The present print is commonly known as La Petite Tombe, French for “little tomb”. The title bears no relation to the work’s subject but instead to Nicolaes de la Tombe, a book dealer who owned and possibly commissioned the plate. Thematically the print resembles the Hundred Guilder Print from 1648, but it dates from Rembrandt’s late career, likely 1657. Upon declaring bankruptcy in 1656, the artist was no longer permitted to work independently. That is why Rembrandt’s partner Hen-drikje and his son Titus established a business with Rembrandt as the only employee. This smaller, more intimate composition was done in an airier and more linear style than the impos-ing Hundred Guilder Print. The intrigued faces of Jesus’ audience and the child doodling in the sand invite the spectator's attention, and Rembrandt thereby effectively draws us into his image.