When Saskia died, she left her property--she had brought Rembrandt forty thousand florins--to her infant son Titus, with the condition that her husband should have the use of the money until his death or his second marriage. If the boy died, Rembrandt was to receive the whole estate, save in case of a second marriage, when half should go to her sister. Already Saskia's friends saw the money passing away from the artist, and they brought suits for Titus's sake, to recover it. Finally, in 1656, he transferred his house and land to Titus, with the privilege of remaining there during the pleasure of Saskia's relatives. Matters did not improve, and the following year all the rich collection of art works and household goods were sold by auction to meet the demands of creditors. The next year his engravings and designs were sold in the same way, and the year following the house was disposed of, Rembrandt being allowed to remove two stoves only and some screens. These must have been bitter days for the once happy artist. It was fortunate that Saskia did not live to see such a direful change. During all the struggle and disgrace Rembrandt kept on working. In 1656 and '57 he painted for the Surgeons' Guild, a large picture, "Lesson on Anatomy of Joan Deyman," containing the portraits of nine celebrated doctors; "St. John the Baptist Preaching," a canvas with over one hundred small figures; "The Adoration of the Magi," now in Buckingham Palace and greatly admired; "Joseph accused by Potiphar's Wife," and "Jacob blessing Ephraim and Manasseh." Professor Mollett says that the "Jacob" "belongs as much to all times and all nations as the masterpieces of Greek sculpture. This touching scene, which is simply rendered with all the power of Rembrandt's art, represents the aged patriarch extending his hands, which Joseph is guiding, towards the boys, who are kneeling before him. Behind the bed stands their mother, Asenath, with clasped hands. The light falling from behind Jacob, on the left, leaves his face in the shade. His head is covered by a yellowish cap, bordered with clear-colored fur; the sleeve of the right arm is of a beautiful gray; the hand painted with large, broad touches. The bed is covered with a sheet and a counterpane of pale red and fawn color. "Joseph wears a turban, and his wife a high cap, long veil, and robe of gray and fawn-colored brown. The fair child has a yellow vest; and his head, bright with reflected lights, is very fine in tone, and of extreme delicacy. We see the colors here employed are gray and fawn-colored brown, which, in the highest notes, only reach subdued red or yellow. The whole bears a mysterious air; in a fine and luminous light, filled with tones and half-tones that are indefinable. The touch is of such surpassing boldness and ease, that, when viewed in detail, the picture might be called a sketch, if the harmony and completeness of the whole did not indicate the maturity and profundity of the work."