The finest etching of this period was "Ecce Homo," a marvellous composition, consisting of an immense number of figures admirably disposed. Our Lord is seen in front standing, surrounded by guards. His eyes are raised to heaven, his hands are manacled and clasped together, and on his head is the crown of thorns. "It is," says Mollett, "one of the painter's grandest works." "The 'Ecce Homo,'" says Wilmot Buxton, "to say nothing of the splendor, the light and shade and richness of execution, has never been surpassed for dramatic expression; and we forgive the commonness of form and type, in the expression of touching pathos in the figure of the Saviour; nor would it be possible to express with greater intensity the terrible raging of the crowd, the ignobly servile and cruel supplications of the priests, or the anxious desire to please on the part of Pilate." The following year, "The Lord of the Vineyard," now in the Hermitage, was painted, representing the master in a chamber flooded with light, listening to the complaints of the laborers; "Abraham sending away Hagar and Ishmael;" and several portraits of himself and Saskia. Now she is seated at a table face to face with her husband, her blue eyes looking pleased and happy into his; now they walk hand in hand in a beautiful landscape. In July, 1638, a second child gladdened the Rembrandt household, this time a daughter, named Cornelia after the artist's mother. In less than four weeks she passed out of Saskia's arms, leaving them again childless. Rembrandt's father had died six years before, and of his brothers and sisters, Gerrit, Machteld, and Cornelis were dead also. Still the painter worked on bravely, for did he not have the one inspiration that gave almost superhuman power to overcome obstacles, and made work a pleasure,--the love of his blue-eyed Saskia? During this year some lawsuits occurred in the family over her property, and Rembrandt sued some of her relatives for slander, because they had insinuated that Saskia "has squandered her heritage in ornaments and ostentation." How little the Friesland people knew of the poetry of the painter's heart, which, for the love he bore Saskia, decked, with his rich imagination, every picture of her with more than royal necklaces, and covered her robes with priceless gems, because she was his idol! This year, 1638, he painted the great picture "The Feast of Ahasuerus," or "The Wedding of Samson," now at Dresden, where at the middle of the table sits the joyous queen, Esther or Delilah, robed in white silk, and richly jewelled, of course with Saskia's face; "Christ as a Gardener," long owned by the Prince of Hesse-Cassel, presented to Josephine at Malmaison, and bought by George IV. for Buckingham Palace, where it still remains; "Joseph telling his Dream;" "The Little Jewish Bride," representing St. Catherine and her wheel of martyrdom (the hair, the pearls, the face are all Saskia's), and other works.