When you see this picture you will find no grandeur in it such as the Italian pictures have. The figures are those of poor ordinary men. Rembrandt, being also a realist, drew them from the real types of poor Jews in the Ghetto, or Jew-quarter of Amsterdam. There is nothing of imposing dignity even in the Saviour’s form and face. Whatever may be the idealism in the picture, it does not depend on form. Its motive is different from that of the Italians. Its motive is light. From Christ’s figure spreads a light. Is not one of his titles--The Light of the World? And the light, flowing from this humble figure, illumines the faces of his humble companions and, passing up to the vaulted ceiling, sheds through the gloom a mystery of tremulous glow. The picture like the subject it celebrates, is a miracle--a miracle of light.