In 17th-century Leiden, a city fracturing along religious lines, a young Rembrandt gathered his Catholic mother, his Protestant father, and—restoration now reveals—a figure wearing a turban into a single painted frame. The work, recently sold at auction for nine million euros, carries beneath its surface a quiet argument: that people of different faiths might share not only a city but a canvas. What a later hand obscured with a soft hat, a decade of careful restoration has returned to us—a vision of coexistence painted precisely when coexistence was most in doubt.