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Updated: September 9, 2025
The first baby girl died and on the birth of another daughter she too was named Cornelia, but that baby girl also died, and next came a son, Titus, named for Saskia's sister, Titia, and then Saskia died. Thus Rembrandt knew the deepest sorrow of his life.
He implored some one to tell him if "the first cook" was finished, and he upbraided some one else for "cooling off" too fast. The girl raised her head. "But I fear he has become mad," she said. "Wheesht, Mem," said Dickson, who recognized the jargon. "He's a papermaker." Saskia sat down on the litter and lifted his head so that it rested on her breast.
In short, this was a most wonderful house and no other interior can we reconstruct as we can this, because no other such detailed inventory can be found of a great man's effects as that from which these notes are taken: a legal inventory made in 1656, long after Saskia had died and possibly at a time when Rembrandt wished to close his doors forever and forget the scenes in which he had been so happy.
In two steps he had followed McGuffog through the chink into the passage, and the concussion of the grand piano pushed hard against the verandah door from within coincided with the first battering on the said door from without. In the garden-room the feeble lamp showed a strange grouping. Saskia had sunk into a chair to get her breath, and seemed too dazed to be aware of her surroundings.
In spite of the quantity and quality of Rembrandt's work, he was unable to recover his prosperity. He had moved into a fine house when he married Saskia, and was never able to pay off the debts contracted at that time. Things went from bad to worse, until at last, in 1656, when Rembrandt was fifty, he was declared bankrupt, and everything he possessed in the world was sold.
Kitty was in full force, glittering in a spangled dress, her dazzling face and neck, and the piled masses of her hair, thrown out in relief against the panelled walls of the dining-room with a brilliance which might have tempted a modern Rembrandt to paint an English Saskia. Eddie Helston, on her left, could not take his eyes from her.
Rembrandt said something to the effect that he rather liked to have some one watch him when he worked; it depended, of course, on who it was and asked the sitter to elevate his chin a little and not look so cross. Next day Saskia came again to watch the transfer of the good uncle's features to canvas.
Saskia, looking into the heart of the peats, began the story of which we have already heard a version, but she told it differently, for she was telling it to one who more or less belonged to her own world. She mentioned names at which the other nodded. She spoke of a certain Paul Abreskov. "I heard of him at Bokhara in 1912," said Sir Archie, and his face grew solemn.
If they gang empty-handed, they'll come again another day, either here or somewhere else, and it won't be long afore they get the lassie. But if we finish with them now she can sit down wi' an easy mind. That's why we've got to hang on to them till the polis comes. There's no way out o' this business but a battle." He found an ally. "Dougal is right," said Saskia.
He painted more than six hundred and twenty-five pictures and some of them are: "The Anatomy Lesson," "The Syndics of the Cloth Hall," "The Descent from the Cross," "Samson Threatening His Step Father," "The Money Changer," "Holy Family," "The Presentation of Christ in the Temple," "The Marriage of Samson," "The Rape of Ganymede," "Susanna and the Elders," "Manoah's Sacrifice," "The Storm," "The Good Samaritan," "Pilate Washing His Hands," "Ecce Home," and pictures of his wife, Saskia.
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