According to Münz this etching shows Saint Peter at the moment he is trying to return the keys of the church. But others think that the keys only identify the man as Saint Peter, regretting his betrayal of Jesus (Matthew 26, verses 74-75). The very light biting is similar to two other etchings from the same year (1645), The rest on the flight to Egypt (B 58) and Old man in meditation, leaning on a book (B147).
In Valerius Röver’s inventory (1731) this plate was referred to as Petrus met de sleutels…flauw geëtst.

As described in John 19, verses 38-40, the body of Jesus was removed from the cross and wrapped in linen by Joseph of Arimathea, one of His disciples.
This is the first of three prints Rembrandt would dedicate to this subject, but in this case the plate completely failed in the biting. Into the 19th century it was believed that the next etching (B81-II) was a second state of this one, it is now clear that Rembrandt abandoned the plate and started the project with a new one.

One of the most dramatic and most valuable etchings shows the crucifixion of Jesus and the two thieves. It is the last of three prints dedicated to this historical moment, as described in Luke 23, verses 44-48.
The print follows the script quite closely. The conversed centurion kneeling, a fainting Mary being supported by favourite son John, the two thieves siding Jesus. Although, due to the reversal effect, the ‘good’ thief is visible on the left side of Jesus.
The plate may well be meant as a pendant to Ecce Homo (B76), made around the same year, at the same size.