Among Rembrandt's most remarkable compositions is The Hundred Guilder Print, also known as Christ Healing the Sick, acquired by early collectors for prices from one to a hundred guilders (fig. 12.1 and pl. 12.1). Created to be extraordinary, the print was recognized as such as soon as it appeared. The etching combines Rembrandt's study from life, his close reading of Matthew 19 and other gospel passages, and his mastery of the medium. Over three dozen figures participate in this narrative: some are barely visible as heads but others are fully realised by age, dress, gender, and expression. The print demonstrates the range of Rembrandt's techniques in crafting the image, in biting, drypoint, burin, and burnishing; in printing the plate, Rembrandt exploited the effects of plate tone and printing supports. The nine known first state impressions are on japan paper, and early second state impressions are on japan paper or European laid paper. The impressions produced by Rembrandt himself demonstrate an exceptional attention to the printing process, especially in the use of plate tone to create subtle shadings and depth. As the plate was printed during the eighteenth century, it lost texture and was not wiped with delicacy. In these later impressions, some of Rembrandt's pentimenti, which he covered with plate tone, become more prominent. Among these are the first right foot of Christ, which became obscured by his robe, and the delineations of cloth around his right raised hand, as evident in an impression in the Museum Boijmans van Beuningen, Rotterdam.