After Rembrandt's home was sold, he hired a house on the Rosengracht, a retired but respectable part of the city, two blocks away from the Bloemgracht, where he began life with his beloved Saskia. Here, as elsewhere, he gathered admiring pupils about him, and kept diligently at his work. It is probable that he was married at this time, or later, for in 1663 he painted a picture known as "Rembrandt and his Family," now in the Brunswick Museum, where a rosy and smiling lady is seated with a child on her lap, while two little girls of perhaps five and seven stand by her. The man with brown hair stands on the left, giving a flower to one of the girls. Rembrandt's chief works now were "Moses descending from Sinai, and breaking the Tables of the Law," "Jacob wrestling with the Angels," a striking picture of "Ziska and his Adherents swearing to avenge the Death of Huss," and "The Syndics of the Guild of Clothmakers," now in the Amsterdam Museum. Professor Springer writes concerning the latter picture, the "School of Anatomy," and "The Night Watch:" "Art has never again created a greater wealth of stirring imagery or poetry of color so entrancing as these three pictures reveal to us. Unconsciously our thoughts return to Shakspeare's familiar creations, and we recognize in these two mighty art champions of the north kindred natures and a corresponding bent of fancy." In 1668, Titus, now twenty-seven years old,--he studied painting, but became a merchant,--was married to his cousin Magdalena van Loo, one of the Frisian families, and died in September of the same year. The next March, his widow bore a daughter who received the name of Titia, for her dead father. Magdalena died in the same year in which her child was born. Thus frequently did sorrow shadow the path of the great master of shadows. This year, Rembrandt painted several portraits of himself. "In that of the Pitti Palace, we see him wrapped in fur, a medal is hung about his neck, and he is wearing a close-fitting cap, from which his ample white hair escapes. His face is furrowed with age, but the brightness of the eye is not diminished.... "In the splendid portrait in the Double Collection at Rouen, he again stands before us, with bending attitude and slightly inclined head, in theatrical costume, with his maulstick in his hand, laughing heartily. And this is Rembrandt's farewell! His face is wrinkled across and across by time and care, but it is no gloomy misanthrope crushed by evil fortune whom we see, but the man who opposed to all fortunes the talisman of Labor, and thus paints the secret of his life in his final portrait of himself, in the midst of his work, scorning destiny." A year after Titus died, death came to Rembrandt, at sixty-two. He was buried simply in the West Church, so simply that the registered expense of his burial is fifteen florins!