REMBRANDT VAN RIJN

Rembrandt van Rijn was born in Leiden on July 15, 1606.
Leiden is proud of Rembrandt, and we want to show that too.
That’s why the Leiden Rembrandt Days are organized every year in an authentic 17th-century setting. Admission is free.

On Saturday, July 11, and Sunday, July 12, 2026, the Pieterswijk and Academiewijk, Leiden’s oldest neighborhood, will be recreated in the 17th century.
Visitors are always very welcome in beautiful Leiden, and especially during the Leiden Rembrandt Days.

Below you can read the summaries of the plays to be seen during the Leiden Rembrandt Days 2026:

• The Miller’s Farce (Location: Pieterskerkplein)
• The Murder of Richart Teirill’s Brother (Location: Pieterskerkgracht)
• Dyed in the Wool (Location: Rapenburg)
• The Three Rembrandts (Location: Gerecht)
• The Whole World Was and Is His (Location: Rapenburg corner Scheepmakersteeg)
• The Household of Jan Steen (Location: Pieterskerkhof corner Pieterskerk-Choorsteeg)
• What Gnaws at the Herd in Leiden (Location: Gerecht)

Summary “The Miller’s Farce”

Miller’s assistant Joost den Draaier introduces the story set at De Put windmill in Leiden. Joost immediately reveals that he is having a secret affair with Aeltje, the wife of miller Slimme Piet, when Piet goes eel fishing at night. One evening, Trijntje arrives in the city from Amsterdam too late, causing the city gates to already be closed. Trijntje asks for a place to stay at the mill, whereupon Slimme Piet immediately offers her a place to sleep on the flour sacks for free. Piet hopes to take advantage of her gratitude and calls his wife Aeltje to bring blankets and a pillow.

However, Aeltje does not trust her husband’s so-called generosity and warns Trijntje that Piet intends to assault her honor. To teach the miller a lesson, the two women decide to secretly switch sleeping places that night. Aeltje spends the night in the mill, while Trijntje sleeps in the miller’s marital bed. That night, Piet returns disguised in black and unknowingly shares the bed with his own wife in the dark mill. Meanwhile, farmhand Joost sneaks to the cottage to sleep with Aeltje, but he finds the boisterous Trijntje there. Shocked, Joost tries to flee, but has a full chamber pot thrown at his face and is injured. At the same time, Piet is unmasked by Aeltje at the mill and hit hard on the head with a broom. Aeltje angrily makes it clear to her husband that the deceiver has been deceived and that he has slept with his own wife.

As punishment for his infidelity, the miller must sleep out in the fields for the coming month. Finally, Joost concludes that Clever Piet turned out not to be so clever after all.

Summary: “The Murder of Richart Teiril’s Brother”

The story takes place on June 20, 1614, in the streets and an office in Leiden. Tobacco pipe maker Robert Crouts warns his colleague Niclaes Claverly that the English merchant Richart Teiril is looking for him. Richart suspects Niclaes of the murder of his brother Edward, who was killed in London on April 15, 1605. The motive for this murder was allegedly an outstanding debt of half a crown that Edward still owed Niclaes. Niclaes angrily denies the accusation and demands an immediate meeting to clear his good name.

The following day, Richart arrives at Niclaes’s office together with Robert, where they are admitted by his wife, Margaret. During the confrontation, Richart confronts Niclaes directly about the outstanding debt and the date of the murder. Niclaes admits guilt but initially cannot remember where he was on that specific day in 1605. Margaret comes to the rescue and reminds her husband that they attended his sister’s wedding around that date. Niclaes searches a desk drawer and finds the original invitation to the wedding, which took place in Manchester on April 16, 1605. Because the journey from London to Manchester took two days at the time, Niclaes and Margaret must have left as early as April 14. Niclaes demonstrates that they were en route at the time of the murder and stayed overnight at an inn in Birmingham. Furthermore, he offers Richart a list of witnesses, including the minister, who can confirm his presence. Richart studies the evidence, concludes that his suspicion was incorrect, and offers his apologies. He promises to clear Niclaes’s name everywhere and leaves to continue his search. Relieved, Niclaes and Robert decide to draw up an official statement with a notary the following day.

Finally, the men leave for the ‘De Drie Haringen’ inn to toast to the successful outcome and Niclaes’s resourceful collecting obsession.

Summary of “Dyed in the Wool “

The play follows the cold draper Madame Le Rou, who inspects the various stages of Leiden cloth production and addresses her staff sternly. The Various Production Steps

• Wool Washing: Wool washer Aagje Bonte stomps with scraped feet in a barrel of urine (“pee”) to degrease sheep’s wool. Mrs. Le Rou shows no pity whatsoever and orders her to stomp harder because time is money.

• Carding: Carder Neeltje Kanbier asks for a new carding board because the points have broken off. Le Rou refuses to arrange this and threatens to charge her wages to keep it if she doesn’t go pick it up herself at the Lakenhal.

• Spinning: Spinner Trijn Wolhuis is deeply offended because the draper, after years of loyal service, doesn’t even remember her name anymore. When Trijn calls her an arrogant fool, Le Rou threatens to send her straight to the spinning house.

• Dyeing: Dyer Griet Lamjo has accidentally dyed the wool a motley ‘exploded rainbow’ instead of the requested royal blue. The draper reacts furiously because this mistake is costing her a fortune.

• Weaving: Weaver Lijsje Regeer explains that the poor wool quality causes unevenness and that she can barely make ends meet on her meager wage. However, Le Rou quickly dismisses her complaints as lazy excuses and shoddy work.

The Conclusion

At the end of the play, Madame Le Rou proudly boasts about the status of her guild and their planned group portrait by Rembrandt van Rijn. Wool-washer Aagje interrupts her shameless story and puts the draper on display right in front of the audience. She advises the spectators to go and see these faces for themselves later in the museum, where the famous painting “The Syndics” hangs.

Summary of “The Three Rembrandts”

In the play “The Three Rembrandts,” three versions of the famous painter—at the ages of 22, 45, and 60—step out of their canvases for a timeless encounter. The young Rembrandt wonders expectantly whether he will be successful in the future. His older counterparts confirm his later greatness and praise The Night Watch as an absolute masterpiece that kings and merchants fight over.

**Success and Dark Sides**

However, the 60-year-old Rembrandt soon confronts his younger self with the harsh reality lurking behind fame:

• Financial problems: Due to an enormous shopping addiction and a passion for VOC curiosities, he nearly goes bankrupt, after which his son Titus and partner Hendrikje Stoffels must save him by selling assets. • Personal tragedy: His future wife Saskia dies before her thirtieth birthday. The relationship with her successor, Geertje, later derails so violently that he eventually has her locked up in a psychiatric institution.

• Public incomprehension: The traditional public expresses fierce criticism of his innovative compositions, causing him to realize that he is painting not for the masses, but for eternity.

The Conclusion

The eldest Rembrandt shares valuable lessons about the importance of tenderness towards loved ones and expresses regret for not completing his studies. Together, the men philosophize about a lost letter from Constantijn Huygens, which symbolizes the painful loss of small, personal memories. They conclude that fame, debts, and memories eventually evaporate, leaving only the canvas as the truth. At this point, the three Rembrandts return to their paintings and assume their familiar poses again in slow motion. Summary: “The world was and is his”

Summary: The Whole world was and is his.

The story is set in the year 1656 and depicts a dramatic turning point in the life of Rembrandt van Rijn. Due to enormous outstanding debts to lenders, business partners, and acquaintances, the Amsterdam Insolvency Authority enforces a formal liquidation of the estate. An auctioneer and his assistant, Adriaan, visit to draw up an extensive inventory of all of Rembrandt’s possessions for a public auction. Adriaan reads out the major creditors, including Cornelis Jan Witsen and Geertje Dircx, who is still entitled to her annual annuity. While Rembrandt feels deeply hurt by the loss of his “world,” his partner Hendrickje and his son Titus attempt to approach the situation with sobriety and thoughtfulness.

During the inspection, various exotic curiosities are appraised one by one. Rare VOC shells from the Indian Ocean are estimated at 20 to 30 guilders each, with Titus remarking that, in hindsight, his father could have bought bread with that money. A stuffed owl from Central Europe is valued at 40 guilders, after which Rembrandt melancholically explains that the animal understood the silence of his studio. Regarding a collection of semi-precious stones valued at 50 guilders, the painter explains that for him, the stones symbolize difficult moments of indecision or hope. Rembrandt tries to secretly slip a stone into his pocket, but the auctioneer and Adriaan demand it back immediately for the sale.

Next, an Ottoman turban is appraised at 100 guilders. When the auctioneer places it on his head, an enraged Rembrandt demands that he take it off, because for him, the garment represented an escape and imagination. A classical statue of a discus thrower is given an estimated value of 150 guilders. Hendrickje sharply reminds her husband that, unlike themselves, the statue has at least never known hunger. Finally, a stinking stuffed marten is noted down with a value of 70 guilders.

The auctioneer calculates the provisional sum and emphasizes that absolutely everything must be sold to try to cover the debts. Rembrandt is beside himself with rage at this, because the authorities see nothing but a price in his cherished collection. In a fit of fury, he sweeps all of the auctioneer’s official papers off the table. Eventually, his anger breaks, and he tearfully admits that he collected the world in his house out of fear that his own world would otherwise become too small, after which he flees in a storm. Hendrickje gives the auctioneer an ice-cold look and sends the men out of the house before Rembrandt returns.

Summary: “The Household of Jan Steen”

The play depicts a chaotic and noisy household in which adults set a dubious example for the children present. Bagpiper Hans provides loud music, while Father Gerrit continues to pour wine generously. Mother Vrouwtje complains that her head is bursting from the noise, but Great-Uncle Jacob justifies the drinking by stating that one must drink where one lives. Meanwhile, young Maerten literally imitates the adults’ behavior by snatching his grandfather’s tobacco pipe. Grandpa Abraham explains that growing old happens naturally, but that contentment and peace require practice. Girl Grietje responds sharply to this, saying that her grandpa apparently should have practiced even harder.

The tipsy Uncle Jacob then claims that children have at least watched closely if they learn something wrong, which Grietje dismisses as total nonsense. Neighbor Lijsbeth walks in afterwards, picks up a newspaper, and, as a critical outsider, remarks that things are going quite wrong in this household. Then the painter Jan Steen enters with his brush, canvas, and easel. He views the family situation as a perfect scandal and decides to paint the setting immediately because scandals stick better when framed. Jan Steen sketches those present exactly as they are: from the excessively generous father and the smoking grandpa to the caring mother. In doing so, he specifically observes how young Maerten copies the bad behavior around him. Grietje then wonders anxiously whether the children will later become just like the adults. Jan Steen warns that, in case of bad luck, this is indeed the case, unless they recognize this madness in time and think logically for themselves instead of merely imitating. Following this remark, a brief discussion arises among the adults about reducing or completely eliminating alcohol in the family. Meanwhile, neighbor Lijsbeth maintains her position that the entire household radiates pure madness. At the end, Maerten asks if he may remain standing in this pose forever, which the painter confirms. Hans blows a long note on his bagpipes, causing everyone to freeze on the spot in the pose of the painting. Jan Steen concludes the piece with the moralistic mirror that people first laugh and deny that things are like this in their own homes, under the motto: “What is learned young is practiced old!”

Summary: “What is gnawing at the herd in Leiden”

The play is set in Leiden in 1626, where several court cases are taking place during a plague epidemic. The Rat Catcher opens with a monologue about fear, lies, and the abuse of the plague.

The first case concerns merchant Anna de Rijke, who sold contaminated textiles.
A witness proves that her daughter died after wearing a contaminated cloak.
The merchant defends herself by saying that business is business, but is found guilty.
Her wares are burned, and she is banished from Leiden for six months.

The Rat Catcher comments on the city’s morality and greed.

The second case concerns two prostitutes who illegally buried a dead client.
The plague doctor declares that the man did not die of the plague but of natural causes.
Nevertheless, the women receive a ten-day prison sentence for violating the rules.

The third case concerns gatekeeper Jacobus Favier, who opened the city gate after closing time in exchange for payment.
He claims he acted out of pity, but is found guilty.
Favier is fired, must repay his earned money, and is never allowed to enter Leiden again.

During the hearing, Willemien van Engelen shouts from the audience that the plague is being exaggerated.
She argues for allowing work to continue and speaks of “herd immunity.”
She is chased away, after which the Rat Catcher reflects once again on truth and denial.

The final case concerns pharmacist Adriana van Foreest, who sold fake plague medicines.
Witnesses testify that her remedies had no effect and that she charged extortionate prices.
The court sentences her to a heavy fine and prohibits her from selling plague remedies any longer.

The hearing concludes, after which the Rat Catcher addresses the audience and states that perhaps everyone is a rat.