In the centre of a temple whose roof is supported by gigantic columns, the Virgin and St. Joseph make their offering and present the newborn child, who is in the arms of Simeon, to the Lord. They gaze tenderly at the infant. In front of the group stands the High Priest in a long violet robe, holding up his hands in ecstasy. The light is focussed on the faces of Mary, Simeon, and Jesus, and falls on the High Priest's back and hand. Behind the Virgin, who is dressed in light blue, are two rabbis; and in the background in the nave are several groups almost imperceptible in the shadows; and to the right in the chiaroscuro are a number of persons ascending and descending a flight of steps, at the top of which stands a priest. In the foreground on the right two old men are sitting on a bench, the arm of which bears the monogram "R. H.," and the date 1631. It is supposed that Rembrandt's sister was the model for Mary. Emile Michel says:
"The simple garb of the Virgin and St. Joseph and the squalor of the two beggars beside them emphasize the splendor of the High Priest and of Simeon, whose heavy cymar seems to be woven of gems and gold. The execution is a miracle of subtlety and skill. Note how supreme a colorist has been at work on the High Priest's cope! With what science is the violet carried through the lights and shadows, and with what truth are the tones observed and rendered, with what scrupulous care is the general harmony preserved in spite of the marvellous treatment of detail!"
Of this picture, so particularly remarkable for its artistic treatment and composition, Bode exclaims:
"How appropriately are the groups in the halls of the high fantastic vaults distributed! How masterly is the chief group in the middle distance! How complete in drawing and action is every single figure, though so minute! How powerfully is the light sprinkled over the chief figures before it slowly melts away into the mystic darkness of the broad nave whereby that peculiar mood of reverence—the holy calm of the place—results as the most happy effect of handling."
Lights and Coloring of the Picture.—Notwithstanding their smallness, the figures are most completely and expressively treated, so that in the half-lights the background shimmers here and there. The coloring equals that of the other pictures of this period; in the lights, greenish brown tones come to the aid of the local colors—blue, violet, and, very seldom, yellow (next to gray and brown, which are used only in a very modest way).
William de Poorter made a striking copy of this picture, which hangs in the Dresden Gallery.
Susanna.—The chief beauty of Susanna, which bears the signature "R. f. 1637," lies in the brilliant, warm coloring which bestows a rich effect on the somewhat ugly form of the crouching heroine. Bode, like Burger before him, thinks that he recognizes in the little head the likeness of Rembrandt's wife, Saskia. The flesh is wonderfully painted, the figure lifts itself splendidly out from the dark but transparent background. Moreover, the modelling of the body leaves nothing to be desired.
Susanna is represented as about to step into the bath and is alarmed by the presence of the two Elders, one of whom is seen lurking in the shrubbery. Burger notes:
"Placed by the side of the School of Anatomy and the Simeon, the merits of this work are too often overlooked. Yet Susanna, strongly relieved against a dark background, is one of the most interesting female figures ever painted by Rembrandt, being remarkably faithful to nature, though not of classic beauty."