Rembrandt’s Jeremiah Lamenting the Destruction of Jerusalem depicts the prophet mourning the loss of the city, which can just be made out on the left hand side. Portrayed in sharp detail against an otherwise soft background, Jeremiah leans to his left, propped up by a large book marked Bibel. The position of the prophet is somewhat reminiscent of Michelangelo’s portrayal of the same prophet in his earlier Sistine Chapel fresco (1508-1512 CE). Jeremiah 39–52 records the fall of Jerusalem and its immediate aftermath. Unlike Ezekiel, whose book speaks from the perspective of Babylonian exile, the book of Jeremiah speaks with the voice of those left behind in Judah; the prophet, it says, was granted permission to stay in Judah by the Babylonian king, Nebuchadnezzar. When Jeremiah left Judah with others who had been left in Judah by the Babylonians, he went Egypt. Jeremiah was traditionally also considered the author of the book of Lamentations. This is attested even in the early translations of the Bible—the Septuagint, the translation into Greek, for example, includes a superscription that ends 'Jeremiah sat weeping, and lamented this lament over Jerusalem'. The perceived connection between Jeremiah and Lamentations is due in part to the two books' linguistic similarities, although this may simply be due to their shared subject matter and close chronological proximity. 2 Chronicles 35:25 records Jeremiah chanting a lament over the death of Josiah the king, which may have helped the two books to be connected in the subsequent tradition.