One of the most famous of the many portraits of Saskia at this time is the picture we have here. Because it is not signed and dated, after Rembrandt's usual custom, it is thought that it was intended as a gift for Saskia herself, and thus it has a romantic interest for us. Also it is painted with extreme care, as the work of a lover offering the choicest fruit of his art.
The artist has arranged a picturesque costume for his sitter,—a broad-brimmed hat of red velvet with a sweeping white feather, an elaborate dress with embroidered yoke and full sleeves, a rich mantle draped over one shoulder, necklace, earrings, and bracelets of pearls. Her expression is more serious here than usual, though very happy, as if she was thinking of her lover; and in her hand she carries a sprig of rosemary, which in Holland is the symbol of betrothal, holding it near her heart.
The marriage finally took place in June, 1634, in the town of Bildt. The bridal pair then returned to Amsterdam to a happy home life. Rembrandt had no greater pleasure than in the quiet family circle, and Saskia had a simple loving nature, entirely devoted to her husband's happiness. A few years later Rembrandt moved into a fine house in the Breestraat, which he furnished richly with choice paintings and works of art.
A succession of portraits shows that the painter continued to paint his wife with loving pride. He represented her as a Jewish bride, as Flora, as an Odalisque, a Judith, a Susanna, and a Bathsheba. There is one painting of the husband and wife together, Saskia perched like a child on Rembrandt's knee, as he flourishes a wine-glass in the air. In another picture (an etching) they sit together at a table about the evening lamp, the wife with her needle-work, the artist with his engraving. The love between them is the brightest spot in Rembrandt's history, clouded as it was with many disappointments and troubles. As a celebrated writer has expressed it, Saskia was "a ray of sunshine in the perpetual chiaroscuro of his life."
XI
THE SORTIE OF THE CIVIC GUARD, OR THE NIGHT WATCH
The patriotism of the Dutch is seen through the entire history of "brave little Holland." Early in the sixteenth century every town of considerable size had a military company composed of the most prominent citizens. Each company, or guild, had a place of assembly, or doelen, and a drilling-ground. The officers were chosen for a year, and the highest appointments were those of captain, lieutenant, and ensign. Upon these civic guards rested the responsibility of maintaining the order and safety of the town. Sterner duties than these were theirs when in the late sixteenth century (1573), at the call of William of Orange, the various guilds formed themselves into volunteer companies to resist the Spanish. How well they acquitted themselves is a matter of history, and Spain recognized the republic in the treaty of 1609. After the war, many of the corporations were reorganized and continued to be of great importance in the seventeenth century.
The picture we have here represents the Civic Guard of Amsterdam during the captaincy of Frans Banning Cocq in 1642. Cocq was a man of wealth and influence who had purchased the estate of Purmerland in 1618 and had also been granted a patent of nobility. So it was natural that Lord Purmerland, one of the most distinguished citizens of the town, should be called to a term of office as captain of the Civic Guard. His magnificent stature and manly bearing show him well fitted for the honor.