The fact that Pieter Lastman was Rembrandt's teacher was published way back in 1641. However, general similarities between the master's and pupil's work were not observed until 1854 by Kolloff. In 1895 Hofstcdc de Groot was the first to note a direct borrowing from a Lastman in a particular Rembrandt. Since then more than 70 of such direct borrowings have been noted. The present author adds that the figure of Delilah in Rembrandt's Blinding of Samson of 1636 (fig. 4) was inspired by the fleeing girl on the left at the top of Lastman's Ulysses and Nausicaä of 1619 (fig. 3) (In an earlier version of this theme by Lastman - fig. 1 - the very similar fleeing lady was inspired by the running boy on the right in Caravaggio's Martyrdom of Matthew - fig. 2 and thus represented the first instance of Carravagio's influence on Dutch art). The same figure from Lastman's second Ulysses and Nausicaä (fig. 3) was similarly used as the top of a pyramid of action by the 'classicist' Jacob van Loo in his Bacchanal of 1653 (fig.6). Both Rembrandt and Van Loo interpreted Lastman's 'Caravaggesque' figure in a new way, serving their own subject and purpose. Additionally, the author supports C. Lenz's idea that the composition of Rubens's oilsketch fig.5 also influenced Rembrandt's Blinding of Samson.