Pastor Earl Palmer of the First Presbyterian Church of Berkeley tells about Rembrandt’s painting called The Adoration of the Shepherds:

“This is Rembrandt’s interpretation of the visit of the shepherds to the babe in Bethlehem. It is a simple scene in a stable. In the foreground are the mother and child, with Joseph in the shadows in the background. Peering into the manger where the babe is lying are the shepherds, with their sheep scattered around them. They could not leave the sheep in the field, they had to bring them along. Arching above the manger the artist has painted a ladder which suggests, in the shadows it casts, the form of a cross. Rembrandt was too great a painter just to put a cross in, with no justification in terms of the picture itself, but the ladder subtly suggests it. And on the beam against which the ladder rests is a rooster, the symbol of betrayal. The artist is suggesting that it is by means of the crushing inner agony of betrayal, and the outer agony of crucifixion, that the One in the manger would become the world’s Deliverer and Redeemer.

“But the striking thing about the picture is that the light illuminating the whole scene is not coming from outside but from the manger where the babe is lying. There is no halo over the babe, such as medieval painters often employed, but the light which illuminates the faces looking in is streaming from the manger. Their faces are put into sharp relief as they look down, and you can see that the light is coming from the babe himself. That is Rembrandt’s very remarkable way of saying that the story of Christmas is the story of light in darkness.”