollars at public sale, and is now in the English National Gallery; a portrait of Jan Cornelis Sylvius, which was sold in 1872 for nearly eight thousand dollars, and the "Burgomaster Six" for six thousand dollars. The latter was the portrait of Jan Six, a young patrician, an enthusiastic student and poet, married to Margaret the daughter of the famous surgeon Dr. Tulp. Other pictures in the next few years were "The Tribute Money;" the "Burgomaster Pancras giving a Collar of Pearls to his Wife," now owned by Queen Victoria; "Abraham receiving the Three Angels;" two paintings of the "Adoration of the Shepherds," one now in Munich and one in the National Gallery; "The Good Samaritan," and "The Pilgrims of Emmaus," now in the Louvre; and "The Peace of the Land," celebrating the peace of Westphalia, now in the Boymans Museum at Rotterdam. "It represents the enclosure of a fortress, the walls of which are visible in the right-hand background, where cannons are blazing and a group of soldiers fighting; the right-hand foreground is entirely occupied by a group of horsemen, of remarkable vigor and truth; on the left are two thrones, on one of which leans a figure of Justice, clasping her hands as if in supplication. The centre, which is in the light, is occupied by a couchant lion growling, his one paw on a bundle of arrows, the symbol of the United Provinces. The lion is bound by two chains, the one attached to the thrones, the other fastened to an elevation, bearing on a shield the arms of Amsterdam, surrounded by the words, 'Soli Deo Gloria.'"