He holds with his beak the clothing, and with his talons the left arm, of the fair curly-haired boy, who, turned sharply to the left and almost seen from the back, faces round to the spectator as if crying loudly, and with his right hand tries to repulse the bird.

His light blue dress and shirt are pulled up by the eagle's claws so as to expose the whole of the boy's lower limbs.

The boy, who in his fright makes water, holds cherries in his left hand.

The sombre background contains on the left at foot some clumps of trees, before which in the foreground are the pinnacles of a building.

A drawing showing a sketch for the picture is in the Dresden Print-room; reproduced by Lippmann, No.

[1] Hofstede de Groot did not comment on the theme of this painting at all, though Smith before him found it highly unusual when he wrote:197.

If the picture (for the present description is taken from a print) be really by Rembrandt, his intention must have been to burlesque the mythological subject above stated, for he has represented the beautiful Ganymede as a great lubberly child, with a blubbering grimace of countenance, sprawling, with extended arms, in the talons and beak of the eagle Jupiter.

The bird has seized him by his unclassical raiments, the weight of his fat body has drawn his clothes up to his shoulders, and left his lower extremities in a state of nudity, and is thus bearing him through the murky air to Olympus.

[3] In the 1670s the painter Nicolaes Maes even made a whole series of paintings of Ganymedes that are considered deathbed portraits of children.