Whether he was ever called upon to prove this statement does not appear; probably not, since the court found, in July 1638, that he had not sufficient grounds for action. It is doubtful how far he could have established its truth had he been required to do so. There can be small question that he believed it to be true, though his paying 637 florins the previous year for a book of drawings and engravings by Lucas van Leyden, and again, in October of the same year, 530 florins for a picture of Hero and Leander by Rubens, might only indicate his habitual indifference to ways and means. We know also that at the time he was getting from five to six hundred florins for his portraits, but, judging by the number known to exist—a very imperfect test it need scarcely be said—the demand for these was beginning to fall off, there being seven for 1636, four for 1637, two for 1638, and four for 1639, while even these small numbers include three of himself, and one believed to be his mother.
The strongest reason for supposing that he was in some financial embarrassment is found in his correspondence at the beginning of the latter year with Huygens. Writing in January from the Suijkerbackerij, a house on the borders of the Binnen-Amstel, whither he had removed at an unknown date, he announces the completion of the last two of the Stathouder's commissions, and only fifteen days later he presses for immediate payment of the 1244 florins due to him, on the grounds that the money would be then extremely useful to him. Since there was some delay, he renewed the appeal, though Huygens, on February 17th, had already given orders for the discharge of the debt. This unceremonious dunning, though by proxy, of a powerful Prince, does not seem altogether to indicate that superabundance of which Rembrandt boasted; but there was, as we know, a special reason, apart from any financial difficulties, which may have accounted for this urgent need of ready money.
He had decided to settle himself finally, not long after the birth on July 1st, 1638, of his second child, a daughter, christened at the Oudekerk on July 22nd, Cornelia, after his mother, and on January 5th, 1639, had purchased from one Christoffel Thysz a house in the Joden-Breestraat, now Number 68, for 13,000 florins. Though only one quarter of this sum had to be paid within one year, the rest being distributed over the following five or six, he seems for once to have been actually eager to pay the money, and by May had discharged half the cost and taken possession.
One birth and three deaths mark the year 1640. The first, of another daughter, on July 29th, who was also christened Cornelia, the elder child bearing that name having died in the meantime. The name, however, seems to have been an ill-omened one, for its second bearer did not survive a month, its burial being recorded in the Zuiderkerk on August 25th. Of the other deaths the first was that of an aunt of Saskia, who was possibly also her godmother, as she bore the same name, and certainly left her some property, since Ferdinand Bol was sent, on August 30th, to Leeuwarden with formal authority to take possession on her behalf. The other death must have been, to Rembrandt at any rate, a far heavier blow, for by it he lost, in September or October, his mother, to whom he was cordially attached, and from whom his residence in Amsterdam had only partially separated him, since we know by various portraits, painted subsequent to 1631, that either he visited her or she him with considerable frequency.
[National Gallery, London
PORTRAIT OF REMBRANDT
(1640)
An event arising out of the consequent settlement of the estate has given rise to the suspicion that, then at all events, Rembrandt was in difficulties, but it is again possible to take another point of view. The inheritance of each child amounted to 2490 florins, and a further 1600 remained to be divided later. The business was entrusted to Adriaen and Lysbeth, and Rembrandt, unhesitatingly accepting every suggestion made by them, contented himself with a mortgage on half the mill, the redemption of which was to be postponed indefinitely. No sooner, however, was the arrangement completed than he authorised his brother Willem to sell his rights for what they would fetch. This may mean, as M. Michel supposes, that he wanted the money promptly, yet wished to deal tenderly with a brother who was himself by no means beforehand with the world; but the two reasons seem somewhat inconsistent with the facts. That Rembrandt, even though pressed for money himself, should have practically forgone his due, and consented to take a small annual interest which he could, in case necessity arose, easily forgo, is quite reconcilable with what we know of him; but that, having acted so, he should have at once undone the good he proposed, by selling his claim to some stranger, who would certainly demand the full letter of his bond, is hard to believe.
Any other evidence concerning these presumed embarrassments is certainly against them. At this very time he was cheerfully accepting security for considerable sums of money lent, in addition to the original one thousand florins, to Hendrick van Uylenborch; and in later years, when his affairs came to be inquired into, Lodewyck van Ludick and Adriaen de Wees, dealers both, swore that between 1640 and 1650 Rembrandt's collections, without counting the pictures, were worth 11,000 florins, while a jeweller, Jan van Loo, stated that Saskia had two large pear-shaped pearls, two rows of valuable pearls forming a necklace and bracelets, a large diamond in a ring, two diamond earrings, two enamelled bracelets, and various articles of plate. Finally, Rembrandt also, at a later date, estimated that his estate at the time of Saskia's death amounted to 40,750 florins; and though the estimate was made under circumstances calculated to incline him to exaggerate rather than diminish the amount, it must be considered as approximately correct.
Poor Saskia was not destined to enjoy much longer her plate and jewellery. Death, having entered the family, was thenceforth busy. Titia died at Flushing on June 16th, 1641; and Saskia herself, after the birth of Titus in September of that year, possibly never enjoyed really good health again. By the following spring she was unmistakably failing, and at nine in the morning of June 5th, 1642, she made her will. She was not even then without hope of recovery, for there are express stipulations as to any further children she might bear, but the pitiful irregularity of her signature at the end of the document shows how forlorn this hope was; and, in fact, she died within the following fortnight, and was buried on the 19th of June in the Oudekerk, where Rembrandt subsequently purchased the place of her sepulture.