There are three other "Portraits of Himself," "A Head of a Boy," "A Young Man Laughing," and a "St Peter," all painted about that time; but of more importance are two small subject-pictures. The first, signed R.H., but not dated, "Christ at Emmaus," in the possession of Madame André-Jacquemart of Paris, is the earliest example of that presentment of a group of figures lighted by artificial light, to which Rembrandt was so partial. Here, as in most cases, the source of the light is hidden, as it stands on a table, on the right of the picture, in front of which Christ is seated, in profile to the left, his silhouette sharply cut against the radiance. At his feet one of the disciples kneels. The second, seated in the centre, on the further side of the table, lifts up his hands in amazement. On the left, in the background, the secondary softer illumination, so frequently introduced in similar effects by Rembrandt, is provided by the glow of firelight on two women engaged in cooking. The other is "The Presentation in the Temple," in the collection of Consul Weber at Hamburg. Like the last, it is signed, with the full name Rembrandt however, but is not dated, and the effect is to some extent marred by the harshness of the contrasts of light and shade, his later complete grasp of subtle transitions being still imperfectly developed.
Six out of the seventeen pictures attributed to 1630 or thereabouts are signed and dated, and one, a reproduction of the "Portrait of his Father," in the Hermitage at St Petersburg [No. 814], is signed with the monogram R.H.L., but not dated; while a different portrait of the same, at Rotterdam [No. 237], is signed R. alone. Four of these are portraits: one, at Hamburg, of "Maurice Huygens," the brother of the painter's admirer Constantin; one, in the collection of Count Andrassy at Buda-Pesth, his own; one, at Cassel, of an unknown "Old Man" [No. 209]; and one, in the Ferdinandeum at Innsbruck, though called "Philon the Jew," is probably his father. One of the two subject-pictures, in the Six collection, Amsterdam, is a sketch, broadly but expressively handled, of "Joseph interpreting his Dreams," signed with the full name Rembrandt, 1630. The other, signed R.H.L. 1630, in the collection of Count Stroganoff, is of doubtful import. It represents an old man seated in a cave, resting his head upon his right hand, while his left rests on a large book. Beside him lie a cloth embroidered with gold, various gold vessels, and other objects of value. In the distance is seen a town in flames, from which the inhabitants are hurriedly escaping. What it is intended to represent is an unsolved riddle, and the title of "A Philosopher in Meditation," though convenient to identify it by, has not otherwise much significance. The remaining eleven pictures are studies or portraits, of which the old woman, belonging to the Earl of Pembroke, a bust of "A Young Girl," the property of Dr Bredius, and lent by him to the Hague Museum, and another "Portrait of an Old Woman" resembling somewhat in features the picture at Wilton, but known, for some mysterious reason as, "The Countess of Desmond," may be mentioned.