Though the masters of Decorative Art were constantly increasing in numbers, it was three-quarters of a century after the appearance of the furniture designs by De Vries before another important work of the same nature was published. This was by another Dutchman. In 1642, Crispin van den Passe published at Amsterdam his “_Boutique Menuiserie dans laquelle sont comprins les plus notables fondaments non moins arichesse avecq des nouvelles inventions_.” Of his life little is known, except that he was the son of the great engraver of the same name and was born in Utrecht in 1585. His _Boutique Menuiserie_ contains a series of plates of furniture. It is extremely rare today, but was doubtless in every cabinet-maker’s shop of the period. The furniture, it will be noticed, is “new.” The book was published two years after the death of Rubens, while the _style Rubens_ was still in its glory. From a study of these plates, together with the engravings of Abraham Bosse, we can obtain a clear vision of an interior, either Flemish or French, during the reign of Louis XIII, for Crispin’s furniture designs were as well known to French as to Flemish workmen. Three of his chairs, two of them folding, are reproduced in Figs. 31, 32, and 33; Fig. 34 also shows a small table by him. We have already caught a glimpse of Rubens’s home in Antwerp; and now we cannot do better than look at the interior of the other great master in Amsterdam. When that city passed through a great financial crisis in 1653, Rembrandt suffered in company with his fellow-citizens. He had been living like a lord in a splendid dwelling sumptuously furnished and decorated, and surrounded by a multitude of objects of art which he loved to collect—armour, robes, busts, ceramics, engravings, and famous pictures by Italian and native artists, as well as his own productions. To satisfy his creditors, these all came to the hammer in 1656. The inventory gives us a good idea of his home. In the vestibule, there were four Spanish chairs covered with Russia leather, four Spanish chairs with black seats, and one low form of pinewood.