. Rembrandt : his life, his work, and his time. proves that theplate was executed afterthe picture. The attribu-tion of the print to Rem-brandt has been warmly contested of late, and notable divergencesfrom his usual treatment in the trees, architecture, and even in some ofthe figures, have suggested the authorship of Rodermont or of would perhaps be nearer the mark to assign a certain portion ofthe work to_ Rembrandt, while admitting the probable collaborationof some pupil. But we reserve our opinion as to the names suggested,until we can treat it at length in our discussion of Rembran
. Rembrandt : his life, his work, and his time. proves that theplate was executed afterthe picture. The attribu-tion of the print to Rem-brandt has been warmly contested of late, and notable divergencesfrom his usual treatment in the trees, architecture, and even in some ofthe figures, have suggested the authorship of Rodermont or of would perhaps be nearer the mark to assign a certain portion ofthe work to_ Rembrandt, while admitting the probable collaborationof some pupil. But we reserve our opinion as to the names suggested,until we can treat it at length in our discussion of Rembrandts ^^ Goethe : Schrifteti und Aufsdtze ziir Kunst: Rembrandt der Denlicr. - It lias been stated that the dog originally figured in the picture, and was erased atthe desire of a former owner. No trace of such suppression is apparent ; if it actuallytook place, it must have been some considerable time ago, for there is no dog in theengraving m the Choiseul Gallery, to which collection the Good Samaritan belongedat the close of the last DIANA 1631 (B. 20l). THE GOOD SAMARITAN 81 scholars. The execution of the painting is a further proof of itspriority, and, Hke Dr. Bredius,^ we consider its analogies with that ofthe Pieseiitation in the Temple so strong as to rank it among theworks of 1631 or thereabout. It must, however, be borne in mind that, in Rembrandts case, such
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