Furthermore, Rembrandt, hot-headed and impetuous as he was, must needs fling himself into the family quarrels and suits-at-law, taking therein the part of the one who had stood by him and Saskia at the altar, Gerrit van Loo, in whom, though he had possibly never set eyes on him till he went north to his wedding, he had already developed so complete a confidence that, exactly one month later, on July 22nd, as Dr Scheltema discovered, he gave him a full power of attorney to act for him in all affairs connected with the property in Friesland. From this sudden and violent partisanship still more trouble arose in due course, owing largely to the fact that his championship of Gerrit was soon after justified by his winning one of the many cases brought before the court of Friesland in the course of the prolonged dispute.
For the time, however, there is no doubt their happiness was supreme, and if for her sake he was energetically brewing the storm that was to burst upon him later, there were as yet no threatening clouds upon the horizon. Nor, be it said, was it on her account alone that he scattered money broadcast. The impulse to collect works of art, pictures, engravings, casts and statues, armour and curious objects, had begun to influence him even in early days at Leyden, and had become by that time a perfect mania. On February 22nd, 1635, we find his name as a purchaser at the Van Sommeren sale, and thereafter he reappears again and again as buyer at various auctions. But not even in this could he attempt to be business-like. Baldinucci, a Florentine, in a volume published in 1686, gives many interesting details anent Rembrandt, which he obtained at first hand from one of his later pupils, Bernard Keilh, a Dane, and among them relates that, when at a sale he saw anything he coveted, he ran it up in one bid to a wholly impossible price, thus making sure of it, and at the same time, as he explained, paying honour to his art.
The Van Uylenborch family quarrels happily did not extend to the sisters, amongst whom the most amicable relations appear to have prevailed. At any rate, in the summer of 1635, we find Saskia revisiting Sainte Anne Parrochie, to be with Hiskia during her confinement, and subsequently at the baptism of the child, a mark of kindly feeling the more notable in that she herself was about to become a mother. In the early winter, having returned meanwhile to her home, she gave birth to a son, who, on December 15th, in the Oudekerk, was christened Rombertus, after her father. Rembrandt's delight in this small person is indicated by numerous sketches of him and his mother; but the happiness, like all that he experienced, was short-lived, for the child did not long survive its birth.
[Dresden Gallery
REMBRANDT AND SASKIA
(ABOUT 1635)
Rembrandt, at some time before his marriage, had removed from the Bloemgracht to Saint Antonies Breestraat, in the heart of the city, close to the Nieuwe Markt, and by 1636 had moved once more to the Nieuwe Doelstraat, whence the letter to Huygens, already referred to, was addressed. There can be no doubt that the change was an improvement, for the artist must then have been at the height of his prosperity and fame.
Throughout Holland, imitators of his style were springing up, for the public would have no other. His studio was freely sought by pupils; his home-life was passed in a circle of trusted friends, and the broadly sympathetic nature of the man, which aided so largely in raising him to the first place among portrait painters, is seen in the various pursuits of these.
Fellow-painters, apart from his pupils, were not conspicuous among them, and those we find are chiefly landscape painters—Roghman and van der Helst, Ruysdael and Berchem, van de Cappelle and Jan Asselyn. With ministers he was largely acquainted, probably through Jan Sylvius, who, however, died on November 19th, 1638, among them being Alenson, Henry Swalm, and Anslo; while Tulp probably first introduced the medical element, Bonus, van der Linden, and Deyman. Several dealers in objects of art, brought in by Hendrick van Uylenborch, or picked up in the course of business transactions, were among his friends—Pieter de la Tombe, Clement de Jonghe, Abraham Francen, and others; while the worthy though conceited Coppenol, and the jeweller, Jan Lutma, together with the burgomaster Six, were among those who remained faithful to the last.
Rembrandt's championship of Gerrit van Loo in the family differences began about this time to bear troublesome fruit. The losers in the action already mentioned, in the course of the year 1634 seem to have nursed an especial grudge against Saskia, and, to relieve their ruffled feelings, had been spreading abroad reports reflecting on her, asserting that she had "dissipated her paternal inheritance in dress and ostentation." There was, as far as Rembrandt himself, at least, was concerned, too much truth in the story to render the scandal altogether stingless. The thrust at Saskia, moreover, angered him more, probably, than one at himself alone would have done, and we find him accordingly rushing headlong into the law-courts with an action for damages against one Albert van Loo, declaring that "he and his wife were amply, even superabundantly, provided for."