\paperw19995 \margr0\margl0 \plain \fs20 \f1 The sceneÆs focal point is the pallid, almost disjointed body of Christ, that has just been lowered from the cross. The figu
res are arranged in a pyramidal structure around the body, with Nicodemus at the vertex, hoisted to the top of the cross on which traces of blood can be seen.\par
The white shroud reflects the light coming from the outside onto the faces of the figures
around Christ, as if to isolate them from the rest of the picture. In the surrounding gloom it is possible to make out Joseph of Arimathea on the right as his face is brightly lit and he is wearing an elegant costume with a tall turban. The Virgin is als
o distinguished on the left, swooning and supported by the other women. The dim outlines of buildings are visible in the background.\par
The man supporting ChristÆs body is the artist himself. Even though the composition was inspired by RubensÆ work, al
l traces of heroism have vanished and the tone is more subdued and humble.\par
The work was the first in a series of six pictures (the seventh has been lost) on the Passion that Prince Frederick Hendrick of Orange-Nassau commissioned Rembrandt to paint
between 1633 and 1639. It was acquired by Prince John William of the Palatinate for his gallery in Dⁿsseldorf.
