THE APPEAL OF THE ETCHINGS The citizen and golfer, whose commerce with Rembrandt was narrated in the first chapter, approached the master through the writings of his Recoverers, certain art historians and scholars, who frequent libraries, search archives, and peruse documents; men to whom a picture is a scientific document rather than an emotional or intellectual experience.

He was well content to end his commerce with Rembrandt there.

History interested him: to art he was apathetic.
His son, as was indicated in the second chapter, was indifferent to art history, and he would not have walked across the road to read an unedited document; but I see him tramping ten miles to seek a picture that promised to stir his emotions and stimulate his imagination.

Rembrandt, the maker of pictures, had become a vivid personality, a master whom he reverenced; but Rembrandt the etcher was unknown to him.
There are authorities who assert that in etching Rembrandt's art found its amplest and most exquisite expression.

None will deny that his is the greatest name in etching.