Acknowledgments Introduction Stephanie S. Dickey 1 Rembrandt and Frans Hals Painting in the Workshop of Hendrick Uylenburgh S.A.C. Dudok van Heel 2 Rembrandt and the ‘Germanic’ Style Thijs Weststeijn 3 Rembrandt and the Humanist Ideal of the Universal Painter Boudewijn Bakker 4 Curiosity and Desire: Rembrandt’s Collection as Historiographic Barometer H. Perry Chapman 5 Painted Landscapes by Lievens and Rembrandt: The View from Seventeenth-Century Amsterdam Collections Jacquelyn N. Coutré 6 Jan Lievens in Antwerp: Three Rediscovered Works Stephanie S. Dickey 7 Gerrit Dou as a Pupil of Rembrandt Martin Bijl 8 A New Painting by Jan van Noordt in Budapest Ildikó Ember 9 Rembrandt's First Nude? The Recent Analysis of Susanna and the Elders from Rembrandt’s Workshop Katja Kleinert and Claudia Laurenze-Landsberg 10 Rembrandt's Head of Christ: Some Technical Observations concerning Matters of Style Arie Wallert and Michel van der Laar 11 A Rediscovered Head of John the Baptist on a Platter from Rembrandt’s Studio Lloyd DeWitt 12 Rembrandt’s One Guilder Print: Value and Invention in ‘the most beautiful [print] that ever came from the burin of this master’ Amy Golahny 13 Rembrandt, Ferdinand Bol, and Tobit: The Emergence of a Pathosträger Jan Leja 14 Biblical Iconography in the Graphic Work of Rembrandt’s Circle Peter van der Coelen 15 Jan van Vliet and Rembrandt van Rijn: Their Collaboration Reassessed Jaco Rutgers 16 Printmaking among Artists of the Rembrandt School Nadine M. Orenstein 17 Chain Line Pattern Matching and Rembrandt’s Prints C. Richard Johnson, Jr., William A. Sethares, Margaret Holben Ellis, Saira Haqqi, Reba Snyder, Erik Hinterding, Idelette van Leeuwen, Arie Wallert, Dionysia Christoforou, Jan van der Lubbe, Nadine M. Orenstein, Angela Campbell, and George Dietz About the Authors List of Illustrations Bibliography Index Nominum