 The RRP did not introduce any new objective or documentary evidence, but based its judgment on an assessment of Rembrandt's "habits," an appraisal of the painting's style, and the difficulty of fitting it within Rembrandt's production in 1632 or the later 1630s.The RRP did not make any guesses as to who the author of this painting might have been, but relegated it to "Rembrandt's immediate circle, or even his own workshop.