He painted her sitting upon his knee, and used her as model in many pictures. First, last, and always he loved her tenderly. In one portrait she is dressed in "red and gold-embroidered velvets"; the mantle she wore he had brought from Leyden. In another picture she is at her toilet, having her hair arranged; again she is painted in a great red velvet hat, and then as a Jewish bride, wearing pearls, and holding a shepherd's staff in her hand. Again, Rembrandt painted himself as a giant at the feet of a dainty woman, and in every way his work showed his love for her. After he married her, in June 1634, he painted the picture, "Samson's Wedding," "Saskia, dainty and serene, sitting like a princess in a circle of her relatives, he himself appearing as a crude plebeian, whose strange jokes frighten more than they amuse the distinguished company. ... The early years of his marriage were spent in joy and revelry. Surrounded by calculating business men who kept a tight grasp on their money bags, he assumed the rôle of an artist scattering money with a free hand; surrounded by small townsmen most proper in demeanour, he revealed himself as the bold lasquenet, frightening them by his cavalier manners. He brought together all manner of Oriental arms, ancient fabrics, and gleaming jewellery; and his house became one of the sights of Amsterdam." His existence reads like a fairy tale. It is said that Saskia strutted about decked in gold and diamonds, till her relatives "shook their heads" in alarm and amazement at such wild goings on. Before he married Saskia he had painted a remarkable picture, named the "School of Anatomy." It represents a great anatomist, the friend of Rembrandt--Nicholaus Tulp,--and a group of physicians who were members of the Guild of Surgeons of Amsterdam. It is so wonderful a picture that even the dead man, who is being used as a subject by the anatomist, does not too greatly disturb us as we look upon him. The thoughtful, interested faces of the surgeons are so strong that we half lose ourselves in their feeling, and forget to start in repulsion at sight of the dead body. A fine description of this painting can be found in Sarah K. Bolton's book "Famous Artists" and it includes the description given by another excellent authority. The artist was twenty-six years old when he painted the "School of Anatomy." This picture is now at The Hague and two hundred years after it was painted the Dutch Government gave 30,000 florins for it.