on of Cornelis Hofstede de Groot and
was first reproduced and discussed by Otto Hirschmann in "Die
Handzeichnungen-Sammlung Dr. Hofstede de Groot im Haag, II," _Der
Cicerone_ (Leipzig, January 1917), vol. 9, no. 1/2, pp. 21-22.

[12] Benesch 850, _A Clump of Trees_, The Hermitage, Leningrad,
about 1648-50, and Benesch 1246, _Farm Building Among Trees_, Albertina,
Vienna, inv. no. 8873, Hofstede de Groot 1497 (_Die Handzeichnungen
Rembrandts_ ..., Haarlem, 1906), about 1650-51.

[13] Benesch 1236, _Farmstead with a Hay Barn_, Copenhagen,
about 1650.

[14] Benesch 1226, _Farm Buildings Beside a Road with Distant
Farmstead_, Ashmolean Museum, Oxford, Hofstede de Groot 1138, about
1650, with later additions. Ludwig Muenz (_Rembrandt's Etchings_, 2
vols., London, 1952, no. 159, vol. 2, p. 84) cites two drawings, one in
the Ashmolean, one in the University Gallery, Oxford. Since the two
museums are now one and the same, Muenz appears to have confused two
listings of the same drawing. Mr. Hugh Macandrew of the Ashmolean Museum
has very kindly confirmed, in a letter to the author, that in their
collection there is only the one drawing which is similar to this print.
There is yet another drawing, _Farm with Hay Barn_, in the Bonnat
collection at the Louvre, Paris, Hofstede de Groot 764, which is cited
by Hind as a study sketch. Though very similar to this print, in
reverse, it is considered a school piece by both Lugt and Benesch. It is
quite possible that one of Rembrandt's pupils accompanied him on his
walks and sketched many of the same subjects as the master. The drawing
reproduced in +Lugt+, _Mit Rembrandt_ ..., op. cit., fig. 87, is also
not by Rembrandt.

[15] Joachim von Sandrart, a former pupil of Rembrandt, writing
in 1675, quoted in +Hofstede de Groot+, _Die ... Urkunden_, op. cit.,
no. 329, p. 392.

[16] The plate for the print under discussion here is not known
to have survived. There are, however, still some 79 Rembrandt plates
whose present locations are known. Of these, 75 are in the collection of
Robert Lee Humber, on deposit at the North Carolina Museum of Art,
Raleigh, North Carolina. These are discussed at some length by Andre
Charles Coppier (_Les eaux-fortes de Rembrandt_, Paris, 1922, pp.
94-96). He gives the chemical content of the plate for the _Presentation
in the Temple_ (Hind 162, about 1640), as 95% copper with impurities of
tin, lead, zinc, arsenic, and silver. This may presumably be taken as