31 REMBRANDT HARMENSZ. VAN RIJN Dutch, 1606-1669 Daniel and Cyrus Before the Idol Bel, 1633 Oil on panel 23.4 x 30.1 cm (9¼ x 11 in.) On the dais at lower right, signed Rembrant f. 1633. 95.PB.15 Rembrandt depicts an episode from the apocryphal Book of Daniel that tells of Daniel's unmasking of idolatry at the court of Babylon, where he has become a confidant of King Cyrus the Persian. When Cyrus asks him why he does not honor the deity Bel, Daniel replies that he worships the living God, not an idol. Here, the king insists that Bel, too, is a living god, indicating the lavish offerings of fine food and wine he provides for Bel's consumption each night. Daniel gently points out that bronze statues don't eat. While Cyrus is momentarily bewildered, the worried face of the priest in the background confirms that Daniel is on to something. Rembrandt evokes the exotic mystery of a pagan cult by showing only part of the monumental idol emerging from the flickering lamplight. A shaft of light focuses on the human interaction at the heart of the narrative. Rembrandt captures Cyrus's confusion perfectly, but we do not even see Daniel's face; his body language tells us all we need to know. Perhaps the most poignant aspect of Rembrandt's interpretation is his ironic contrasting of the large, powerful king with the small, humble boy sent by God. Rembrandt created this painting the year after The Abduction ofEuropa (see previous entry). Both works demonstrate his genius as a storyteller and his evolution toward more concise, dramatically focused compositions and broad, free handling of paint that are hallmarks of his mature style. DC DUTCH AND FLEMISH SCHOOLS 59