The Entombment may be part of a cycle of illustrations which Rembrandt was intending to complete on various episodes in the life of Christ. Other subjects which relate to this plate, both in size and date are The Presentation in the Temple (B. 50) The Descent from the Cross By Torchlight (B. 83) and The Supper at Emmaus (B. 87) (See Lots 13, 28 and 32). All but the last of these prints are studies in the interplay of light and dark. The Entombment was subjected to the greatest experimentation in dramatic effect by the use of tone. The impression in The Metropolitan Museum of Art is printed with an all enveloping tone which conceals all detail apart from the faintest outline of the figures. The impression here is carefully wiped to show, on the shelves above the skulls, of others who have been entombed in this place and to more fully illuminate the central figures.