After his first success, “Lesson in Anatomy,” Rembrandt moved his studio to an old warehouse in Amsterdam. His work became popular. The people of Holland fairly begged for sittings, and soon he was foremost among painters. Yet he paid little attention to anyone but Saskia; and his stubbornness offended patrons and made enemies of those who should have been his friends. For nine years Rembrandt lived in happiness. Then came misfortune. Extravagance carried him into debt. His children died, and soon after his beloved Saskia followed them. His enemies barred his pictures from exhibitions. At last all his property was sold to satisfy creditors. His paintings went out of fashion. Their owners even used the frames again by covering up Rembrandt’s canvases, of incalculable value, with the work of some other artist whose pictures were in vogue at the time. A law in Holland now forbids the removal of a “Rembrandt” from that country. His countrymen feel that no honor is too high to bestow on the memory of that unfortunate artist who in 1669 died unrecognized and was buried by charity. PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION FOR THE MENTOR, VOL. 1, NO. 28, SERIAL NO. 28 [Illustration: MARIA RUTHVEN. BY VAN DYCK] _THE WIFE IN ART_ _Anthony Van Dyck and Maria Ruthven_ FIVE Anthony Van Dyck’s marriage might be called one of convenience. He married Maria Ruthven because King Charles I, of England, wishing him to settle down, decided on a wife for him. The courtly painter was a spendthrift. He loved company and entertainment, was handsome, refined, well dressed, and, all things considered, a thorough gentleman. He attracted to his society the greatest of English nobility. Gossip had him in love with so many of the court ladies that the king, fearing his portrait painter would get into serious difficulties, determined once for all to save him by a marriage with a Scottish beauty in the queen’s retinue. Van Dyck offered no objection. The lady, Maria Ruthven, was young and very beautiful. Although she brought no dowry except that given by royal generosity, she was considered a very good match for the artist, who came of burgher stock. Maria’s family was related to the Stuarts; but had been for a long time in disgrace. Van Dyck’s only claim to distinction was his art. His father, a well-to-do merchant in Antwerp, where Van Dyck was born in 1599, gave Anthony every opportunity to follow up the art of painting. The boy was for several years a pupil of Rubens, whom he made a little jealous by his success in portrait painting. Some of his pictures were better than Rubens’. A few years in Italy gave Van Dyck a still higher position among artists. Some said he was the best portrait painter in Europe.