The second essay in the catalogue, by Volker Manuth, is entitled "Rembrandt and the Artist’s Self Portrait: Tradition and Reception." Describing the compilation of engraved portraits of Dutch and other Northern artists in the sixteenth (and early seventeenth) century, Manuth notes that "the compilers fostered the notion of an enduring and important Northern European school of painting, that was both different and independent from that of Italy." Manuth says that, in creating his own self-portrait etchings, Rembrandt repeatedly turned to these prints "for inspiration, particularly in the late 1630s," imitating their clothing "in a conscious effort to place himself among his older colleagues, who had played a decisive role in the development of the Northern European painting tradition." Foremost among these older colleagues was Albrecht Dürer, who, like Rembrandt, excelled in printmaking as well as in painting and who, like Rembrandt, also had a predilection for self-portraits (2). Rembrandt, in fact, "purchased a large number of Dürer’s engravings and woodcuts [i.e., prints] at an auction in 1638."