Ist Fl., E. Part. AMSTERDAM. 43. Route. 391 the extreme corner, who energetically beats his drum. In an oval frame on a column in the background are inscribed the names of the members of the guild. The remar le chiaroscuro that on bright sunny days usually prevails in imperfect y lighted interiors is here reproduced with so much poetic fancy that it wzs long supposed that Rembrandt intended to depict a nocturnal scene. The peculiar light and the spirited action of the picture elevate this group of portraits into a most effective dramatic scene, which ever since its creation has been enthusiastically admired by all connois- seurs of art. — Each guild member rep sented paid 100 fl. for his por- trait, so that, as there were originally sixteen in the group, the painter received 1600 fl. for his work. Room II (243b) contains the following works by Rembrandt: 2024. Woman bya brook; )22. Portrait of a lady (1639); #2020. The stone bridge, a Dutch landscape with sunlight breaking through vy clouds (ca. 1637-38); 2025. Portrait of his father as an (an early copy; the original is in a private collection at Brighton); *2018. The Anatomical Lecture, painted in 1656 for the Anatomical Hall in Amsterdam (p. 323) and seriously damaged by fire in 1723. The only portions preserved of the original are the strong foreshortened dead body, the arms and hands of Dr. Deyman in the act of demonstrating ave the head, and the figure ofa second professor, holding the removed portion of the skull. Room II (243c). On the main wall, **2017. Rembrandt, Syn- dics of the Guild of the Clothmakers (‘de Staalmeesters’, literally ‘stamp-masters’) in 1661 (painted in 1662), from the old guild-house still standing in the Staalstraat (comp. p. Ixiv). Four of the directors are sitting at a table covered with an Oriental cloth, while a fifth appears to be rising impatiently from his seat. In the