se, and possibly a more general use, of white ground. Without the
published recipe no question would be likely to arise that Rembrandt
used anything but the standard black ground. With it, we must search for
corroboration.

Though the case must be left as "not proven," the use of a white etching
ground is consistent with Rembrandt's practice of using the simplest
effective means for achieving his artistic aims. The distinctive quality
of the print under consideration here is the artist's remarkable
placement and articulation of areas of black against the white paper.
Rembrandt may have found it far easier to visualize this ultimate effect
by using a white background for dark lines on his plate, rather than the
negative.

Rembrandt almost certainly made all the etched lines in this print in a
single operation. The lines were put on the plate before it went into
the acid. The plate was then etched by the acid in a single biting,
without stopping-out. The evidence for these assertions comes from the
print itself, as we have no direct testimony in the matter.

In the first place, the etched lines must be distinguished from the
drypoint lines applied at a later stage. The differences between the
types of line are more easily seen than described. The etched line is
clear and strong, from the clean biting of the acid. It is freer and
more autographic because it is drawn through a wax surface, not
scratched in a resisting metal surface.

[Illustration: FIGURE 8

Detail of _Landscape with a hay barn and a flock of sheep_, left center,
showing light drypoint lines of the horizon and etched lines of figures
and hillside. Enlarged 10 times. (Smithsonian photo 59384.)]

[Illustration: FIGURE 9

Detail of _Landscape with a hay barn and a flock of sheep_, left center,
showing forceful lines of tree branch in pure drypoint. Enlarged 10
times. (Smithsonian photo 59390.)]

[Illustration: FIGURE 10

Detail of _Landscape with a hay barn and a flock of sheep_, center,
showing diagonal lines of light drypoint without burr. Enlarged 10
times. (Smithsonian photo 59385.)]

The drypoint line, by its nature, is more abrupt and forceful, showing
the quality of having been scratched rather than drawn. There are two
basic drypoint lines, depending upon the position in which the drypoint
needle is held. When it is vertical or nearly so, the resulting line is
shallow and prints more weakly and distantly than the etched line. When
the need