Gospel in Art: Is it lawful to pay taxes to Caesar, or not?

The Tribute Money, Etching by Rembrandt van Rijn, 1635 © National Gallery of Art, Washington

Source: Christian Art

Gospel of 18 October 2026
Matthew 22:15-21

At that time: The Pharisees went and plotted how to entangle Jesus in his words. And they sent their disciples to him, along with the Herodians, saying, 'Teacher, we know that you are true and teach the way of God truthfully, and you do not care about anyone's opinion, for you are not swayed by appearances. Tell us, then, what you think. Is it lawful to pay taxes to Caesar, or not?' But Jesus, aware of their malice, said, 'Why put me to the test, you hypocrites? Show me the coin for the tax.' And they brought him a denarius. And Jesus said to them, 'Whose likeness and inscription is this?' They said, 'Caesar's.' Then he said to them, 'Therefore render to Caesar the things that are Caesar's, and to God the things that are God's.'

Reflection on the etching

A coin becomes the centre of a confrontation in today's Gospel. Asked whether taxes should be paid to Caesar, Jesus faces a carefully prepared trap: either answer could turn either the people or the Roman authorities against him. He asks to see the coin used for the tax and draws attention to its portrait and inscription. "Give back to Caesar what belongs to Caesar, and to God what belongs to God." His reply shifts the discussion from political allegiance to a much deeper question.

For those of us who reflect on images, the coin offers a striking contrast. Ye, it carries Caesar's portrait. But that's all. However, every human person bears the image of God. Something far more precious. The emperor's portrait marks the currency; God's image speaks of our deepest identity. No political power ultimately can claim the devotion that belongs to our Creator. Jesus therefore leaves us with more than an answer about taxation. He invites us to consider what we are doing with the life God has entrusted to us, and asks what imprint we leave on society? Our time, our gifts and our capacity to love all bear his imprint.

Rembrandt van Rijn, celebrated for his paintings, was also one of the greatest etchers in the history of art. His mastery of the etched line allowed him to convey the same emotional depth and sensitivity to light that we admire in his canvases. Fine engraved strokes, dense shadows and areas of untouched paper convey light. Printmaking at the time was a field of sustained experimentation for Rembrandt: he often returned to his copperplates, altering them between impressions to develop their expressive possibilities.

In The Tribute Money, made around 1635, Rembrandt gathers a closely packed group of figures around Jesus within an architectural setting. Their overlapping bodies and varied headwear give the encounter an immediate, human quality; we seem to stand among those listening to the exchange. Areas of dense crosshatching contrast with lighter passages, guiding our attention through the gathering. Measuring barely ten centimetres across, the etching is ultimately a small intimate scene. We can see how Rembrandt manages to convey a deeply human understanding of his subjects in his etchings. Within a small sheet of paper, he could capture the vulnerability of an ageing face or the spiritual intensity of a Gospel encounter.

Collectors of Rembrandt prints prize the differences between all the individual impressions of the same print: Rembrandt experimented with papers, varied the inking and reworked his plates, giving prints of the same subject very distinct characters and differing results. Rarity and the quality of the impression can make exceptional examples highly valuable. In December 2025, his portrait Arnout Tholinx, Inspector fetched £3.1 million at Christie's, setting a world auction record for a Rembrandt print, and for any Old Master print.

LINKS

Christian Art: www.christian.art
Today's Reading: https://christian.art/daily-gospel-reading/matthew-22-15-21-2026/