The Syndics.—Some critics consider The Syndics Rembrandt's greatest achievement; and all are agreed that it is one of the finest groups of portraits ever painted. This work, finished in 1662—twenty years after The Night Watch—was ordered by the Guild of Clothmakers, who wished to have a portrait group of their Syndics to hang in their chamber at the Staalhof (sample hall) in the Staalstraat in Amsterdam.
Rembrandt's Special Traits exhibited in this Picture.—Here Rembrandt's special traits are exhibited: his wonderful treatment of light, his grouping of figures, and his study of character. The five Syndics, all dressed alike in black with flat white collars and broad-brimmed-high-crowned hats, are grouped around a table verifying their accounts. The yellow oak wainscot behind them and the scarlet table-cloth contribute the only color to the sombre group.
Six canvases of portraits of Syndics formerly hung in the Staalhof, the oldest of which was painted in 1559. Only two now remain: the one by Rembrandt, and another, also in the Rijks, by Aert Pietersen, painted in 1599. Upon the frame of the latter is a Dutch inscription, which, translated, reads:
"Consider your oath
In what you know.
Live uprightly.
Through favor or hatred
Or self-interest
Don't give an opinion."
Rembrandt's five Dutch gentlemen look as if they had closely followed this excellent moral advice.
Description of The Jewish Bride.—The Jewish Bride depicts two life-size figures, standing and seen to the knees, one a young woman dressed in a red gown with white sleeves and white cape. Her complexion is rosy, and she has an abundance of brown hair. She is simply covered with jewels,—a comb, earrings, collar, large chain, bracelets, rings of pearls, and sparkling gems. Her face is tranquil and radiant. Her gallant companion is about to embrace her, his face full of tenderness. He wears a long wig with curls falling over his shoulders and has no beard; this was the fashion after 1660. He has a large black cap on his head, and his pourpoint, mantle, and wide and embroidered sleeves are yellow. The head of the man is very highly finished, slightly recalling in manner those in The Syndics; but his clothing is somewhat hastily done. The picture is unfinished, but in the dark fantastic background some architecture with foliage and a vase of flowers suggesting a park may be discerned to the left; also the vague form of a dog. On the right, there are some shrubs and a wall. Burger thinks this was painted in 1669, the last year of Rembrandt's life. The canvas is about five feet long and four feet high.
The Celebrated Portrait of Elizabeth Bas.—The portrait of Elizabeth Bas, the widow of Lieutenant Admiral Joachim Swartenhout, painted in 1642, is considered one of Rembrandt's most celebrated portraits. Seated in an easy chair and wearing a rich dress profusely ornamented with buttons, the stern, commanding face of the old lady looks directly at the spectator. Her marvellously painted hands are folded over a handkerchief, and she wears a cap and a fluted ruff.
Two other portraits by Rembrandt can be seen here: one, of a lady; and the other, of his father (a copy).
Multiplicity of Portraits in the Rijks.—In the Rijks Gallery portraits, either single or groups, outnumber all other branches of art. Some of these have a world-wide reputation, while others are interesting only to the special student. No less famous than Rembrandt's Elizabeth Bas is that of another old lady, Maria Voogt, Madame van der Meer, painted by Frans Hals in 1639, which hangs in the Van der Hoop Room.
"An old woman is seated in an arm-chair almost full face and of natural size. She is dressed in black velvet, with a white ruff. Her right hand holds a book with a silver clasp, the left hand rests on the arm of the chair. The tone is neutral. A superb portrait of the first order. You read above the coat-of-arms Ætatis suæ 64. Ao 1639."[24]