The copperplate was in the sale by Clement de Jonghe (1679, as 62 Phariseen in den tempel). The next, anonymous owner added two dots (ca. 1700). It later appeared in the sale by Pieter de Haan (1767, lot 40) and was sold via Fouquet to Claude-Henri Watelet (1786). It then became part of the set of plates subsequently owned and used for printing Recueils by Pierre-François Basan, Henri-Louis Basan (his nr 1413), Auguste Jean (ca 1809), Veuve Jean, Auguste and Michel Bernard (1846) and Robert Lee Humber (1937). It was sold at the Artemis sale in London (1993) and is now in the Rembrandthuis, probably on loan from  a private collector in the UK.

In the sale by Clement de Jonghe in 1679 the plate was originally called Phariseen in den tempel (Pharisees in the temple). Valerius Röver and Gersaint (1751) introduced the present title, but there are many reasons to reject it.  The thick walls, for instance, are not seen in the Synagogues in Amsterdam. Some of the men are supposed to be German or Polish Jews (Ashkenazi) that fled from the Ukraine in 1647-48. Surprisingly they are shown here next to Portuguese Jews (Sephardic). In reality they never met in the same synagogue (WB).
Münz has suggested that it represents the betrayal of Judas, but that view has not received much support.

Remarkably, the man in the centre of the picture has turned his back to the viewer, adding to the atmosphere of silence and whispering, in which the other persons, especially the couple on the left, seem to be engaged.

Rembrandt made several drawings with single men and with men conversing, like one in the Rijksmuseum (not in Benesch), one in the Kupferstichkabinett in Berlin (Benesch 666) and one in Boijmans van Beuningen (Benesch 676). Although the etching and drawings are early, the similarities are not overwhelming.

The New Hollstein lists seven copies of which only one in the same direction (copy F), a woodcut by Antoine Alphée Piaud in Blanc’s catalogue (68 x 125 mm, WB 1).
There are five copies in reverse. Copy A is by Johann Georg Hertel (two states, 71 x 128 mm). Copy C is anonymous, signed Rembrandt in (89 x 135 mm, WB 4). Copy D is anonymous, signed Rembrandt fe (71 x 122 mm, WB 3). Copy E is by Francesco Novelli (his nr 11, two states, 71 x 126 mm, WB 2). Copy G is anonymous (71 x 129 mm).
WB list a copy by Claude-Henri Watelet (WB 5), not traced by NH.

The etching is considered as special by Bartsch, Coppier and Wilson.
The plate is not by Rembrandt according to Singer.

The New Hollstein lists nine states, of which only the first two by Rembrandt. Most other authors list three states, Nowell-Usticke seven, from the 3^rd state there are later impressions by Watelet, P. Basan, Basan, Jean, Bernard and Beaumont.
In the 1^st state (NH, WB, R368, NU) the foot and the lower part of the coat of the man at left are white*.
In the 2^nd state (NH, WB, R369, NU) the foot and coat are shaded°. Some new work refreshes the plate.
In the 3^rd state (NH only) an unknown collector has added two dots in the upper left corner*.
In the 4^th state (NH/3^rd state WB final, NU Watelet) many shadows are reworked with the rocker. Like fine vertical lines on the cap of the man with the stickº.
In the 5^th state (NH/4^th state NU, R370) the plate is complete re-etched, well visible in the shadow between the two men at leftº.
In the 6^th state (NH/5^th state NU P.Basan, H.L. Basan) the plate is lightly reworked. There are vertical lines added to the wall under the signatureº. Additional shadows in many more places, difficult to see.
In the 7^th state (NH/6^th state NU Jean Bernard) the open space between the legs of the 3^rd and 4^th man from the right is filled with shading*. New horizontal lines are added to robe of the man at the far right. Additional lines are added to the triangular shadow on the steps°. In later impressions of this state an accidental X appears on the steps in the middle°.
In the 8^th state (NH/7^th state NU Bernard, Beaumont) horizontal lines are added to the back of the man sitting and to the wall he is sitting on°. The lower part of the robe of the man far left is redrawn with left-to-right diagonals. The X is only vaguely visible.
In the 9^th state (NH) horizontal shading line are added to the right shoulder of the second man from the right°.

Of the 2^nd state there are counterproofs in the Rijksmuseum and in Cracow and an impression on Japanese paper in the British Museum.

The etching appears in the Recueil de Basan, impressions good (NU).
Recueil de H.L. Basan – Page 18               NH: 7^th state of IX/WB: 3^rd and final state.
A good impression. The lower left corner not yet darkened, indicating  7^th state (NH).

Recueil de A. Beaumont –  Sheet 44        NH: 9^th and final state/WB: 3^rd and final state.
A very good impression, darker than the one in the Recueil de Basan

In the 1^st state: Foolscap with five-pointed collar (c. 1650-51);
In the 2^nd state: Foolscap with five-pointed collar with cm LB (ca. 1650); Arms of Amsterdam;
In the 3^rd state: Seven Provinces (after 1665);
In the 4^th state: Arms of Amsterdam O.a;

H 234, BB 48-D, G 122, M 288, Mz 273, RA 368-370, Cl 128, W 130, Bl 98, Du 127, CD 189
De ‘joodse’ Rembrandt 2006, p. 16-17; Hinterding 2008, p. 262ff;

New Hollstein: 2^nd state of IX/White-Boon: 2^nd state of III
A very good, contemporary impression. The two dots in the left upper corner and the fine verticals on the hat of the man with the stick are not visible, confirming a 2^nd state (NH).
Sheet 76/74 x 133 mm, thread margins of approx. 1-2 mm all around (+9%).
Watermark: Foolscap with 5-pointed collar (partial) dated c. 1650. Vertical chain lines at approx. 22 mm.