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.

[Illustration: [_National Gallery, London_

Great Masters in Painting: Rembrandt van Rijn — Part 22

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.

Great Masters in Painting: Rembrandt van Rijn — Part 22