Rembrandt, his life, his work and his time . indeed, commendable,and in some measure a guarantee of domesticity. We may add that the portraits he paintedof himself at this period—one at Dulwich, andone at Petworth, bothdated 1632 and verydelicately handled ; onein the Hague Museum(about 1633 —1634),where he figures in themartial costume he lovedto don ; and two inthe Louvre, dated 1633and 1634, where thetreatment is broaderand freer—all representhim as peculiarly at-tractive in person. Thelast of these, especially,is the portrait of anaccomplished cavalier ;his open face and con-fident bearing
Rembrandt, his life, his work and his time . indeed, commendable,and in some measure a guarantee of domesticity. We may add that the portraits he paintedof himself at this period—one at Dulwich, andone at Petworth, bothdated 1632 and verydelicately handled ; onein the Hague Museum(about 1633 —1634),where he figures in themartial costume he lovedto don ; and two inthe Louvre, dated 1633and 1634, where thetreatment is broaderand freer—all representhim as peculiarly at-tractive in person. Thelast of these, especially,is the portrait of anaccomplished cavalier ;his open face and con-fident bearing bespeakthe full maturity of strength and of genius, together with the easygood breeding of one at home in Society. The career that was opening before Rembrandt, his soberlife, his industry, and his personal charm, pleaded powerfully inhis favour. The position he had secured by his talents was such as toinspire confidence even in the cautious minds of the Sylviuses,while Saskia was naturally won by his youthful ardour, and the halo of. PORTRAIT OF SASKIA. 1632 (Liechtenstein Collection). THE ENGAGEMENT 173 glory that already encircled his name. His suit was successful, andthe numerous portraits lie painted of his betrothed show that theyoung couple were much together. But, whether to test the strengthof their attachment, or to allow the young girl herself to bestow herhand upon her lover, the marriage was deferred till after her the interval, Rembrandt fed his passion, both for Saskia and for hisart, by multiplying por-traits of her. We re-cognise her type, as weknow it from PrinceLiechtensteins picture of1632, in an oval paintingbelonging to BaronHirsch, dated 1633. Thehead, with its unrulyauburn hair, rounded fore-head, and dainty, poutingmouth, is turned almostfull to the fresh carnations arebrought into strong reliefby the brown backgroundand the neutral gray ofthe deep shadows. Inanother portrait, in theDresden Museum, signed,and dated 1633,
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Keywords: ., bookcentury1800, bookdecade1890, bookpublisherlondo, bookyear1894
