Abstract
This nocturnal scene is unique in Rembrandt’s painted oeuvre. The principal figures, Joseph, Mary and the Christ Child, are incorporated as staffage in a landscape in such an unusual manner that their identity was not recognised in the past. It was only when Bode1 in-disputably linked the painting with a nocturnal Flight into Egypt by Adam Elsheimer (1578–1610) in Munich (fig. 5)2 with a very similar composition, that it could be interpreted more accurately. However, the relationship with Elsheimer’s picture extends beyond a similarity in subject and composition; it is highly likely that Rembrandt was emulating Elsheimer’s work. In particular, he was commenting on Elsheimer’s treatment of light and reflections.
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