impression of the Second State of the ‘Hundred Guilder’; and of a First State, could it come into the market, there is every reason for knowing that two thousand pounds would be about the ransom. In various branches of his practice, Rembrandt’s fame is about equally dependent on picture, drawing, and original print; but I take leave to ask the reader to impress upon his mind that in one branch, the branch of Landscape, that is not so at all. Lord Lansdowne’s ‘Mill,’ a famous landscape at Cassel, and a few other landscapes scattered about collections private and public, could not, however undeniable their art and however complete their charm, secure for Rembrandt that exalted place amongst the makers of Landscape which the drawings give, and which is given yet more by the etchings. It may be asked, naturally enough, ‘Why were Rembrandt’s painted landscapes so few--his mastery being so great?’ The answer is, that like our own Gainsborough’s, a century later, they were painted, most of them, for his own personal delight. The painted landscape of Rembrandt could not have been warmly appreciated by a generation that made difficult the life of Hobbema, and that extended welcome less to Wynants and De Koninck than to the Dutchmen who had become Italianised in theme and treatment. How, then, about the drawings and the etchings? Well, the truth is, with these it mattered little. The drawings were generally masterly brief studies. In the case of the etchings even, hours, not weeks, for the most part--a day and not a month--had been bestowed on the performance. For Rembrandt, with at least some other sources of income, it was enough to have had the delight of execution; and then, here and there a friend--the Burgomaster Six perhaps, or Uytenbogaert, the Receiver-General to the States of Holland--would want an impression or so. There was the little sketch ‘Six’s Bridge’--a decisive, plain-sailing, by no means particularly picturesque record of the wooden way whose name is associated with Rembrandt’s lifelong friend. There is the ‘Goldweigher’s Field’--his estate, rather: the estate of Uytenbogaert, lying a few miles from Amsterdam; its pavilion and ornamental water, the surrounding lands, the modest, heathy uplands, the trees and towers, a bird’s-eye view, a very panorama of slightly undulating plain that stretches to the Zuyder Zee. Of Rembrandt’s etched landscapes--which are rare generally--this is one of the rarer, one of the more important. Art like that does not captivate at just the first glance at it; but, with knowledge, comes a deep appreciation of the vision and the chronicle.