. Rembrandt : his life, his work, and his time. his Gold-iveighcr, the print we described in the last was also in acknowledgment of Huygens good offices in this matter that he offeredthe large picture the Secretary had hesitated to accept. The date and dimensions(10 feet by 8) of this picture seem to indicate, as we have already remarked, that theSamson in the Schonborn collection was the work in question. PURCHASE OF A HOUSE 197 like Rembrandt; he felt the need of a home in which he could set uphis studio, install his pupils, and arrange his collections. On January5, 1639, he bough
. Rembrandt : his life, his work, and his time. his Gold-iveighcr, the print we described in the last was also in acknowledgment of Huygens good offices in this matter that he offeredthe large picture the Secretary had hesitated to accept. The date and dimensions(10 feet by 8) of this picture seem to indicate, as we have already remarked, that theSamson in the Schonborn collection was the work in question. PURCHASE OF A HOUSE 197 like Rembrandt; he felt the need of a home in which he could set uphis studio, install his pupils, and arrange his collections. On January5, 1639, he bought a house belonging to the heirs of P. Beltens inthe Joden-Breestraat (a continuation of the Saint Anthonis Bree-straat), the second beyond the bridge. This house, which was^ inthe very heart of the Jewish quarter, adjoined that of the Jew, Sal-vador Rodrigues, on the east, and on the west, that of Rembrandtsbrother-artist, Nicolaes Elias. The price was 13,000 florins, a fourthof which was to be paid a year after possession, and the remainder. VIEW OF THE blNNEN AMSTEL. (The Suykerlackery was to the left, on the quay with trees.(Facsimile of a contemporary engraving.) in five or six years. A sum so considerable in those days showsthat the property was a valuable one. The house must have beenin excellent repair, for it was a comparatively new building, as weknow from the date, 1606, inscribed on a stone modillion of the secondstory. Rembrandt evidently counted on his annual gains for thesesuccessive payments. He now received considerable sums, rangingfrom 500 to 600 florins, for his portraits and pictures. He wasbeginning to make a good deal by his etchings; he had furtherthe payments from his pupils, and the occasional legacies that fellto him. In 1640, on the death of an aunt of Saskias—probablyher godmother, for she too was called Saskia—Rembrandt irave 198 REMBRANDT his pupil, Ferdinand Bol, a power of attorney, dated August 30,authorising him to receive his share of her
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