
A succinct embodiment of pathos, this print came toward the end of Rembrandt's long fascination with the Book of Tobit. It focuses on the approach of Tobit's long-absent son while exploring the idea of inner and outer vision. Hearing Tobias's dog, Tobit topples a spinning wheel in his effort to reach the door, which eludes him as he poignantly stumbles toward his shadow. His senses are of little use, Rembrandt implies; Tobit must look to his faith for direction.