This dissertation sets out to investigate if and to what extent Rembrandt's work was appreciated in Italy in the 17th and 18th centuries. From approximately 1650 onwards paintings, drawings and prints by Rembrandt could be found in Italy, he is mentioned in several written sources and a few Italian artists even borrowed motives from his oeuvre. Thus one could easily argue that Rembrandt played an important role in the Italian artistic world of the period. However, without providing a context for the evidence, one easily runs the risk of projecting the contemporary preoccupation with the genius of Rembrandt on the subject of research. For instance, positive criticism was in the past often seen as paradigmatic for the time, while negative criticism was waved aside as not sincere and typical classicist criticism. In five chapters already published and as yet unpublished material will be provided with context to try and answer the aforementioned question from this new perspective.