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 alms. The distlncti\e 

 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 arid in a single 

 biting, without stopping-out. The evidence for these 

 assertions comes from the print itself, as we ha\e no 

 direct testimony in the matter. 



In the first place, the etched lines must be dis- 

 tinguished 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. 



FIGURE 9 



Detail of Landscape with a hay barn and a 

 Hock of sheep, left center, showing force- 

 ful lines of tree branch in pure dry- 

 point. Enlarged 10 times. (Smith- 

 sonian photo 59390.) 



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. 



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.) 



PAPER 61 : Rembrandt's etching technique 



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.) 



101 



