The number of illustrations is almost exactly the same, but there are numerous changes, in keeping with the closer cooperation of figures and text. The chapter on technique has its own new set of demonstrative examples. Elsewhere, close-up details have been eliminated and additional comparative figures added, placing somewhat less emphasis on the subjective perusal of Rembrandt's linear artistry and more on his use of sources. However, many of the illustrations are smaller than in the original volume. Despite the improvement in photographic quality, details in some cases now are more difficult to study.
Captions are a mixed blessing.
The location of the impression illustrated is identified, significant because of the variability of Rembrandt's states and printing methods. Measurements are given only in centimeters, potentially frustrating to some American users. Illustrations larger than the original print are flagged, but it would have been nice, especially for the general reader, to note in which cases we are looking at reductions as opposed to actual size. More color plates, for instance to distinguish some of the red chalk drawings and perhaps a few of the impressions that are heavily toned or printed on unusual paper, would have helped to clarify the variety of Rembrandt's graphic production. Although White appears gallantly open to new scholarship, none of this, it seems, has fundamentally altered his assessment of Rembrandt's genius as an etcher.