This and the following lot, both part of the series on the early life of Christ, are notable for the loose sketchy manner which has not been worked up with any degree of elaboration. The figures, instead of standing out individually, blend together. We are hardly conscious of any depth as the figures are depicted in two dimensions, frieze like. It gives us a good idea how many of his plates from the 1650s must have looked after the initial work in etching, before their elaboration with drypoint and engraving. It is possible that he contemplated carrying out further work on it, but was satisfied with the effect after he pulled a trial proof, thereby demonstrating how Rembrandt was committed to results rather than a predetermined image.