This chapter identifies and explains three important changes in Hobbes’s religious arguments from The Elements of Law to On the Citizen. First, Hobbes comes to focus more on religious and scriptural matters, devoting a greater amount of space to them in On the Citizen than in Elements of Law. Second, Hobbes’s argumentative strategy evolves. He multiplies independent lines of argument for the same central claims. Third, the content of Hobbes’s arguments changes. In On the Citizen, he takes a Hebraic turn, offering a new and detailed discussion of the Israelite kingdom of God and relying far more heavily on scriptural evidence from the Old Testament. In each case, these changes can be explained by the changing political context in England and Hobbes’s increasing sensitivity to the challenges of religious pluralism.

Alasonière, Henri-Fabien (b.1852)*

– Portrait of Rembrandt as an Officer, etching, Salon of 1891 nº3494

Aliot, Pierre-Louis-Charles

– The Carpenter's Household (Paris, Louvre), wood engraving, Salon of 1894 nº4041

Andrus, Auguste-Arthur

– Portrait of Rembrandt, engraving, Salon of 1888 nº5009

Ansseau, Joseph

– The Night Watch, Salon of 1875 nº3605

Ardail, Albert

– Portrait of a family (Braunschweig, Museum), engraving, Salon of 1886 nº4929; Gazette des Beaux-Arts October 1886

Baude, Charles (b.1853)

• – Untitled (Portrait of a man with a fur cap), (St. Petersburg, Hermitage), wood engraving, Salon of 1885 nº4599; Monde Illustré

• – Rembrandt's Mother (St. Petersburg, Hermitage), wood engraving, 1885, Monde Illustré

• – Portrait of a Man/Rembrandt laughing, wood engraving, Salon of 1886 nº4944

• – Portrait of a Woman (London, National Gallery) wood engraving, Salon of 1887 nº4865

• – Portrait of Rembrandt as an Officer, wood engraving, Salon of 1888 nº5025(1)

• – Study, wood engraving, Salon of 1888 nº5025(2)

• – Portrait of Rembrandt in Old Age, 1890; Monde illustré

• – Head of a Man/Study, wood engraving, 1890, Salon of 1891 nº3242

• – Beeresteyn (Christian-Paul-Van) “Burgomeister of Delft” (New York, Metropolitan Museum of Art), wood engraving, Monde illustré 1890 [Studio of Baude]

• – Saskia, wood engraving, Salon of 1891 nº3243

• – Presentation in theTemple (The Hague, Museum), wood engraving, 1892, Monde illustré 1892, p.445 [Studio of Baude]

• – The Pilgrims of Emmaus (Paris, Louvre),wood engraving, Salon of 1893 nº3760

• – The Poet/Portrait of Nicolas Bruyningh, wood engraving, Salon of 1895 nº4020; Monde illustré

• – Man with a Baton (Paris, Louvre), wood engraving, Salon of 1897 nº3865(1)

• – Portrait of Rembrandt (Paris, Louvre), wood engraving, Salon of 1897 nº3865(2)

• – Rembrandt in Old Age (London, National Gallery), 1898, Supplement to Annales Politiques et Littéraires nº799, 16 October 1898

• – Portrait of a Man (London, National Gallery), 1898, La France illustrée 22 October 1898, p.245

• – The Adulterous Woman, (London, Duke of Marlborough), wood engraving, 1898, La France illustrée 22 October 1898, p.246 [Studio of Baude]

• – Portrait of Rembrandt (The Hague, Museum), wood engraving, La France illustrée 15 October 1898, p.1 [Studio of Baude]

• – Volkera Nicolai Knobbrrt, Wife of Christian Paul Van Beeresten (New York, Metropolitan Museum of Art), wood engraving, n.d. [Studio of Baude]

• – Pontius Pilat…, wood engraving, n.d. [Studio of Baude]