In spite of the quantity and quality of Rembrandt's work, he was unable to recover his prosperity. He had moved into a fine house when he married Saskia, and was never able to pay off the debts contracted at that time. Things went from bad to worse, until at last, in 1656, when Rembrandt was fifty, he was declared bankrupt, and everything he possessed in the world was sold. We have an inventory of the gorgeous pictures, the armour, the sculptures, and the jewels and dresses that had belonged to Saskia. His son Titus retained a little of his mother's money, and set up as an art dealer in order to help his father. It is a truly dreary scene, yet Rembrandt still continued to paint, because painting was to him the very breath of life. He painted Titus over and over again looking like a young prince. In these later years the portraits of himself increase in number, as if because of the lack of other models. When we see him old, haggard, and poor in his worn brown painting-clothes, it hardly seems possible that he can be the same Rembrandt as the gay, frolicking man in a plumed hat, holding out the pearls for Saskia. In his old age he received one more large order from a group of six drapers of Amsterdam for their portraits. It has been said that the lesson of the miscalled 'Night Watch' had been branded into his soul by misfortune. What is certain is that, while in this picture he purposely returned to the triumphs of portraiture of his youth, he did not give up the artistic ideals of his middle life. He gave his sitters an equal importance in position and lighting, and at the same time painted a picture artistically satisfying. Not one of the six men could have had any fault to find with the way in which he was portrayed. Each looks equally prominent in vivid life. Yet they are not a row of six individual men, but an organic group held together you hardly know how. At last you realize that all but one are looking at you. _You_ are the unifying centre that brings the whole picture together, the bond without which, metaphorically speaking, it would fall to pieces. This picture of six men in plain black clothes and black hats, sitting around a table, is by some considered the culmination of Rembrandt's art. It shows that, in spite of misfortune and failure, his ardour for new artistic achievement remained with him to the end. In 1662 Rembrandt seems to have paid a brief and unnoticed visit to England. If Charles II. had heard of him and made him his court painter, we might have had an unrivalled series of portraits of court beauties by his hand instead of by that of Sir Peter Lely. As it was, a hasty sketch of old St. Paul's Cathedral, four years before it was burnt down, is the sole trace left of his visit.