"Samuel taught by his Mother," "Christ appearing to Mary," "The Prophetess Anna," "Jesus blessing Little Children," purchased for the National Gallery for thirty-five thousand dollars;--"The Bather," in the National Gallery, of which Landseer says: "It is the most artful thing ever done in painting, and the most unsophisticated;" a likeness of Rembrandt's son Titus, now twelve years old, were his next works. Fifty-seven etchings were made between 1649 and 1655, the most celebrated being the "Hundred-Guilder Print," or "Jesus healing the Sick." "The subject of this etching is taken from the words, 'And Jesus went about all Galilee, preaching the gospel of the kingdom, and healing all manner of sickness and all manner of disease among the people.' The serene and calm figure of Jesus stands out from the shadow of the background, preaching to the people around him. By a superb antithesis, the Pharisees and Sadducees, the priests and the curious and unbelieving, are standing on Christ's right hand, bathed in light, while from the shadows that envelop the left side of the picture are coming the sick, the possessed, and unfortunates of all kinds. The composition is full of feeling, drawn and executed with a rare genius, the details revealing a world of expression and character: the lights and shadows, disposed in large masses, are of wonderful softness. The etching, commenced with aqua-fortis, is finished with the dry point, the silvery neutral tints of Christ's robe and the soft shadows being produced in this manner." Frederick Wedmore says in his "Masters of Genre-Painting," "I should be thankful for the 'Hundred-Guilder Print,' were it only because of the half-dozen lines in which Rembrandt has etched one figure, to me the central one, a tall man, old and spare, and a little bent, with drooped arms, and hands clasped together in gesture of mild awe and gently felt surprise, as of one from whose slackened vitality the power of _great_ surprise or of _very_ keen interest has forever gone. On his face there is the record of much pain, of sufferings not only his own, not only of the body, but of saddening experiences which have left him quelled and forever grave." The name arose from the fact that a Roman merchant gave Rembrandt for one engraving seven Marc Antonio engravings, which were valued at a hundred guilders, and the artist would never sell any of these pictures below this price. Only eight impressions of the first plate are in existence; two are in the British Museum, one is in Paris, one in Amsterdam, one in Vienna, one in the collection of the Duke of Buccleuch, one in Mr. Holford's, and one owned by M. Eugene Dutuit of Rouen, sold in 1867 for about six thousand dollars.