with some shrubs growing from it. This little print

is spirited, and is very scarce.

Pierre Yver is of opinion, that, notwithstanding it was collected by De Burgy and others, as the work of Rembrandt, it is done by Livens.

*174 A BEGGAR, A SKETCH, UNIQUE.

The figure is an old man seen in profile, and looking to the right. In the right hand corner of the plate is another head in profile, covered with a cap that stands up before, something like a mitre, though it is square at the top. This print is in the collection made by Beringhen, for the King of France.

310-210

*175 TWO BEGGARS, A MAN AND A WOMAN, PRESQUE

UNIQUE.

They are seen in profile, walking side by side, from left to right; the woman's head is covered with a bonnet, which comes so forward as to throw a shade on the whole of her face; her hands are under her apron. The head of the man is uncovered. This piece is likewise in the collection made for the King of France.

4-3

*176 A BEGGAR IN CALLOT'S MANNER, UNIQUE.

This piece is coarsely sketched with an outline only. It is in the same collection as the last print. The beggar is in profile, walking to the right: his head is covered with a high cap, and his arms are wrap

ped up in his cloak, which is fringed at the bottom; his staff is perceived between his legs. On the left is an old cottage, before which is a little figure seen from behind, and above it are seen some trees.

The back

ground is shaded with a few strokes to the left.

410-210

*177 A SICK BEGGAR LYING ON THE GROUND.

This sketch may be considered as presque-unique. It represents a sick beggar, lying on the ground to the left, with his back supported against a bank. On one side of him, at a little distance, stands a woman, with her hands joined together, leaning upon a stick ; at her feet is a little dog.

3-210

VII. FREE SUBJECTS.

178 LEDIKANT,

EDIKANT, OR THE FRENCH BED.

A young couple are discovered on a bed. It is extremely singular that Rembrandt has given the woman four arms, as if he had been at a loss which of the two to efface. At the head of the bed stands a covered table, with a drinking glass and two plates of cakes on it; and on one of the bed posts hangs the man's cap with a large feather on it. On the side of the room, at the foot of the bed is a pilaster, and to the left an arched recess, leading to a door, at the bottom of which is written Rembrandt f. 1646, but the two figures of six are written backwards. This piece is executed in a masterly stile, and it is much to be regretted that Rembrandt should spend his time and abilities upon subjects so indecent, and unworthy of his genius, as this and the next print. It is a great rarity, and when entire, with a vacant margin an inch broad, measures

6-81%

Of this print there are three impressions.

The first, which has been described, is the scarçest.

The second impression differs only in having the margin cut off. It is extremely rare, and measures 5-8. In the third impression, which is very scarce, the recess and door, with the name, are cut off. It measures 5-6%.

179 THE FRIAR IN THE STRAW.

A friar with a woman, are discovered in some standing corn. A jug stands on the ground by them, and in the distance on the left, a reaper is perceived at work. This piece is very scarce.

180 THE FLUTE PLAYER.

A shepherd and shepherdess, with their flock of sheep, are seen in a retired corner of a copse; the back-ground is filled up with trees, and a piece of water occupies the front of the print. She sits on a bank on the left side, and is making a garland of flowers; she has on a very broad hat.

The man is lying on the ground before her, playing on the flute; he is seen in front leaning upon his elbows, but his eyes are turned sideways to admire the legs of the shepherdess, which the shortness of her petticoats discover; his hat lies on the ground by his left elbow, and on his left shoulder an owl (with a string fastened to it) is perched; on which account the print is called in Holland, The Owl. A shepherd's crook leans against the trunk of a spreading old tree. the bottom a little to the right is written Rembrandt f. 1640. This piece is very well executed.

410-510.

Near