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拍品專文
The traditional title of this work was given by Gersaint, the first cataloguer of Rembrandt's prints in the 18th century, and it is certainly a scene Rembrandt would have been familiar with, since he lived in the heart of the Jewish community in Amsterdam, on Sint Antoniesbreestraat, later renamed Jodenbreestraat.
Perhaps uncomfortable with the idea that Rembrandt would have produced this print simply as a secular genre piece, Ludwig Münz in 1967 suggested it might be a depiction of Judas returning the thirty pieces of silver. In this interpretation, Judas would be the central figure, a pariah spurned by the groups of figures either side who whisper conspiratorially about him.
Perhaps uncomfortable with the idea that Rembrandt would have produced this print simply as a secular genre piece, Ludwig Münz in 1967 suggested it might be a depiction of Judas returning the thirty pieces of silver. In this interpretation, Judas would be the central figure, a pariah spurned by the groups of figures either side who whisper conspiratorially about him.