This richly detailed study reconceptualizes a striking but enigmatic moment in Rembrandt's art from the 1650s--one of the artist's most prolific and creative periods. Michael Zell identifies a significant theological shift in Rembrandt's use of religious imagery and interprets this shift in light of the unique religious and social conditions of seventeenth-century Amsterdam. Rembrandt's biblical art has generally been regarded as the embodiment of a Protestant aesthetic. By looking closely at the artist's relationship with his patron Rabbi Menasseh ben Israel and the ideas of a group of "philosemitic" Protestants with whom the rabbi was engaged in an apologetic dialogue, Zell deepens and complicates our understanding of Rembrandt's sacred art from this period.