Produced by Thierry Alberto, JÃºlio Reis, Robert Cicconetti and the Online Distributed Proofreading Team at https://www.pgdp.net Transcriber's notes: Text in italics has been marked with _. Text in bold has been marked with *. Text in small caps has been marked with =. The Great Masters in Painting and Sculpture Edited by G. C. Williamson REMBRANDT VAN RIJN THE GREAT MASTERS IN PAINTING AND SCULPTURE. _The following Volumes have been issued, price 5s. net each._ BERNARDINO LUINI. By =George C. Williamson=, Litt.D., Editor of the Series. VELASQUEZ. By =R. A. M. Stevenson=. ANDREA DEL SARTO. By =H. Guinness=. LUCA SIGNORELLI. By =Maud Cruttwell=. RAPHAEL. By =H. Strachey=. CARLO CRIVELLI. By =G. McNeil Rushforth=, M.A., Lecturer in Classics, Oriel College, Oxford. CORREGGIO. By =Selwyn Brinton=, M.A., Author of "The Renaissance in Italian Art." DONATELLO. By =Hope Rea=, Author of "Tuscan Artists." PERUGINO. By =G. C. Williamson=, Litt.D. SODOMA. By the =Contessa Lorenzo Priuli-Bon=. LUCA DELLA ROBBIA. By the =Marchesa Burlamacchi=. GIORGIONE. By =Herbert Cook=, M.A., F.S.A. MEMLINO. By =W. H. James Weale=, late Keeper of the National Art Library. PIERO DELLA FRANCESCA. By =W. G. Waters=, M.A. PINTORICCHIO. By =Evelyn March Phillipps=. FRANCIA. By =George C. Williamson=, Litt.D. BRUNELLESCHI. By =Leader Scott=. MANTEGNA. By =Maud Cruttwell=. REMBRANDT VAN RIJN. By =Malcolm Bell=. _In preparation._ WILKIE. By =Lord Ronald Sutherland-Gower=, M.A., F.S.A., Trustee of the National Portrait Gallery. TINTORETTO. By =J. B. Stoughton Holborn=, M.A. of Merton College, Oxford. GIOTTO. By =F. Mason Perkins=. EL GRECO. By =Manuel B. Cossio=, Litt.D., Ph.D., Director of the MusÃ©e PÃ©dagogique, Madrid. DÃRER. By =Hans W. Singer=, M.A., Ph.D., Assistant Director of the Royal Print Room, Dresden. PAOLO VERONESE. By =Roger E. Fry=. GAUDENZIO FERRARI. By =Ethel Halsey=. _Others to follow._ * * * * * LONDON: GEORGE BELL & SONS [Illustration: Buckingham Palace, London. The Ship builder & his wife. (1633)] REMBRANDT VAN RIJN BY MALCOLM BELL AUTHOR OF "SIR EDWARD BURNE-JONES: A RECORD AND REVIEW," ETC. [Illustration: logo] LONDON GEORGE BELL & SONS 1901 PREFACE In order to reduce the volume on Rembrandt, published in 1899, to the smaller dimensions demanded by the "Great Masters" series, it became necessary to dispense with some of the material included in it. This, it is hoped, has been done without seriously affecting the usefulness of the book. The story of the painter's life and work has been to some extent compressed, but everything essential has, it is believed, been retained. The chief omissions are the short descriptions of the pictures and the lists of the etchings, which, while occupying much space, were thought to be more suitable to a work of reference than to a handbook. The student who desires fuller information on these points will find it in the earlier volume. CONTENTS PAGE =List of Illustrations= vii =Bibliography= ix =Chronological Table= xiii PART I.--REMBRANDT THE MAN Chapter I. =Birth and Early Years= 1 II. =Art Education and Early Works= 8 III. =Days of Prosperity= 16 IV. =Days of Decline= 32 PART II.--REMBRANDT THE PAINTER V. =Early Years= (1627-1633) 48 VI. =Time of Prosperity= 61 VII. =Years of Decline= 71 PART III.--REMBRANDT THE ETCHER VIII. =The History of the Etchings= 85 IX. =The Authentic Etchings= 93 =Catalogue of Works= 117 =Index= 157 LIST OF ILLUSTRATIONS PAGE The Shipbuilder and his Wife, 1633, _Frontispiece_ _Buckingham Palace_ Portrait of Rembrandt's Mother, about 1628 _The Hague_ 6 Portrait of Rembrandt's Father, about 1631 _Cassel_ 12 Portrait of Saskia, 1632 _Prince Liechtenstein, Vienna_ 18 Rembrandt and Saskia, about 1635 _Dresden_ 24 Portrait of Rembrandt, 1640 _National Gallery, London_ 28 Portrait of Saskia, 1641 _Dresden_ 30 Portrait of Hendrickje Stoffels, about 1662 _Louvre_ 44 Portrait of Rembrandt, about 1664 _National Gallery, London_ 46 Portrait called Coppenol, 1631 _The Hermitage_ 54 Portrait of a Man, 1630-1632 _Imperial Museum, Vienna_ 56 Portrait of a Woman, 1630-1632 _Imperial Museum, Vienna_ 56 The Anatomy Lesson, 1632 _The Hague_ 58 Portrait of Jan Herman Krul, 1633 _Cassel_ 58 The Elevation of the Cross, 1633 _Munich_ 60 Portrait of an Old Woman, 1634 _National Gallery, London_ 62 The Burgomaster Pancras and his Wife, about 1635 _Buckingham Palace_ 62 Portrait of a Man, 1635 _National Gallery, London_ 62 Danae, 1636 _The Hermitage_ 64 Portrait of a Man, 1636 _Prince Liechtenstein, Vienna_ 64 Portrait of a Lady, 1636 _Prince Liechtenstein, Vienna_ 64 Portrait called Sobieski, 1637 _The Hermitage_ 66 The Man with the Bittern, 1639 _Dresden_ 66 Portrait of Elizabeth Bas, about 1640 _Amsterdam_ 68 Anslo consoling a Widow, 1641 _Berlin_ 68 The Lady with the Fan, 1641 _Buckingham Palace_ 70 Portrait of a Man, 1641 _Brussels_ 70 The Woman taken in Adultery, 1644 _National Gallery, London_ 72 A Girl at a Window, 1645 _Dulwich Gallery_ 72 Portrait of a Rabbi, 1645 _Berlin_ 74 A Winter Scene, 1646 _Cassel_ 74 Christ at Emmaus, 1648 _Louvre_ 76 John the Baptist preaching, 1656 _Berlin_ 78 The Syndics of the Drapers, 1661 _Amsterdam_ 80 _ETCHINGS_ _The Numbers given are those of Bartsch's Catalogue_ Christ healing the Sick (74) 86 Clement de Jonghe (272) 90 The Three Trees (212) 92 Rembrandt's Mill (233) 98 Beggars at the Door of a House (176) 100 The Shell (159) 102 Jan Lutma (276) 106 BIBLIOGRAPHY =Amand-Durand.= "Åuvre de Rembrandt reproduit et publiÃ© par." 2 parts. Paris, 1880. =Baldinucci, Filippo.= "Cominciamento e progresso dell' arte dell' intagliare in rame." Florence, 1686. =Bartsch, Adam.= "Catalogue raisonnÃ© de toutes les estampes qui forment l'Åuvre de Rembrandt et ceux de ses principaux imitateurs." 2 vols. Vienna, 1797. =Bell, Malcolm.= "Rembrandt van Rijn and his Work." 4to. London, 1899. =Blanc, Charles.= "L'Åuvre complet de Rembrandt, dÃ©crit et commentÃ© par." Paris, 1864 and 1880. =Bode, W.= "Studien zur Geschichte der hollÃ¤ndischen Malerei." Brunswick, 1883. =Bredius, A.=, and =de Roever, N.= _Oud-Holland._ A magazine published at Amsterdam. =Bredius, A.= "Les chefs-d'Åuvre du MusÃ©e royal d'Amsterdam." Paris, 1890. =Bredius, A.= "Die Meisterwerke der KÃ¶niglichen GemÃ¤lde Galerie im Haag." Munich, 1890. =Burger, W.= "Les MusÃ©es de Belgique et de Hollande." Paris, 1858, 1860, and 1862. =Busken-Huet.= "Het Land van Rembrandt." Harlem, 1886. =Chalon, John.= Works of Rembrandt, etched by. London, 1822. =Claussin, Chevalier de.= "Catalogue raisonnÃ© de toutes les estampes qui forment l'Åuvre de Rembrandt." Paris, 1824. =Claussin, Chevalier de.= "SupplÃ©ment au Catalogue de Rembrandt." Paris, 1828. =Dargenville.= "AbrÃ©gÃ© de la Vie des plus fameux peintres." Paris, 1745. =Daulby, Daniel.= "A descriptive catalogue of the works of Rembrandt and of his scholars." London and Liverpool, 1796. =Descamps.= "Vies des peintres flamands et hollandais." Marseilles, 1840. =Dyk, J. van.= "Beschryving van alle de Schilderyen op het Stadhuis van Amsterdam." Amsterdam, 1758. =Dutuit, E.= "L'Åuvre complet de Rembrandt dÃ©crit et cataloguÃ© par." Paris, 1880. =Eckhoff.= "La femme de Rembrandt." 1862. =FÃ©libien.= "Entretien sur les Vies et les Ouvrages des plus excellents peintres." 1666-1688. =Fromentin, EugÃ¨ne.= "Les Maitres d'autrefois." Paris, 1877. =Galland, G.= "Geschichte der hollÃ¤ndischen Baukunst und Bildnerei." Leipzig, 1890. =Gersaint.= "Catalogue raisonnÃ© de toutes les piÃ¨ces qui forment l'Åuvre de Rembrandt." Paris, 1751. =Hamerton, P. G.= "Etching and Etchers." London, 1868. =Hamerton, P. G.= Rembrandt's Etchings. Portfolio. London, 1894. =Havard, Henri.= "L'art et les artistes hollandais." Paris, 1879. =Hoogstraten, Samuel van.= "Inleyding tot de hooge School der Schilderkonst." Rotterdam, 1678. =Houbraken, Arnold.= "De groote Schoubourgh der nederlandsche Kontschilders." Amsterdam, 1718-1719. =Humphreys, Noel.= Rembrandt's Etchings. London, 1871. =Huygens, Constantin.= "Autobiographie inÃ©dite." Library of the Academy of Sciences, Amsterdam. =Kolloff, Ãdouard.= "Rembrandt's Leben und Werke," included in _Historisches Taschenbuch_ of von Raumer. Leipzig, 1854. =Langbehn, Dr.= "Rembrandt als Erzieher." Published anonymously, Leipzig, 1890. =Lemcke, C.= Rembrandt van Rijn, in the _Kunst and KÃ¼nstler_, Leipzig, 1877. =Lippmann, F.= Original drawings by Rembrandt reproduced in Phototype. London, Berlin, and Paris, 1889-1892. =Madsen, Karl.= "Studier fra Sverig." Copenhagen, 1892. =Michel, Emile.= "Rembrandt sa vie, son Åuvre et son temps." Paris, 1893. =Middleton, C. H.= "Notes on the Etched Work of Rembrandt." London, 1877. =Middleton, C. H.= "A descriptive Catalogue of the Etched Work of Rembrandt." London, 1878. =Orlers, J. J.= "Beschryving der Stad Leiden." Leyden, 1641. =Oud-Holland.= See _Bredius_. =Piles, R. de.= "AbrÃ©gÃ© de la vie des Peintres." 1699. =Riegel, Herman.= "Beitrage zur niederlÃ¤ndischen Kunstgeschichte." Berlin, 1882. =Rovinski, Dmitri.= "L'Åuvre gravÃ© de Rembrandt." Reproductions of all the states of all the etchings. St. Petersburg, 1890. =Sandrart, Joachim de.= "Academia nobilissimae artis pictoriÃ¦." Nuremberg, 1675-1683. =Scheltema, Dr.= "Rembrandt, Discours sur sa vie et son gÃ©nie." Paris, 1866. =Schmidt, W.= "Handzeichnungen alter Meister in KÃ¶niglichen Kupferstich Kabinet zu Munchen. Munich. =Schneider, L.= "Geschichte der niederlÃ¤ndischen Litteratur." Leipzig, 1888. =Seidlitz, von.= "Rembrandt's Radirungen." Published in Zeitschrift fÃ¼r bildende Kunst. 1892. =Seymour Haden, Sir Francis.= "Introductory Remarks to the Catalogue of the Etched Work of Rembrandt, selected for exhibition at the Burlington Fine Arts Club, London, 1877." =Seymour Haden, Sir Francis.= "L'Åuvre gravÃ© de Rembrandt." Paris, 1880. =Seymour Haden, Sir Francis.= "The Etched Work of Rembrandt, True and False." London, 1895. =Smith, John.= "Catalogue raisonnÃ© of the Works of the most eminent Dutch, Flemish, and French Painters." London, 1829-1842. =Springer, Anton.= "Bilder aus der neueren Kunstgeschichte. Vol. II. Rembrandt und seine Genossen." Bonn, 1886. =Vosmaer, Charles.= "Rembrandt Hermannsz. Sa vie et ses Åuvres." Paris and the Hague, 1877. =Weyerman, J. Campo.= "De Levens Beschryvingen der nederlandsche Konstschilders." The Hague, 1749. =Willigen, van der.= "Les artistes de Harlem." 1870. =Willshire, W. H.= "An Introduction to the Study and Collection of Ancient Prints." London, 1877. =Wilson, T.= A Descriptive Catalogue of the Prints of Rembrandt. Published as by "An amateur." London, 1836. =Woltmann, A.=, and =Woermann, K.= "Geschichte de Malerei." Leipzig. =Yver, Pierre.= "SupplÃ©ment au Catalogue raisonnÃ© de MM. Gersaint, Helle, et Glomy." Amsterdam, 1756. CHRONOLOGICAL TABLE ------+---------------------+---------------------+---------------------+ | =Events in= | =Principal Work= | =Important= =Year=| =Rembrandt's Life= | =Dated= | =Historical Event= ------+---------------------+---------------------+---------------------+ 1606 |Born July 15th. | | | | | 1608 | | |Milton born. | | | 1609 | | |Truce between Spain | | |and Holland. | | | 1610 | | |The Colony of Virginia | | |established. | | | 1612 | | |Henry, Prince of | | |Wales, died. | | | 1616 | | |Shakespeare died. | | | 1618 | | |Thirty Years' War | | |began. | | | 1620 |Entered at Leyden | |The Pilgrim Fathers |University, and later| |landed in New England. |Swanenburch's Studio.| | | | | 1622 | | |Renewal of War with | | |Spain. | | | 1623 |Went to Lastman's | |Charles went to Spain. |Studio. | | | | | 1624 |Returned to Leyden. | |Manhattan founded. | | | 1625 | | |Charles I. came to the | | |throne. Prince | | |Frederick-Henry became | | |Stathouder. | | | 1627 |First known pictures.|St Paul in Prison. |Expedition to | | |Rochelle. | | | 1628 |Gerard Dou became his|Capture of Samson. |Assassination of |pupil. | |Buckingham. | | | 1629 | |Portrait of Himself |Charter granted to | |(Gotha). |Massachusetts. | | | 1630 |His father died. |Joseph interpreting |Puritan emigration to | |his Dreams. |New England. | | | 1631 |Left Leyden for |Presentation in the |Dryden born. |Amsterdam. |Temple. | | | | 1632 |Living on the |The Anatomy Lesson. |Gustavus Adolphus |Bloemgracht. | |killed at Lutzen. | | | 1633 |Moved to Saint |The Shipbuilder and |Milton's _L'Allegro_ |Anthonie's Breestraat|his Wife. |and _Il Penseroso_. |(about). | | | | | 1634 |Married on June 22nd.|Descent from the |The Exchange at | |Cross (Hermitage). |Amsterdam built. | | | 1635 |Rombertus born. |Abraham's Sacrifice. |Ben Jonson died. | | | 1636 |Living in Nieuwe |Danae. | |Doelstraat. | | | | | 1637 | |Susannah at the Bath.|Trial of Hampden. | | | 1638 |Cornelia born. |Christ and Mary |Milton's _Lycidas_. | |Magdalen. | | | | 1639 |Moved to |Resurrection. |Massinger died. |Jode-Breestraat. | | | | | 1640 |His mother died. |Portrait of Elizabeth|The Long Parliament | |Bas. |met. | | | 1641 |Titus born. |Portrait of Anslo. |Execution of | | |Strafford. | | | 1642 |Saskia died. |The Night Watch. |The Civil War began. | | | 1643 | |Bathsheba. |Death of Hampden. | | | 1644 | |Woman taken in |The Battle of Marston | |Adultery. |Moor. | | | 1645 | |Holy Family |Battle of Naseby. | |(Hermitage). | | | | 1646 |Finished two pictures|Adoration of the |Charles I. surrendered |for the Stathouder. |Shepherds. |to the Scots. | | | 1647 |An estimate made of |Susannah and the |William II. became |Saskia's property. |Elders. |Stathouder. | | | 1648 | |Christ at Emmaus. |Peace of Westphalia. | | | 1649 |Hendrickje Stoffels |No dated picture. |Execution of |first heard of. | |Charles I. | | | 1650 | |Deposition. |John de Witt became | | |Grand Pensioner. | | | 1651 | |Noli me tangere. |Battle of Worcester. | | | 1652 |Hendrickje's first |Portrait of |War between England |daughter born. |Bruyningh. |and Holland. | | | 1653 |Borrowed money in |Portrait called Van |Peace restored. |large sums. |der Hooft. | | | | 1654 |Birth of second |Bathsheba (Louvre). |Oliver Cromwell, |daughter, Cornelia. | |Lord Protector. | | | 1655 | |Joseph accused by |Cromwell pensioned | |Potiphar's Wife. |Manasseh ben Israel. | | | 1656 |Declared bankrupt. |Parable of Labourers |War between Spain and | |in the Vineyard. |England. | | | 1657 |Sale of his property |Portrait of Catrina |Cromwell refused title |ordered. |Hoogh. |of King. | | | 1658 |Pictures, etc., sold.|An Old Woman cutting |Cromwell died. | |her Nails. | | | | 1659 | |Jacob wrestling with |Treaty of the Hague. | |the Angel. | | | | 1660 |Association formed by|Portrait of Himself |Charles II. landed at |Hendrickje and Titus.|(Louvre). |Dover. | | | 1661 |The last known |The Syndics. |Mazarin died. |etching. | | | | | 1662 |Hendrickje (probably)|No dated picture. |Charter given to Royal |died. | |Society. | | | 1663 | |Homer. | | | | 1664 |Moved to the |Lucretia. |War between Holland |Lauriergracht. | |and England. | | | 1665 |Titus awarded his |Portrait of a Man |Plague in London. |property. |(Metrop. Mus., | | |New York). | | | | 1666 | |Portrait of J. de |Fire of London. | |Decker. | | | | 1667 | |Portrait of an Old |Peace between England | |Man. |and Holland. | | | 1668 |Titus' marriage and |The Flagellation. |Alliance between |death. | |Holland, England, and | | |Sweden. | | | 1669 |Rembrandt died. |No dated picture. | ------+---------------------+---------------------+---------------------+ REMBRANDT VAN RIJN CHAPTER I BIRTH AND EARLY YEARS Down to the middle of the present century the story of Rembrandt, as generally accepted, was nothing but a mass of more or less ill-natured fiction. His drunkenness, his luxury, his immorality, his avarice, were heaped together into a somewhat inconsistent midden-heap of infamy. It was not indeed until his true rank among painters began to be properly appreciated that it occurred to anyone to ask whether this harsh judgment did not need revision; nay, more, to inquire upon what evidence it had been first delivered, and the investigation had not long been set on foot before the question took the form--"Is there any evidence, good or bad, at all?" There were soon many workers in this untried field, and to all the thanks of the artist's admirers are due, but it is chiefly to M. Charles Vosmaer that his complete rehabilitation is to be credited, and it is bare justice to say that without availing himself freely of his researches and of M. Michel's equally careful and critical marshalling of the facts, then and since obtained by others, no future historian of Rembrandt can hope to advance beyond the threshold of his subject. One by one the cobwebs of myth with which, partly through malice, partly through ignorance, the master's image had been overwhelmed have been torn away, and we begin at last to see him as he really was, not impeccable, but intensely human, a kindly, patient, laborious, much-tried soul--one whom fortune, not altogether without his own provoking be it frankly owned, sorely buffeted, but one who, though well-nigh crushed, was never subdued; one whose courage sustained him to the last, whose one refuge against her flouts was in his art; who met, uncomplaining, neglect and contempt in his later years as he had in the heyday of his career received, unspoiled, unstinted praise and well-earned fame, and who said of himself in the height of his prosperity, "When I want rest for my mind, it is not honours I crave, but liberty." Much concerning Rembrandt has been revealed by M. Vosmaer and his fellow-workers, by MM. Bredius and Scheltema, de Vries and Immerzeel, Elzevier and Eckhoff, van der Willigen, and other patient seekers, but much, nevertheless, still remains in doubt or darkness. Even as to the date of his birth, there is considerable uncertainty. Orlers, a burgomaster of Leyden, in a description of that town published in 1641, and therefore while not only Rembrandt himself but many people who must have remembered his birth were still alive, states that Rembrandt, the son of Hermann, the son of Gerrit, and Neeltje, the daughter of Willems of Suydtbroeck, was born on the 15th of July 1606, and later writers for more than two hundred years accepted his assertion without question. Dr Bredius has, however, shown that on May 25th, 1620, Rembrandt was entered as a student in the Faculty of Letters at the University of Leyden and his age is given in the same document as fourteen, _Rembrandt Hermanni Leidensis 14 jare oud_, and as this was before his birthday in that year the question arises as to whether the statement means that he was in his fourteenth year or that he had passed the fourteenth anniversary of his birthday. For, the day of his birth not being in dispute, if we take the latter and more obvious interpretation it would necessarily follow that the fourteenth anniversary was in 1619 and that he completed his first year on 25th May 1606, so that the actual day itself must have been in 1605. There is further and still conflicting evidence to be reckoned with. In the British Museum there is a proof of an etched portrait of himself dated 1631 [B. 7], on which is written, in what is believed to be his own hand, "_aet._ 24, 1631." If this was written before the 15th of July it would point to 1606 as his birth year, thus agreeing with Orlers' statement, while if it was written after that day it would imply 1607. It should, however, be observed that M. Blanc reads the figures on the etching as 25, and if he be correct in this the choice must lie between 1607 and 1608; while, to add further to the mystification, Mr Sidney Colvin reads the age as 27, which makes the birth year 1603 or 1604. Nor is 1607 without further support. Dr Scheltema discovered in the marriage register of Amsterdam the record of Rembrandt's official engagement to duly obtain his mother's consent to his marriage, signed by himself, and in this he gives his age on July 10th, 1634, as twenty-six, in which case his birthday would have fallen in 1607, but we know that he was at all times very vague as to dates and figures. On a delightful pencil drawing on vellum, in the Berlin Museum, of his wife Saskia, there is an inscription in his handwriting "Dit is naer myn huysfrow geconterfeit do sy 21 jaer oud was den derden dach als wy getroudt waeren due 8 junyus 1633"--"This is a portrait of my wife when she was 21 years old, on the third day after our marriage, the 8th of June 1633," a simple statement, which nevertheless contains a remarkable number of errors for so brief a document. Saskia, it is true, was twenty-one in 1633, but the marriage took place on the 22nd of June and in the year 1634. If, then, Rembrandt could misdate an event so intimately connected with his life's chief joy, how should we expect him to be more accurate about one, which indeed concerned him nearly, but of which he naturally had no personal recollection. That he was uncertain we have happily positive proof, thanks once more to Doctor Bredius, for on the 16th of September 1653, in giving his opinion as an expert in a trial concerning the authenticity of a certain picture by Paul Bril, he can only declare that he is about forty-six. Such is the evidence upon this fortunately not very important point, and it is small wonder that of the two great authorities, M. Michel and M. Vosmaer, the first accepts 1606 and the second 1607 as the true date. The question must still remain an open one, but when we consider that Rembrandt's mother did not die until 1640, only one year before Orlers published his book, and at a time when he had probably collected most of his material, and that nothing is more likely than that he should have applied to her for details, we may with safety conclude that the balance of probability is in favour of his date 1606. Concerning the place of his birth there are no such doubts. If the visitor to Leyden, on his way from the station to the town, turns sharp to the right after crossing the second bridge, and on traversing a third keeps again to the right and continues with that branch of the Rhine known as the Galgewater on his right hand, he will before long find himself on the west side of the town, in a triangular open space, washed on two sides by the moat surrounding it, where once stood the White Gate guarding the entrance of the high-road from the Hague. On the left side of this, as one comes in from the country, and at right angles to it, close to where the buildings of the Zeemans-Kweekschool, or Naval School, now are, ran a short street called the Weddesteeg, in No. 3 of which Rembrandt was born. It must have been a pleasant situation, facing the setting sun, with nothing but the town ramparts and the gleaming moat between it and the wide champaign. On the right hand the slow barges crept up and down the river, on the left the slow carts creaked to and from the town, while in front the broad sails of windmills swung round, and the whirr of the stones grinding malt for making beer hummed through the open doors. Up against the sky rose two, one almost opposite the windows of the house, the other a little to the left on the border of the Noordeinde, just inside the gate, of which Rembrandt's father owned half, while his stepfather Cornelis, the son of ClÃ¦s, with his son ClÃ¦s, shared the other half between them. He was a prosperous and respected man was Hermann, or Harmen--the name occurs in both forms--the son of Gerrit, called after the fashion of the time Harmen Gerritsz, to which he himself added van Rijn, as his son did after him. Besides his own residence, and his share of the mill, he owned houses within the town and gardens without, with plate and jewellery and house-plenishings and all things proper about him, and had been appointed by his fellow-citizens to a municipal office of importance, representing the ward of the Pelican, in which he lived, where he did so well what was asked of him that he was selected again for it some years later. He was at the former date thirty-five or thirty-six, and at the time when this, his fifth and youngest child but one, was born, he had been married fifteen years, his wedding-day having been the 8th of October 1589. [Illustration: [_Bredius Collection, the Hague_ PORTRAIT OF REMBRANDT'S MOTHER (ABOUT 1628)] Rembrandt's childhood, considering the condition of his father, was, we may be sure, at least a comfortable one, though of details we have none. We cannot even say where he learned to read and write, for neither of which exercises did he subsequently exhibit much affection. Probably at home, where maybe Coppenol, the great master of writing, at that time included among the fine-arts under the style of Caligraphy, taught him, and possibly gave him his first lessons in drawing also; for the art he professed, with its elaboration of curves and flourishes, and its, to our eyes, somewhat childish pictorial perversions, was a singular commingling of the two. One thing at least we may feel certain of, that it was at his mother's knee he began the study of the Bible, which she herself read so constantly, if we may judge by its frequent appearance in his portraits of her, and which he, following in her footsteps, knew so thoroughly and drew upon so often for inspiration. The next fact we find chronicled is a passage in Orlers to the effect that his parents sent him to school to learn the Latin tongue, in preparation for the University of Leyden, that when he came of age he might by his knowledge serve the City and Republic; and in fulfilment of this laudable ambition we find that entry on May 25th, 1620, as a student in the Faculty of Letters, which has already been noted in another connection. But by this time, by what means we know not, the art craving was fully aroused, and his parents' ambitious scheme for his serving the City and Republic was as nothing beside his own irresistible desire to express himself in form and colour. He proved, we are told, but an unwilling scholar, the lines of Virgil and Ovid were lifeless to him, in comparison with those of Lucas van Leyden; and his elders, yielding with a fortunate wisdom to the inevitable, gave up the effort to make a statesman of him, and consented to apprentice him, according to his wish, to a painter to learn first principles from him. CHAPTER II ART EDUCATION AND EARLY WORKS The exact date of this first step on the road to fame is also still somewhat uncertain. Vosmaer believes it was in 1619, but the assertion of Orlers that when his parents allowed him to abandon the unloved Latin, they apprenticed him to a painter, is so precise, that it is unreasonable to suppose that his father should have returned to the attack. We may consequently assume that the final desertion of the Muses and enlistment in the cause of the Arts came after, not before, that enrolment at the University--that is to say, late in 1620 or perhaps early in 1621. Further facts go to prove this point. His first apprenticeship, in accordance with the rules of the Guilds of Saint Luke, lasted three years, and came to an end therefore in 1623 or early in 1624. He then went to a second master in Amsterdam, but remained with him only six months; so that in either case the date of his leaving Amsterdam and returning to Leyden would have been some time in 1624. Now there is no doubt that it was in 1624 that this took place, and the only obvious conclusion is that his first apprenticeship did not commence before 1620. The painter who was then chosen for the honour of first guiding the hand of the young Rembrandt, by which honour he is nowadays almost alone distinguished, was Jacob van Swanenburch. A man of good position, the son of one painter, the brother of another, and of an engraver, he was not, judging by his only known picture, "A Papal Procession in the Piazza of St Peter," artistically speaking, of much account, and it was probably more for personal reasons, and because of his propinquity, than for his conspicuous talents that he was selected. He was able only to impart "the first elements and the principles" of his art to his young pupil, as Orlers tells us; but indeed these were all that were needed by one with such an overmastering personality, with so powerful an artistic inspiration and energy. So successful was the process that Orlers describes his advance in craftsmanship as so swift and steady that his fellow-citizens were completely astounded by it, and could already foresee the brilliant career to which he was destined. We must, however, remember in weighing this statement that it was written when that career was at its most brilliant stage, and is to some extent the proverbial safe prophecy of one who knows. That Rembrandt did make considerable progress during the following three years is, of course, certain; and when his apprenticeship drew to an end the question arose as to what was to come next. The experience of a young fellow-artist probably suggested the answer. About the time Rembrandt entered Swanenburch's studio Jan Lievensz, a fellow-citizen, a year younger than Rembrandt, who had, however, entered upon his artistic studies while Rembrandt was still struggling with, or against, the detested Latin, returned from completing his studies in the studio of Pieter Lastman at Amsterdam. The father of Jan was a farmer, a man in the same rank of life as Hermann the miller, and probably had business connections with him, so that the acquaintanceship between the two sons, destined to ripen into warm friendship, doubtless began in early boyhood. Certain it is, at any rate, that when Jan returned from Lastman's studio to astound his townsmen with his precocity, the intimacy between him and Rembrandt became close; in a few years their names seem to have become as inseparable as those of Damon and Pythias, and it was no doubt from the enthusiasm of Lievensz that the impulse arose which, in 1624, sent Rembrandt also to study under Lastman. The experiment, however, was not a success. Lievensz had remained with him two years; Rembrandt wearied of it in six months. And, truly, though he enjoyed at that time an incomprehensibly large measure of popularity and success, Lastman, though a far better artist than Swanenburch, was not one of those whose names we nowadays inscribe on the roll of great painters. He had been, moreover, one of the large group who had trudged to far-away Rome, and come under the influence of Elsheimer there, and the exotic and ill-adapted traditions and conventions of the school were not calculated to appeal to so ardent and eager a seeker after truth as Rembrandt. He wanted to find nature, and was not to be put off by a diluted semi-Italian imitation of it; and so, after a few months' trial, he packed up his paints and canvases, and returned to his family in Leyden "to study and practise painting alone and in his own way," to quote again the garrulous Orlers. That so indefatigable and untiring a worker as Rembrandt did not waste time, when once he was safely established in his father's house, is certain, for Orlers says that he worked incessantly as long as the light lasted; but we know of nothing that he produced until three years later, when he painted two still existing pictures, signing and dating both. From this time his reputation and that of Lievensz ripened rapidly. Arent van Buchel, in his "Res PictoriÃ¦," mentions him in 1628; and Constantin Huygens, in a manuscript autobiography, discovered in 1891 by Dr Worp of Groningen, and written probably between 1629 and 1631, was enthusiastic concerning both, "still beardless yet already famous"--an appreciation that was not to be without its favourable influence on Rembrandt's future. Nor was this growing fame productive of mere empty praise. In February 1628, when he was only one-and-twenty, Gerard Dou, his first pupil, came to him and remained until he left Leyden for Amsterdam three years later. Many causes probably combined to promote this change of residence. On the twenty-seventh of April 1630 the first break in the united family circle was brought about by the death of his father. The blow must have been a heavy one, for he must have been a kindly and sympathetic companion to his children, if we may judge by the refined and sensitive face which looks out at us from the portraits believed to be his, and a merry one to boot, with a pretty humour of his own, if M. Michel be justified in his conclusion that the etching of the bald man with a chain (B. 292) is also a portrait of him. The loss further brought changes into the family arrangements. The eldest brother, as far back as 1621, had been crippled by an accident, and on March 16th of that year a life-interest in the estate to the amount of 125 florins per annum had been formally established for his maintenance, so that the superintendence of the affairs of the mill fell to the second son Adriaen, who abandoned his trade of shoe-making to undertake it, and made nothing, or worse, of it. The young artist's reputation as a portrait painter had, moreover, spread to Amsterdam some time before, and many commissions came to him thence. For a while he merely went over, stayed long enough to do the work, and returned again to Leyden, but as the demands upon his time increased this must have proved a wasteful, inconvenient, and finally impossible proceeding. Leyden, again, was a University town, where religion and philosophy were more thought of and more sought after than such a trifle as art, as indeed is still the case in some University towns that could be mentioned; while Amsterdam was a city of prosperous traders making more money than they knew how to spend or employ, and ready enough to devote some of their superfluity to portraits of themselves and wives, or pictures of incidents and places, and it was clearly desirable that one able and willing to satisfy their wishes in this respect should be upon the spot. [Illustration: [_Cassel Gallery_ PORTRAIT OF REMBRANDT'S FATHER (ABOUT 1631)] The little coterie of artists, too, was on the verge of dispersal in any case, by the loss of Rembrandt's closest tie with it, Jan Lievensz. He had sold a picture of a man reading by a turf fire to the Prince of Orange, who had presented it to the English Ambassador, and he in turn had passed it on to that king of picture lovers, Charles the First, who had been so well pleased with it that a pressing invitation to visit England had been sent to the painter, and accepted. Nor, probably, was it only the chance of obtaining more employment that attracted Rembrandt. The famous "Anatomy Lesson" bears the date 1632, and, even if the commission for it had not actually been offered during the preceding year, it may very well have been suggested in the course of conversation by the doctor who had added to his name, ClÃ¦s Pietersz, that of Tulp, taking it from a tulip which was carved on the front of his house, who figures so conspicuously in it. If this were so, it must have been evident to Rembrandt that to undertake so large and important a picture while living in another city would mean either risking the uniformity and continuity of his work, or settling down for a prolonged period in lodgings in Amsterdam, and this may well have confirmed his decision to at once establish himself there permanently. Finally, I like to fancy, though it certainly cannot be proved, that Rembrandt had already, in one of his flying visits to that city, met the girl upon whom, while she lived, the larger part of his life's happiness was to depend. The evidence is, it must be owned, slight, but is not altogether wanting. Among the pictures of the year 1630, and, according to M. Michel, even of 1628 and onwards, we find a series of portraits of a fair-haired girl with a round, full forehead, and rather small eyes and mouth, which Dr Bode believes to be portraits of the painter's sister Lysbeth, while M. Michel considers that some of the later ones are really portraits of Saskia, urging the objection that many of them were undoubtedly painted after his removal to Amsterdam, whither there is not the slightest reason to suppose that Lysbeth accompanied him, what evidence there is pointing directly to the contrary. On the other hand, M. Michel admits that the type which is known to be Saskia blends almost indistinguishably with that supposed to be Lysbeth, and offers the distinctly dubious explanation that Rembrandt was, so to speak, so imbued with the features of his sister that he unconsciously transferred them to a large extent to the girl he loved. If, however, as we may quite reasonably suppose, Rembrandt had met and admired Saskia during his first stay in Amsterdam, and continued to do so during his after-visits, the occurrence of her features in his work would be what we ought to expect. There was, on the other hand, but a single objection to the scheme--the parting with his mother; and to such an affectionate and home-loving nature as Rembrandt's the difficulty can have been no small one. Still, a man has to do a man's work in this life. Adriaen, his brother, and Lysbeth, his sister, were there to minister to her comfort, while Amsterdam was no great distance away; and though, doubtless, it was not altogether without tears that the widowed Neeltje consented to the departure of her youngest son, the decision was taken, and the consent yielded at last. Indeed, it was inevitable that so great and, at one time, so popular an artist should, sooner or later, gravitate to the capital of his country; for, since the decay of Antwerp, Amsterdam was without a rival in the world for prosperity--the head-centre of commerce, the hub of the trade-universe. Sir Thomas Overbury, in 1609, describes it as surpassing "Seville, Lisbon, or any other mart town in Christendom." Evelyn, writing in 1641, says in his diary, "that it is certainly the most busie concourse of mortalls now upon the whole earth and the most addicted to com'erce." Neither tempest nor battle could check her energy; and throughout the long desultory war from 1621 to 1648 between Spain and Holland, her traders hurried to and from the enemy's ports, supplying her even with the very munitions of war to carry on the contest; while for all this accumulated wealth there was but a limited outlet. Necessities being superabundant, it must be either hoarded or expended on luxuries, and among these pictures held high place. Quoting once more from Evelyn, we find him writing on August 13th, 1641: "We arrived late at Roterdam, where was their annual marte or faire, so furnished with pictures (especially Landskips and Drolleries, as they call those clounish representations), that I was amaz'd. Some I bought and sent into England. The reson of this store of pictures and their cheapness proceedes from their want of land to employ their stock, so that it is an ordinary thing to find a common Farmer lay out two or three thousand pounds in this comodity. Their houses are full of them, and they vend them at their faires to very great gaines." So, for a time, the Dutch painters drove a thriving trade; and as Amsterdam was by far the richest city, to Amsterdam the successful painter must needs repair. CHAPTER III DAYS OF PROSPERITY Some time then in 1631 the die was cast, and the removal accomplished. There is reason to believe that he went at first to stay or lodge with Hendrick van Uylenborch, a dealer in pictures and other objects of art. Among his first proceedings on his arrival, was one sufficiently characteristic of him and destined to be repeated only too often in the future. He lent Hendrick money, one thousand florins, to be repayable in a year with three months' notice. Soon after, if not before, this indiscreet financial operation, as it proved later, he found the suitable residence he had meanwhile been seeking, on the Bloemgracht, a canal on the west side of the town, running north-east and south-west between the Prinsen Gracht and the Lynbaan Gracht, in a district, at that time on the extreme outskirts of the town, known as the Garden, from the floral names bestowed upon its streets and canals. Here he settled to his work, and here in a short time fortune came to him. The enthusiasm aroused by "The Anatomy Lesson," when it was finished and hung in its predestined place in the little dissecting-room or Snijkamer of the Guild of Surgeons in the Nes, near the Dam, was immediate and immense. The artist leapt at once into the front rank, and became the fashionable portrait painter of the day. From three portraits, other than those of his own circle, painted in 1631, and ten in 1632, the number rose to forty between that year and 1634; or, taking all the surviving portraits between 1627 and 1631, we have forty-one, while from the five following years, from 1632 to 1636, there are one hundred and two. Commissions, indeed, flowed in faster than he could execute them, so Houbraken assures us, and the not infrequent occurrence of a pair of portraits, husband and wife, one painted a year or more after the other, tends to confirm this; so that those who wished to be immortalised by him had often to wait their turn for months together, while all the wealth and fashion of the city flocked to the far-off studio in the outskirts, the more fortunate to give their sittings, the later comers to put down their names in anticipation of the future leisure. From the beginning, too, pupils came clamouring to his doors, Govert Flinck and Ferdinand Bol, Philips Koninck, Geerbrandt van den Eeckhout, Jan Victors, Leendeert Cornelisz, and others, eager to pay down their hundred florins a year, as Sandrart says they did, and work with and for the lion of the day. Not Fortune alone, however, with her retinue of patrons, and Fame, with her train of pupils, sought him out; Love, too, came knocking at his portal, and won a prompt admission. To the many admirable works produced at this time I shall return later, but three of those painted in 1632 call for further notice now. One is an oval picture, belonging to Herr Haro of Stockholm, representing the half-length figure of a girl in profile, facing to the left, fair-haired, and pleasant-looking rather than pretty; the second, in the Museum at Stockholm, shows us the same girl in much the same position, but differently dressed; while the third, in the collection of Prince Liechtenstein at Vienna, is a less pleasing representation of her in full face, wherein the tendency to stoutness and the already developing double chin detract from the piquancy of her expression and make her look more than her actual age, which we know to have been twenty at the time that these were painted. We have heard her name casually already, in connection with the arrangements for Rembrandt's marriage, when discussing the date of his birth--for this is Saskia van Uylenborch, a cousin of his friend Hendrick, which fact may haply have had something to do with that ready loan of a thousand florins. Though poor Rembrandt, be it said, was, unhappily for him, never backward with loan or gift when he had money to give or lend. Saskia was born in 1612 at Leeuwarden, the chief town of Friesland in the north, across the Zuider Zee, and at the time when Rembrandt met her was an orphan, her mother, Sjukie Osinga, having died in 1619, and her father, Rombertus, a distinguished lawyer in his native place, in 1624. The family left behind was a large one, consisting, besides Saskia, of three brothers, two being lawyers and one a soldier, and five sisters, all married, who, as soon as the worthy Rombertus was laid to rest, seem to have begun wrangling among themselves concerning the estate; the quarrel, chiefly, as it appears, being sustained by the several brothers-in-law, and leading shortly to an appeal to law. [Illustration: [_Liechtenstein Gallery, Vienna_ PORTRAIT OF SASKIA (1632)] Among the less close relations was a cousin Aaltje, who was married to Jan Cornelis Sylvius, a minister of the Reformed Church, who, coming from Friesland, had settled in Amsterdam in 1610, and with them Saskia was in the habit of coming to stay. Where and when Rembrandt first met her we do not know. Probably at the house of Hendrick; it may have been, as has been said, in 1628 or earlier, for, if the acquaintance began in 1631, it ripened rapidly. Without accepting unhesitatingly all M. Michel's identifications of her, not only in portraits and studies but in subjects, such as that one which is known as "The Jewish Bride," now in the collection of Prince Liechtenstein, there is no question that she sat to him several times during the two years 1632 and 1633. The attraction was mutual; Rembrandt soon became a welcome visitor to the Sylvius household, and, in token doubtless of the kindness and hospitality which he there met with, he etched, in 1634, a portrait of the good old minister (B. 266). The course of true love in this case ran smoothly enough; the young people soon came to an understanding; no difficulties were raised by Sylvius, who acted as Saskia's guardian; and the marriage was only deferred till Saskia came of age. The union, indeed, from a worldly point of view, was unexceptionable. Saskia, it is true, was of a good family, while Rembrandt sprang from the lower middle class, but he had already carved out for himself a rank above all pedigrees. Saskia was twenty, and he, with all his fame, was only twenty-six. The wedding, then, was decided on, and Rembrandt, painting Saskia yet again, put into her hands a sprig of rosemary, at that time in Holland an emblem of betrothal. It was possibly even fixed for some date late in 1633, when Saskia would have passed her twenty-first birthday. Just at this time, to confirm, if that had been needed, Rembrandt's increasing reputation and prospects of future prosperity, he was brought into business relations with the chief personage in the land, Prince Frederick-Henry, who in 1625, on the death of his brother Maurice, had succeeded to the office of Stathouder, as the head of the Republic was officially entitled. Constantin Huygens, whose earlier enthusiasm for Rembrandt's work we have already noted, was the Prince's Secretary, acting in that quality as intermediary in his many dealings with artists, and clearly found time in the intervals of his duties to continue his acquaintance with Rembrandt. It was probably on his recommendation that the artist had painted in 1632 the portrait of his brother Maurice, and it was certainly at his suggestion that the Stathouder bought "The Raising of the Cross," now at Munich. Rembrandt, indeed, says as much in a letter to Huygens, still existing in the British Museum, in which he invites him to come and inspect the companion picture, "The Descent from the Cross," for which, though offering to leave it to the Prince's generosity, he considers two hundred livres would be a reasonable price. The picture was bought, and so content was the Prince with his purchase that soon afterwards he commissioned three other pictures to complete the set. The exact date of this event is unknown, but it cannot have been long delayed, for, in a letter written early in 1636 the painter informs Huygens that one of the three, "The Ascension," is finished and the other two half done. With such guarantees of continued good fortune, there was nothing, when Saskia was once of age, to necessitate longer delay, in the completion of his happiness, but in the autumn she was peremptorily called away to Franeker, a town in Friesland, between Leeuwarden and the sea, where her sister Antje, the wife of Johannes Maccovius, professor of Theology, was lying ill, and where, on November the ninth, she died. This untoward occurrence put an end to the possibility of an immediate marriage, and Saskia went to spend the winter with another sister, Hiskia, who was married to Gerrit van Loo, a secretary of the government, and lived at Sainte Anne Parrochie, in the extreme north-west of Friesland; while Rembrandt, discontentedly enough, no doubt, toiled through the long winter months in his studio at Amsterdam. In the spring of 1634, however, the sunshine returned again into his life, and he commemorated the advent, appropriately enough, by painting the bringer of it in the guise of Flora. The period of mourning was now at an end, and some time in May, probably, Saskia once more returned to Hiskia's to make preparation for the approaching day; while Sylvius, as her representative, and Rembrandt began to arrange the more formal business matters. On June 10th, as recorded by Dr Scheltema, Sylvius, as the bride's cousin, engaged to give full consent before the third asking of the banns; while Rembrandt, on his part, promised to obtain his mother's permission. Whether he merely wrote to Leyden
{'title': 'Rembrandt van Rijn by Malcolm Bell', 'source': 'Project Gutenberg', 'lang': 'en'}