1. Gerson , Horst . 1968 .Rembrandt Paintings92 (New York, Reynal,), p.; Herzog Anton-Ulrich-Museum,De Holländischen Gemälde, ed. Rüdiger Klessman (Braunschweig, Das Museum, 1983), #241, p. 172
2. 1986 . 276 – 88 . For summaries of the literature on the series, see Josua Bruynet al., A Corpus of Rembrandt Paintings, II (The Hague, Martinus Nijhoff,), pp.—(hereafter,Corpus), Corpus, III (1989), pp. 202–8, 271–9; Peter van der Ploeg and Carola Vermeeren (eds),Princely Patrons: The Collection of Frederick Henry and Amalia of Solms in The Hague(The Hague, Waanders, 1997), pp. 192–7. For discussions of the series, see Ernst Brochhagen, ‘Beobachten an den Passionsbildern Rembrandt in München’,Munuscula Disdpulorum. Hans Kauffmann zum 70. Geburststag 1966(Berlin, B. Hessling, 1968), pp. 37–44; Else Kai Sass,Comments on Rembrandt's Passion Paintings and Constantijn Huygens’ Iconography(Copenhagen, Munksgaard, 1971). For interpretations focusing on style and biography, see Gary Schwartz,Rembrandt: His Life, His Paintings(New York, Viking, 1985), pp. 106–18; Cynthia Lawrence, ‘”Worthy of Milord's House”: Rembrandt, Huygens and Dutch Classicism’,Konsthistorisk Tidskrift, 54 (1985), 16–26.
3. 2003 .Architecture as Performance in Seventeenth-Century Europe: Court Ritual in Modena, Rome, and Paris91 – 105 . See, among others, Alice Jarrard, (Cambridge, Cambridge University Press,); Alan Ellenius (ed.),Iconography, Propaganda, and Legitimation(Oxford, Oxford University Press, 1998); Stephen J. Campbell, ‘Mantegna's Triumph: The Cultural Politics of Imitation ‘all'antica’ at the Court of Mantua, 1490–1530’, in Stephen J. Campbell (ed.),Artists at Court: Image-making and Identity, 1300–1550(Boston, Isabella Stewart Gardner Museum, 2004), pp. F. W. Kent,Lorenzo de'Medici and the Art of Magnificence(Baltimore, Johns Hopkins University Press, 2004).
4. Rembrandt Creates Rembrandt: Art and Ambition in Leiden 1629–31134 – 6 . The text was begun in 1629 but remained unpublished in Huygens's lifetime. The sections pertaining to Rembrandt and Lievens have been variously dated to 1630–1631. That text is transcribed and translated in Alan Chong (ed.), (Boston, Isabella Stewart Gardner Museum, 2000), pp.