Because Dutch seventeenth-century painting is primarily known for its

naturalism, representing the divine posed particular problems for

painters of religious stories, especially Rembrandt. Indeed, if seeing

is believing, then the visible presence of angels - and finally the

presence on earth of Christ as the divine Incarnation in the flesh -

could confirm to the senses the presence of divine providence in the

world. Angels also evoke a sense of wonder in all who behold them, those

who are blessed to receive their visitation from a watchful, if

invisible God.

Like John Calvin, Rembrandt carefully read his Bible. Thus his angels,

represented traditionally as winged creatures, actively participate in

important religious events, particularly in Old Testament scenes,

beginning with Abraham. In later biblical history, however, angelic

appearances diminish; both God - and angels as His agents - intervene

less directly to interact with humankind. In Rembrandt’s art, angels are

active and visible, but sometimes they reveal their identity just as

they disappear, flying away. Other Rembrandt religious images convey

divine presence only through light rays from above. With the New

Testament advent of Christ, however, angelic attendants chiefly magnify

the divine nature of Jesus in the world. Following the theology of John

Calvin that dominated Dutch spirituality, Rembrandt allows his pious

viewers to behold those very angels or, like Mary Magdalene and the

apostles, even to view the divine nature of the risen Christ.