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" The painting is also one of Rembrandt 's most flamboyant exercises in representing the affecten , or passions , written in the drop-jawed astonishment of the banqueters and especially in the face of Belshazzar himself , shot through with spectral illumination , his eye ( like the disciples at Emmaus ) almost popping from its socket . Four women are tossing a dummy in a blanket , a charming theme for Fragonard ; but the equivocal limpness of the manikin and the witch like glee of the central woman already foreshadow the Caprichos . The two references to the Apocalypse in Botticelli 's inscription remind us that just before the half millennium there was an outbreak of that fear of universal destruction which had afflicted men 's minds five hundred years earlier , and from which we are not altogether free as the year 2000 approaches [ nb - originally published in 1960 . Rivalling , or perhaps exceeding , Manet , Monet , and , she produced here a performance of extraordinary freshness and bravura . He could be " Aristotle Contemplating the Bust of Homer , " in another of Rembrandt 's great paintings that explores similar themes , except that Aristotle is profoundly sad while Six appears bemused .