This volume contains 37 essays on 17th and 18th -century painting, mainly in the Netherlands and Germany, written by specialists in the field in tribute to Volker Manuth. Dived in 6 main chapters. I. REMBRANDT’s RELATIONS: FOLLOWERS AND FRIENDS: Tom van der Molen, A Teacher and His Impact: Govert Flinck and His Pupils; Leonore van Sloten, Ferdinand Bol in de voetsporen van Rembrandt: Twee herontdekte schilderijen; Ilja Veldman, Jan Victors and The Return of Jacob from Mesopotamia; Arthur K. Wheelock, Jr. Arent de Gelder’s Healing of the Sick; David De Witt, Philips Koninck, Rembrandt’s Friend: Two New Paintings. II. FACE SPOTTING AND FACE SPOTTING AND DISCERNING VISUAL STRATEGIES: Britta Bode, Anslos Augen: Zur szenischen Einheit von Sprechen und Hören als Bildstrategie; Peter van den Brink, Oh … Those Joys of Country Life ...: A Footnote on a Lost Family Portrait from the Suermondt-Ludwig-Museum in Aachen; Edwin Buijsen, De verscholen zelfportretten van Adriaen van de Venne ; Katja Kleinert, Rembrandts Kris: Ein Detail für Eingeweihte; Carla van de Puttelaar, Caught by the Eye: The Discovery of a Portrait of a Young Girl by Jan Jansz. de Stomme; Lilian Ruhe, In een oogopslag: Ongekende (zelf)portretten van Adriaen Brouwer, Godefridus Schalcken, Balthasar Denner en Jacob Samuel Beck; Gero Seelig, Another Calling: Hendrick ter Brugghen Discarding a Composition; Jørgen Wadum, Displaying Vermeer in the Seventeenth Century: A Hypothetical View. III. IMPRINTS AND IMPRESSIONS: WORKS ON PAPER: Charles Dumas, Jan Caspar Philips’ Designs for Frontispieces; Patrick Larsen, Een tekening naar Jürgen Ovens’ geschilderde late zelfportret; Norbert Middelkoop, Van den Eeckhouts laatste werk? Een papieren groepsportret; Femke Speelberg, Kunstkammer Pareidolia and Paul van Vianen’s Auricular Inventions; Katlijne Van der Stighelen, “T’stout versoecken van een Maeght”: Anna Roemers Visscher en Pieter Paul Rubens, één gedicht en twee kopergravures; Gregor J.M. Weber, Kein Plagiatsvorwurf beim Jüngsten Gericht; Joyce Zelen, Who Dares to Cut up a Rembrandt? IV. DUE SOUTH: THE FLEMISH CONNECTION AND ITALY: Christopher Brown, A New Mocking of Christ by Anthony van Dyck ; Stephanie S. Dickey, Fragments of Evidence for Rembrandt’s Genoese Commission; Liesbeth Helmus, Between Rome and Utrecht: The Homecoming of Gerard van Honthorst; Bram de Klerck, Quis ut Deus: Luca Giordano and the Theme of the Archangel Michael Vanquishing the Devil; Justus Lange, One or Two Paintings? St. Francis of Assisi: New Research on a Painting by the Circle of Rubens; Rudie van Leeuwen, Touched by Painting: St. Dominic from Soriano as a Cult Image. V. REMBRANDT IN TRANSIT: BRIDGEHEAD REVISTED: Lloyd DeWitt, Thomas Cole and Rembrandt; Jeroen Giltaij, Reconsidering the Family Portrait by Carel Fabritius, Burned in 1864, of possibly an Alkmaar Doctor and His Family; Anna C. Koldeweij, Verre familie, directe inspiratie: De portretschilders Gerbrand van den Eeckhout en Bramine Hubrecht; Jos Koldeweij, Rembrandt van Rijn, Lucas van Leyden en Jheronimus Bosch: Drie Keisnijdingen; Christiaan Vogelaar, Rembrandt tussen Leiden en Amsterdam. VI. GERMAN GERMINATION AND AFTERMATH: Alexandra Nina Bauer, Zwischen Passion und Prestige: Der Große Kurfürst und Van Dyck; Menno Jonker, “The Costly, Principal and Renowned High German Masters”: Advertising Renaissance Art in the Seventeenth-Century Netherlands; Almut Pollmer-Schmidt, Immortal Art: Johann Ulrich Mayr, Joachim von Sandrart and the Muses of Augsburg; Christian Tico Seifert, New Evidence for Jan Lievens in Berlin and a Note on Adam Pijnacker in Lenzen (Brandenburg); Jaap van der Veen, Der erste Besitzer und mutmaßliche Auftraggeber von Jacob Backers Gemälde Venus, Adonis und Amor in Fulda; Jan Six, Celebramus vanitates: Vanitas images by Johan Thopas; Bibliography of Volker Manuth’s Publications