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the book of Tobit available to him as a source in the Apocrypha. The formerly blind Tobit cured by
the Archangel Raphael, prostrates himself in gratitude, while his son Tobias looks upward in
wonder at the departing figure. Seen sharply from the back the angel is taken from the sight into an
open cloud in a flash of light. Along with luminary effects goes a new technical freedom. The
smooth, detailed early manner is gone. The forms are quickly sketched.
In 1642 Saskia died. Rembrandt's commissions slackened off as a result of his unconventional
painting. In 1655 Rembrandt found himself in the midst of several financial troubles. At that period
he painted The Polish Rider. The precise meaning of this painting has not been determined.
Probably it is an allegory of the man's earthly journey, its many dangers and uncertain destination.
In the grim and rocky valley a pool can be seen. Against the dark hill there is a hut. Near the crest
there is a ruined castle. The youth rides in light, alert, with his weapons at ready. The figure and his
horse stand forth in a new sculptural grandeur, intensified by the fact that many of the impastos
have been laid on with a palette knife. The artist carved the pigments, especially in the dark rocks
and the bony forms of the horse.
Etching played a special role in Rembrandt's vast production. He produced more than 290
etchings. For him it was an independent art form. The painter was unique in exploring various
etching techniques. His etchings differed from those of his contemporaries in the loose, freehand
style. Rembrandt had a large collection of drawings and prints by other artists including Man-tegna,
Carracci, Titian, Raphael and Bruegel. He used their works for inspiration, but there was also an
element of competition: Rembrandt tried to surpass his predecessors.
Probably in 1669, the year of his own death, Rembrandt painted the Return of the Prodigal
Son. This painting stands at the ultimate peak of Christian spirituality, illuminating the relationship
of the Self to the Eternity and can be interpreted as union with divine love. This parable was a
favourite in the Baroque art. In Rembrandt's dark background one can distinguish two dim faces, a
seated figure, and more brightly lighted the law-abiding eldest son. In a spontaneous gesture of
loving forgiveness, the gentle, aged father comes into light to press to his bosom the cropped head
of his ragged son. Faces are reduced. Only the hands of the father and the tired feet of the son are
painted in detail. The painting is an allegory of the earthly pilgrimage of man finding rest and
meaning in divine redemption. Rembrandt's language in this work is entirely that of colour and
texture. Rich tans and ochres in the prodigal's worn garments are inundated by the glowing red of
his father's festal cloak against the deep brown of the encompassing dark; solid masses in thick
impastos gleam against the translucent glazed.
The biblical theme was very important to Rembrandt. In 1634 the artist created the Holy
Family, John the Baptist Preaching, Ecce Homo. In Ecce Homo Jesus stands before Pilate, the
procurator, the man who is to judge him. Pilate, convinced of Christ's innocence, presents him to
the people with the words "See, the man!" - in Latin: "Ecco Homo". But the people and the priests
cry out that Jesus must be crucified. The Passion of Christ was a popular subject. Rembrandt
painted a series of seven pictures illustrating this episode. Abraham's Sacrifice was produced by
Rembrandt in 1635. In Christ Appearing to Mary Magdalen, of 1638, Rembrandt shows Mary's
shock of recognition.
Moses Breaking the Tablets was created in 1659. The Old Testament recounts that Moses led
the children of Israel out of Egypt and through the wilderness. At Mount Sinai he received God's
laws - the Ten Commandments - written on 'stone tablets'. But while Moses was on the mountain
the people built an idol: a golden calf. When Moses came down from the mountain he saw the
people dancing around the idol. In the anger he smashed the stone tablets. Rembrandt illustrates the
moment just before Moses threw down the tablets.
Besides many paintings of biblical scenes Rembrandt took themes from mythology. In Diana
Bathing with her Nymphs, with the Stories of Acteon and Callisto, c. 1634, Rembrandt combined
two stories taken from Ovid's Metamorphoses. In the Rape of Ganymede, of 1635, the artist shows
how Jupiter, turned into an eagle, carries Ganymede off to Olympus, to place him later in the
Heavens as one of the signs of the Zodiac, Aquarius.