[Footnote 9: St. Luke, chapter xxiv. verses 13-32.]
"And they drew nigh unto the village, whither they went: and he made as though he would have gone further. But they constrained him, saying, 'Abide with us: for it is toward evening, and the day is far spent.' And he went in to tarry with them.
"And it came to pass, as he sat at meat with them, he took bread, and blessed it, and brake, and gave to them. And their eyes were opened and they knew him; and he vanished out of their sight. And they said one to another, 'Did not our hearts burn within us, while he talked with us by the way?'"
The picture suggests vividly to us that wonderful moment at Emmaus when the eyes of the disciples were opened, and they recognized their guest as Jesus, whom they had so recently seen crucified. The table is laid in a great bare room with the commonest furnishings, and the disciples appear to be laboring men, accustomed to "plain living and high thinking." They are coarsely dressed, and their feet are bare, as are also the feet of Jesus. One seems to have grasped the situation more quickly than the other, for he folds his hands together, reverently gazing directly into the face of Jesus. His companion, an older man, at the other end of the table, looks up astonished and mystified. The boy who is bringing food to the table is busy with his task, and does not notice any change in Jesus.
[Illustration: CHRIST AT EMMAUS _The Louvre, Paris_]
In the midst is Christ, "pale, emaciated, sitting facing us, breaking the bread as on the evening of the Last Supper, in his pilgrim robe, with his blackened lips, on which the torture has left its traces, his great brown eyes soft, widely opened, and raised towards heaven, with his cold nimbus, a sort of phosphorescence around him which envelops him in an indefinable glory, and that inexplicable look of a breathing human being who certainly has passed through death."
This description is by a celebrated French critic,[10] himself a painter, who knows whereof he speaks. He says that this picture alone is enough to establish the reputation of a man.
[Footnote 10: Fromentin, in _Old Masters of Belgium and Holland._]
There is one artistic quality in the picture to which we must pay careful attention, as it is particularly characteristic of Rembrandt. This is the way in which the light and shadow are arranged, or what a critic would call the chiaroscuro of the picture. The heart of the composition glows with a golden light which comes from some unseen source. It falls on the white tablecloth with a dazzling brilliancy as if from some bright lamp. It gleams on the faces of the company, bringing out their expressions clearly. The arched recess behind the table is thrown into heavy shadow, against which the centrally lighted group is sharply contrasted.