The unprecedented inclusion of a Black maidservant in Rembrandt's The Visitation invokes the global reach of the new faith as expressed at the dawn of Christianity in the Gospel of Luke (1:39–56) and later reiterated by Erasmus and Jacobus Revius. The woman's African features and attire would have resonated with Dutch merchants around 1640, when the West India Company fully embarked on trade in enslaved people in Africa and the Atlantic. The maidservant raises moral, religious, and sociocultural questions concerning attitudes toward colonialism and enslavement that may have influenced Rembrandt and informed contemporary reception of the painting. By offering three hypothetical identities for the anonymous but presumably living model--either an enslaved or free woman from Rembrandt's neighborhood in Amsterdam--this essay joins a wave of scholarship that employs contextual evidence to redress the erasure of Black people from the historical record.