1618 the artist along with his wife and three surviving children arrived in Leiden. Here van Swanenburg achieved success as a painter and received commissions from local and non-local patrons. He was registered as a master of the young Rembrandt in 1620. While the subjects of van Swanenburg (mainly cityscapes and hell scenes) did not leave a noticeable mark on Rembrandt's work, Rembrandt's use of chiaroscuro and his interest in artificial lighting may have their roots in van Swanenburg's fiery hell scenes. Rembrandt may also have continued in his work a technique of producing paintings which starts with laying out the composition upon the support in stages, building up the picture from the background to the foreground and applying glazing or finishing layers. He died in 1638 while on a trip to Utrecht. He was buried in the St. Pieter's Kerk in Leiden next to his father. Work Only about 11 works have been attributed to van Swanenburg. These works deal with two principal subjects: three are city views while eight depict scenes of hell. He is reported to have painted portraits but none have come down to us. The hell scenes deal with different subjects: one sets out all the tortures of inferno, two deal with the story of Pluto and Proserpina from Ovid's Metamorphoses and two include a depiction of the seven deadly sins. Four pictures show the entrance to hell and two of these include the story of Aeneas with the Cumaean Sibyl from Virgil's Aeneid. These references to Ovid and Virgil were not original and were clearly derived from the work of the Flemish painter Jan Brueghel the Elder who had been a pioneer of the hell scene. An example of a hell scene is The Sibyl showing Aeneas the Underworld, Charon's boat (circa 1620, Museum De Lakenhal). The picture shows the god of the underworld, Pluto, steering a chariot across the sky. On the left the boat of Charon carries the souls of the dead to the underworld. In a huge mouth the seven deadly sins are represented through various characters: a reclining woman is the personification of laziness, a love couple of lust, a woman who pulls out her tongue is slander, a woman with a pouch represents avarice, a dressed up lady with a mirror depicts vanity and an eating man intemperance. The scene is further completed with crowds of naked people and