It was not the same version as the Louvre picture, but only one mind--the mind of Rembrandt, only one heart--the heart of Rembrandt, could have so felt and stated the pathos and emotion of that scene.

Controlling his excitement, he turned over the prints and paused, startled, before _Abraham's Sacrifice_.

What was it that moved him?
He could hardly say.

But he was moved to an extraordinary degree by that angel standing, with outstretched wings, by Abraham's side, hiding the kneeling boy's eyes with his hand, staying the knife at the supreme moment.

He turned the prints, and paused again before _The Prodigal Son_.