In the days of King Herod of Judea, there was a priest named Zechariah, who belonged to the priestly order of Abijah. His wife was descended from the daughters of Aaron, and her name was Elizabeth. Both of them were righteous before God, living blamelessly according to all the commandments and regulations of the Lord. But they had no children because Elizabeth was barren, and both were getting on in years. Once when he was serving as priest before God during his section’s turn of duty, he was chosen by lot, according to the custom of the priesthood, to enter the sanctuary of the Lord to offer incense.
Now at the time of the incense offering, the whole assembly of the people was praying outside. Then there appeared to him an angel of the Lord, standing at the right side of the altar of incense. When Zechariah saw him, he was terrified, and fear overwhelmed him. But the angel said to him, “Do not be afraid, Zechariah, for your prayer has been heard. Your wife Elizabeth will bear you a son, and you will name him John. You will have joy and gladness, and many will rejoice at his birth, for he will be great in the sight of the Lord.
Luke 2: 5-- 15 NRSVue
With my art history background stories about "lost and found" paintings and prints are catnip for me. Recently a set of 35 Rembrandt etchings were discovered in a folder left to a Dutch woman by her grandfather years before. This is an important reminder -- never throw out anything!
Rembrandt is in the news again, this time in the form of a "lost" painting from 1663 which was known by experts. disappeared for more than 60 years, only to be rediscovered and authenticated by experts. The rightfull owners presented Vision of Zacharias in the Temple for tests at the Rijksmuseum in Amsterdam. According to the BBC
Rembrandt was 27 when he created the painting, which depicts the Biblical scene when priest Zacharias is told by the Archangel Gabriel that despite their age, he and his wife will have a son, John the Baptist.
The museum said Rembrandt had given the Biblical story an innovative twist. Instead of depicting the Archangel Gabriel visibly, he only suggested his presence. In doing so, he departed from established visual traditions and introduced a new way of representing this subject.
Rembrandt deliberately chose the decisive moment, just before Gabriel reveals his true identity.It is one of the few history paintings Rembrandt created during this period. At the time, he was primarily producing portraits, which were highly lucrative.
Rembrandt was in high demand at that stage of his career and spent his wealth faster than he made it -- why not? As he aged and was no longer the painterly flavour of the day he careened into bankruptcy and disrepute. Yet he produced another extraordinary work, The Return of the Prodigal Son, as he neared the end of his life. The late theologian and priest, Henri Nouwen offered:
Rembrandt is as much the elder son of the parable as he is the younger. When, during the last years of his life, he painted both sons in Return of the Prodigal Son, he had lived a life in which neither the lostness of the younger son nor the lostness of the elder son was alien to him. Both needed healing and forgiveness. Both needed to come home. Both needed the embrace of a forgiving father. But from the story itself, as well as from Rembrandt's painting, it is clear that the hardest conversion to go through is the conversion of the one who stayed home
I would encourage you to snoop around in your New Testament and read the rest of the story of Zecharia. And while you're at it, turn to chapter 15 of Luke for the Prodigal Son. It's interesting that these two biblical paintings are from stories told exclusively in gospel of Luke. Hmm...who will unravel this mystery?...