Attributed to Bartholomäus Strobel the Younger, this Baroque painting depicts the famous biblical episode from the Book of Daniel (Chapter 5). King Balthasar of Babylon is hosting a lavish banquet, indulging in excess and using sacred vessels looted from the Temple in Jerusalem. In the midst of the revelry, a mysterious inscription appears on the wall—“Mene, Mene, Tekel, Uparsin.” This divine message foretells the imminent downfall of Balthasar and the fall of the Babylonian empire to the Persians that very night. The story has been a recurring theme in art history, serving as a powerful allegory for the transience of power and divine judgment.
Unlike Rembrandt’s Belshazzar’s Feast (National Gallery, London), which captures the moment of full realization and terror, Strobel’s version presents an earlier stage in the narrative. The guests are still engaged in conversation, unaware of the full gravity of the supernatural event unfolding before them. Their expressions hint at growing unease, but the fear and chaos seen in Rembrandt’s interpretation have yet to take hold. Both painters were active in the Baroque era, a period known for its dramatic compositions and emotional intensity. However, while Rembrandt focuses on an explosive, immediate reaction to the divine message, Strobel’s painting prolongs the tension, allowing the viewer to witness the gradual shift from celebration to dread.
The composition masterfully employs clair-obscur (chiaroscuro), a defining characteristic of Baroque painting, using deep contrasts between light and shadow to heighten the drama. The flickering candlelight creates an intimate atmosphere, illuminating the figures’ faces while leaving much of the background shrouded in darkness. The warm, earthy tones reinforce the opulence of the setting, while rich fabrics, elaborate jewelry, and a banquet of decadent food showcase the material excess that foreshadows the king’s downfall.
A key element in the painting is the interplay between movement and stillness. Some figures remain animated in conversation, unaware of the divine presence, while others appear increasingly unsettled, their gazes shifting as if sensing something unseen. The theatrical gestures, dramatic lighting, and richly decorated scene create a composition that is both dynamic and immersive, drawing the viewer into the unfolding story.
By capturing the moment just before fear fully takes hold, Strobel offers a unique perspective on the story—one that emphasizes suspense over immediate revelation. The viewer is invited to experience the rising tension alongside the characters, reinforcing the Baroque fascination with theatricality, light, and the unpredictability of fate.
