Rembrandt, though the son of a miller, was already a famous painter, much sought after for portraits, and with a promising career before him. The engagement was therefore approved by her guardians, but marriage being deferred till she came of age, the courtship lasted two happy years. During this time Rembrandt painted his lady love over and over again. It was one of his artistic methods to paint the same person many times. He was not one of the superficial painters who turn constantly from one model to another in search of new effects. He liked to make an exhaustive study of a single face in many moods, with many expressions and varied by different costumes. [Illustration: PORTRAIT OF SASKIA _Cassel Gallery_] Saskia had small eyes and a round nose, and was not at all beautiful according to classical standards. Rembrandt, however, cared less for beauty than for expression, and Saskia's face was very expressive, at times merry and almost roguish, and again quite serious. She had also a brilliant complexion and an abundance of silky hair, waving from her forehead. The painter had collected in his studio many pretty and fantastic things to use in his pictures,--velvets and gold embroidered cloaks, Oriental stuffs, laces, necklaces, and jewels. With these he loved to deck Saskia, heightening her girlish charms with the play of light upon these adornments. One of the most famous of the many portraits of Saskia at this time is the picture we have here. Because it is not signed and dated, after Rembrandt's usual custom, it is thought that it was intended as a gift for Saskia herself, and thus it has a romantic interest for us. Also it is painted with extreme care, as the work of a lover offering the choicest fruit of his art. The artist has arranged a picturesque costume for his sitter,--a broad-brimmed hat of red velvet with a sweeping white feather, an elaborate dress with embroidered yoke and full sleeves, a rich mantle draped over one shoulder, necklace, earrings, and bracelets of pearls. Her expression is more serious here than usual, though very happy, as if she was thinking of her lover; and in her hand she carries a sprig of rosemary, which in Holland is the symbol of betrothal, holding it near her heart. The marriage finally took place in June, 1634, in the town of Bildt. The bridal pair then returned to Amsterdam to a happy home life. Rembrandt had no greater pleasure than in the quiet family circle, and Saskia had a simple loving nature, entirely devoted to her husband's happiness. A few years later Rembrandt moved into a fine house in the Breestraat, which he furnished richly with choice paintings and works of art.