CORPUS RUBENIANUM

LU D W IG BURCHARD

PART III
THE O LD TESTAM ENT
BY R.-A. D ’H U L S T & M . V A N D E N V K N
 C O R P U S R U B E N IA N U M
L U D W IG BU RCH ARD
A N I L L U S T R A T E D C A T A L O G U E R A IS O N N É
O F T H E W O R K O F P E T E R PAU L R U B E N S
B A S E D O N T H E M A T E R IA L A S S E M B L E D
BY T H E L A T E D R L U D W IG B U R C H A R D
IN T W E N T Y -S IX P A R TS

S P O N S O R E D BY T H E C I T Y O F A N T W E R P

A N D E D I T E D BY T H E ‘ N A T I O N A A L C E N T R U M V O O R D E P L A S T I S C H E K U N S T E N

V A N DE X V T k E N DE X V l A EEUw’

R.-A. d t i u l s t , P residen t • f. B a u d o u in , Secretary ■ r. p a n d e la e r s , T re a su re r

D E P O O R T E R • A. S T U B B E • A . B A L I S • J. K. S T E P P E • C. V A N D K V E L D E • H . V L I E G H E

R E S E A R C H A S S I S T A N T S : H . D E V I S S C H E R • P. H U V E N N E • M . V A N D E N V U N
 RUBENS
THE OLD TESTAMENT
BY R .-A .D ’ H U L ST
A N D M. V A N D B N V E N

T R A N ,S L A T L 1) EROM T l IH D U T C H
BY 1'. S. E A LLA

H A R V E Y M IL LE R PUBLISHERS
Originating Publisher h a r v e y m il l e r ltd • 20 M arryat Road • London S W 19 5 b d

Published in the United States

by o x f o r d u n iv e r s it y p r e s s • New York

© 1989 Nationaal Centrum voor de Plastische Kunsten van de i6dc en de 17clc Eeuw

British Library Cataloguing in Publication Data

Hulst, R.A.d (Roger - A d o lf d')
Rubens: the Old Testament. - (Corps Rubenianum Ludwig
Burchard: pt. 3).
i. Flemish religious paintings. Rubens, Peter Paul -
Catalogues
I. Title II. Vandenven, M. III. Rubens, Peter Paul,
j J77 — 1640 IV. Series
759.9493

ISBN O-905203-64-X

A ll rights reserved. No part o f this publication m ay be reproduced,

stored in a retrieval system , or transmitted in any form or by
any means, electronic, mechanical, photocopying, recording, or
otherwise, without the prior permission o f H arvey M iller Ltd.

Printed and bound by

Offizin Andersen Nexö • Leipzig • DDR
CONTENTS

A u th o r’s Preface page 7

Abbreviations 10

Introduction 19

Catalogue Raisonné 33

Sources o f Photographs 228

Illustrations 229

Indexes: 369

I •Collections 370

II-Subjects 377

III-Other W orks by Rubens 387

mentioned in the Text

IV Names and Places 391

(
A U T H O R ’S PREFACE

h is b o o k is based on the m aterial co llected and analysed by L u d w ig Bur-

T chard and system atically su p p lem en ted by the research stalTof the N ationaal
C en tru m vo o r de Plastische Kunsten van de XVIe en XVIle Reuw . L ike the oth er
parts o f the C o rp u s R u ben ian u m , it includes all the w o rk s that Burchard re­
gard ed as auth en tic. In the few cases w h ere I have found m ysell at variance w ith
him , I have tried to set forth as clearly as possible both his a rg u m en ts and m y
reasons fo r d isagreein g w ith them .
T h e iconographical o rd er in w hich Burchard classified his d ocu m en tatio n
has served as a startin g-poin t fo r the division of the m aterial of the C orp us
R u b en ian u m L u d w ig Burchard in to Parts, som e o f w hich are subdivided
into sep arate vo lu m es. T h e stru ctu re o f each P art is larg e ly d eterm in ed by
the n atu re o f its con ten ts: som e subjects are best treated as m on ograph s,
others in the fo rm o f a ca ta lo g u e ra iso n n é, as is the case here. I fovvever, the co­
existence o f these tw o m eth od s has the effect that a ca ta lo g u e raisonné m ay not
alw ays contain all the w o rk s that one w o u ld logically exp ect to find in it.
Th is applies to the present case: som e O ld T esta m e n t scenes h ave been
assigned to o th er v o lu m es because o f certain iconographie or fo rm a l aspects,
w h ile others b elo n g to particu lar grou ps, the basis o f w hich is n eith er fo rm al
nor iconographie.
W o rk s that are not d ealt w ith in the present v o lu m e are, in the first place,
those w hich b e lo n g to a larger iconographie w h o le, in w hich the subdivisions
are typ o lo g ica lly related . T h u s Part I, The C e ilin g Paintings fo r the J e su it C h u r ch
in A n tw e r p , d ealt w ith T h e F a ll o f the R eb e l A n g e ls, T h e E x p u ls io n o f A d a m a n d E ve
fr o m P a r a d ise , T h e S a crifice o f N o a h , A b r a h a m a n d M e lc h iç e d e k , T h e S a crifice o f Isaac,
T h e T r iu m p h o f J o sep h in E g y p t, M o se s in P r a y e r betw een A m o n a n d H u r, D a v id a n d
G o lia th , S olom on a n d the Q u een o f S h eb a , T h e T r a n sla tio n o f E lija h , and E sth e r b efore
A h a s u e r u s . P art II, T h e E u ch a r ist S eries, w hich describes a sim ilar large-scale un­
d erta k in g in w h ich the iconograph ie connection is o f a typ o logical kind, also
includes O ld T esta m en t scenes, n a m ely A b r a h a m a n d M e lc h iç e d e k , T h e G a th e r in g
o f the M a n n a , E lija h a n d the A n g e l, K in g D a v id P la y in g the H a r p , and T h e S a crifice o f
the O ld C o v e n a n t. In the sam e w ay, som e O ld T esta m en t scenes depicted in altar-
pieces b e lo n g m ore logically to a larg er iconograph ie w h o le, and m ost o f these
w ill be found in Parts IV, V and VI w hen the books are p ublish ed. T w o subjects
that have already been pu blished , in S a in ts, I (Part VIII), are a ,\loses and an

7
A a r o n w h ich to g eth er fo rm ed the p red ella o f the altarp iece o f the C h a p el o f th e
H oly Sacram ent in the D om in ican ch u rch at A n tw e rp .
O ld T esta m en t w o rk s th at have been assigned to o th er Parts fo r fo rm a l rea­
sons w ill be fo u n d in B o ok I llu s tr a tio n s a n d T itle -P a g e s (Part XXI)— David P o e n i-
ten s: Illu str a tio n f o r the B r e v ia r iu m R o m a n u m and T itle -P a g e f o r M . B a rb er in i, P o e ­
m a ta ( S a m so n , the L io n a n d the B ees)— and also in th e as y et u n p u blish ed v o lu m e
on w o rk s execu ted by R ubens in co llab o ratio n w ith o th er m asters, subjects
such as A d a m R e c e iv in g the F o r b id d e n F r u it, T h e H ague, in w h ich the figures are
b y h im and th e landscape and anim als b y Jan I B ru egh el.
T h e O ld T esta m en t scenes classified in g ro u p s fo r o th er than iconograph ie or
fo rm a l reasons w ill be fo u n d , w h en pu blished , in C o p ie s a n d A d a p ta tio n s fr o m
R en a issa n ce a n d L a te r A r t is t s (Part XXV) and D r a w in g s n o t R e la te d to the O th e r
S u b je cts. A d d e n d a a n d C o r r ig e n d a . I n d e x e s (Part XXVI).
T h e subjects in the presen t v o lu m e fo llo w as closely as possible th eir original
O ld T esta m en t sequence. F ro m the su rviv in g w o rk s and fro m those k n o w n to
h ave existed fro m d ocu m en ts, it can be seen th at R uben s d rew on th ree books
o f the P en tateu ch — G e n e sis (Nos. 1-17), E x o d u s (Nos. 18-21), and N u m b e r s
(Nos. 22-24)— and also J u d g e s (Nos. 25-33), I S a m u e l (Nos. 34-42), II S a m u e l
(Nos. 43, 44), I K in g s (Nos. 45-46), II K in g s (Nos. 47, 48), T o b it (No. 49), f u d i t h
(Nos. 50-52), E s th e r (No. 53), J o b (Nos. 54-56), D a n ie l (Nos. 57-66), and II M a c ­
ca bees (No. 67). T h e fact th at som e subjects o ccu r m o re fre q u e n tly than others
d em on strates R u b en s’s o w n p referen ce fo r p a rticu lar scenes, or th at o f his
p atron s ; reasons fo r this p referen ce are discussed in th e Introduction .
It rem ains fo r m e to record m y d eb t to all those w h o in one w a y or an o th er
have h elp ed in the p rep a ra tio n o f this v o lu m e. M y th an ks are due in the first
place to the m a n y m u seu m keepers, archivists, librarian s and priva te in d ivid uals
w h o h ave a llo w ed m e access to th eir collections and h ave freq u e n tly h e lp ed m e
w ith in fo rm atio n and suggestions. I also o w e th an ks to the research staff o f the
N ation aal C e n tru m v o o r de Plastische K u n sten van de X VIe en XVIIe E eu w and
the R u b en ia n u m : A rn o u t Balis, Frans B audouin , N ora D e P oorter, H ans D evis-
scher, P aul H uvenn e, C arl V an de V eld e, M arc V a n d en ve n and H ans V lie g h e .
T h e present v o lu m e , w h ich is en tirely w ritte n b y m e and for w h ich I bear fu ll
responsibility, cou ld not, in v ie w o f m y age and state o f h ealth , h ave been co m ­
p leted w ith o u t the special and d evo ted assistance o f M arc V an d en ven , w h o
relieved m e o f n u m ero u s tasks o f b o th a m aterial and an in telle ctu a l k in d : he
traced and procu red m a n y d ocu m en ts, books and ph otograph s, in som e cases
req u irin g intensive correspondence, and d re w m y atten tion to passages in the
tex t th at n eeded to be su p p lem en te d or elu cidated. For all this I ten d er h im m y
special thanks. I am also g ratefu l to Els van d er Eist, w h o , in past years and u n ­
d er m y direction, laid the basis fo r the presentation o f technical data concern ing
several o f the entries in this v o lu m e ; to P.S. Falla for the care he has b estow ed
on th e translation ; to E lly M iller and C lare R eyn olds fo r th eir e x p e rt h elp in
p rep arin g the m an u script fo r p rin t; and to the clerical staff o f the R u ben ian u m :
V iviane D e M e u te r-V e rb ra e k e n a n d V in cen t R u tten p rovided val Liable assistance
on various occasions, w h ile N e lly De V le esch o u w er-V e rrey d t typed the m an u s­
cript w ith ex e m p la ry care.
Last b u t not least, m y thanks go to m y w ife Paula, w h o has h elped in m any
w ays w ith the p reparation o f this w ork.

9
 ABBREVIATIONS

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11
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a C ritica l Catalogue, I—II, L o n d on , 1959-

H eld, D ra w ings, 1986 J. S .H eld , R ubens, Selected D ra w in gs, O xfo rd , 1986.

H eld, O il Sketches J. S. H e ld , T he O il Sketches o f Peter P a u l R ubens. A C ritica l C a ta­

logue, I—II, Princeton , N .J ., 1980.

H enkel-Schöne A .H e n k e l and A .S ch ön e, E m b le m a ta . H a n d b u c h z u r S i n n b i ld ­
k u n s t d e s X V I . u n d X V I I .J a h r h u n d e r t s , I—II, S tu ttg art [1967-76].

H ind , R ubens A . M . H in d, C a t a lo g u e o f D r a w in g s b y D u t c h a n d F le m is h A r t i s t s
p r e s e r v e d in t h e D e p a r t m e n t o f P r i n t s a n d D r a w i n g s in th e B r itis h
M u s e u m , I-V , L o n d o n , 1915-1932.

H oet-T erw esten G .H o e t, C a t a lo g u s o f N a a m lijs t v a n S c h ild e r ije n , m e t d e r z j l v e r

p r ijz e n , s e d e r t d en 22 A u g u s ti i j j 2 to t d e n 2 1 N o v e m b e r 17 6 8 ,
I—III, pu b i, b y G .H o e t and P .T e rw e ste n , T h e H ague, 1752-
1770.

H o lls te in F .W .H . H ollstein e t a l , D u t c h a n d F le m is h E t c h in g s , E n g r a v in g s
a n d Woodcuts, ca. 1430-1700, A m ste rd a m , 1949-1984 (in p ro ­
gress).

H ym ans, G ravure H. H ym a n s, H istoire de la gravure dans l'école de R ubens,

B russels, 1879.

H ym ans, Vorsterm an H . H y m a n s, Lucas Vorsterm an. Catalogue raisonné de son oeuvre,

précéd é d ’une notice su r la vie et les ouvrages d u m aître, Brussels,
1893-

Ja ffé, Am sterdam , 1933 M .Jaffé, ‘ R ubens en de le e u w e n k u il’, Bulletin van het

R ijksm u seu m , III, 1955, pp. 59-67.
J a f f é , R u b e n s a n d I ta ly M .Jaffé, R u b e n s a n d It a ly , O xfo rd , 1977.

J a ffé , W a s h in g t o n , i g j o M .Jaffé, ‘Som e R ecen t A cq u isition s o f S eve n te e n th -C e n tu ry

F lem ish P ain tin g’ , R eport an d Studies in the H istory o f A r t,
N ation al G a lle ry o f A r t, W ash in gton , 1970, pp.6-33.

12
 ABBREVIATIONS

J u d s o n - V a n d e V e ld e J.H .Judson and C .V a n de V e ld e , B o o k I llu s t r a t io n s a n d T it le -

Pages (C o rp u s R u b e n ia n u m L u d w ig B urchard, XXI), I - 1I,
B ru ssels-L on d on -P h ilad elp h ia , 1978.

K.d.K. P . P .R u b e n s . D e s M e is t e r s G e m a ld e , ed. by R .O ld e n b o u rg
( K la s s ik e r d e r K u n s t , V ), 4th edn., S tu ttg art-B e rlin , 1921.

K .d .K ., ed n . R o sen b erg P . P . R u b e n s . D e s Meisters G e m ä ld e , ed. by A. R osen berg

( K la s s ik e r d e r K u n s t , V ), ist edn ., S tu ttg a rt-L e ip z ig , 190e.

K . d . K . , M ic h e la n g e lo , 1 9 0 1 M ic h e la n g e lo . D e s M e is t e r s W e r k e , ed. by L. K napp (K la s s ik e r
d e r Kunst, VII), 2nd edn ., S tu ttg a rt-L e ip zig , 1907.

K . d . K . , R a ffa e l, 1 9 1 9 R a ffa e l. D e s M e is t e r s G e m ä ld e , ed. by 0 . G ronau (K la s s ik e r d e r

K u n s t , 1), 4th edn ., S tu ttg a rt-B e rlin , 1919-

K . d . K . , R a f f a e l, 1 9 2 2 R a ffa e l. D e s M e is t e r s G e m ä ld e , ed. by G . G ronau ( K la s s ik e r d e r

K u n s t , I), 5th edn ., S tu ttg a rt-B e rlin , 1922.

K .d .K ., T itia n , 19 11 T i z i a n . D e s M e is t e r s G e m ä ld e , ed. bv O.Fi.schel (K la s s ik e r d e r

K u n s t , III), 4th edn ., S tu ttg art-B e rlin , 1911.

K .d .K ., T itia n , 19 2 4 T i z i a n . D e s Meisters G e m ä ld e , ed. b y (). Fischei ( K la s s ik e r d e r

K u n s t , III), 5th edn., S tu ttg a rt-B e rlin -L e ip z ig , 1924.

K . d . K . , V a n D y c k , 19 0 9 Van D y c k . D e s M e is t e r s G e m ä ld e , ed. b\ L. Schaeffer (K la s s ik e r

d e r K u n s t , XIII), S tu ttg a rt-L e ip z ig , 1909.

K .d .K ., V a n D y ck , 19 3 1 V a n D y c k . D e s M e is t e r s G e m ä ld e , ed. bv G .G lü c k (K la s s ik e r d e r
K u n s t , XIII), 2nd edn ., S tu ttg a rt-B e rlin -L o n d o n , 1931,

K ie s e r L. Kie.ser, 'A n tik e s im W e rk e des R u bens', M ü n c h n e r J a h r b u c h

d e r b ild e n d e n K u n s t , N .F ., X, 1933, pp. 110-137.

K n ip p in g , Ico n o g ra p h y J. B .K n ip p in g, I c o n o g r a p h y o f th e C o u n t e r R e fo r m a tio n in th e
N e t h e r la n d s , I—If, Leiden, 1974.

L. F .L u gt, L es m a r q u e s d e c o lle c tio n s d e d e s s in s 6 ' d ’estampes. M ar­

ques e s t a m p illé e s et é c r ite s d e c o lle c tio n s p a r t ic u liè r e s e t p u b liq u e s .
M a r q u e s d e m a r c h a n d s , d e m o n te u r s e t d 'im p r im e u r s . C a c h e ts d e
vente d ’a r t is t e s d é c é d é s . M a r q u e s d e g r a v e u r s a p p o s é e s a p r è s le
tir a g e d e s p la n c h e s . T im b r e s d ’é d itio n . P ic . A v e c d e s n o tic e s h is t o ­
r iq u e s s u r le s c o lle c t io n n e u r s , le s c o lle c tio n s , les v e n te s , le s m a r ­
c h a n d s e t é d it e u r s , e t c ., A m ste rd a m , to2r.

L ., S u p p l. F .L u g t, L e s m a r q u e s d e c o lle c tio n s d e d e s s in s 6~ d ’e s ta m p e s . M a r ­
q u e s e s t a m p illé e s e t é c r it e s d e c o lle c tio n s p a r t ic u liè r e s e t p u b liq u e s .
M a r q u e s d e m a r c h a n d s , d e m o n te u r s e t d ’ im p r im e u r s . C a c h e ts d e
v e n te d ’a r t is t e s d é c é d é s . M a r q u e s d e g r a v e u r s a p p o s é e s a p r è s le
tir a g e d e s p la n c h e s . T im b r e s d ’é d it io n . E tc . A v e c d e s notices h is t o ­
r iq u e s s u r le s c o lle c t io n n e u r s , les c o lle c tio n s , le s v e n te s , les m a r ­
c h a n d s e t é d it e u r s , e t c ., S u p p lé m e n t, T h e H ague, 1956.

L a rsen , R u b en s H. Larsen, P . P . R u b e n s . W it h a C o m p le t e Catalogue o f h is W o r k s

in A m e r ic a , A n tw e rp , 1952.

L e B la n c , M a n u e l C .L e B lanc, M a n u e l d e l ’a m a t e u r d ’e s t a m p e s , c o n t e n a n t le d ic ­
tio n n a ir e d e s g r a v e u r s d e to u te s le s n a tio n s . D a n s le q u e l s o n t d é c r i­
tes les e s ta m p e s r a r e s , p r é c ie u s e s e t in té r e s s a n te s a v e c l'in d ic a t io n
d e le u r d iffé r e n t s é t a t s e t d e s p r i x a u q u e ls c e s e s t a m p e s o n t é té
p o r té e s d a n s le s v e n te s p u b liq u e s , e n P r a n c e et d l ’é t r a n g e r , d e p u is
u n s iè c le , I—IV , Paris, 1854-1889.

13
ABBREVIATIONS

L exikon der christlichen Ikonographie H. K irsch b au m S.J. et al, Lexikon der christlichen Ikonographie,
I—VIII, R o m e -F re ib u rg -ß a sle -V ie n n a , 1968-1976.

Liess R. Liess, D ie K u n st des R u bens, B rau nschw eig, 1977.

L ugt, Cu t. Louvre, École flam a nd e F. L u gt, É c o le f l a m a n d e ( M u s é e d u L o u v r e , I n v e n t a ir e g é n é r a l d e s

d e s s in s d e s é c o le s d u N o r d ) , I—II, Paris, 1949.

L ugt, R épertoire F. L u gt, R é p e r t o ir e d e s c a ta lo g u e s d e ventes p u b li q u e s in té r e s s a n t

l ’a r t o u la c u r io s it é ( P u b lic a t io n s d u R ijk s b u r e a u v o o r K u n s t h is t o ­
r is c h e e n I k o n o g r a fls c h e D o c u m e n t a tie — L a H a v e ) , I—III, T h e
H ague, 1948-1964.

L ugt, R ubens an d Stim m er F. L u gt, ‘ R ubens and S tim m e r’, A r t Q u arterly, VI, 1943, pp.99-
114.

M a as S. M aas, D a s B ild th e m a d e r 'S u s a n n a 1 bei R u b e n s . S e in e B e d in ­

g u n g e n in d e r ita lie n is c h e n u n d n ie d e r lä n d is c h e n M a le r e i u n d s e in e
u n m it t e lb a r e n A u s w ir k u n g e n (Diss. K id , 1974), MS, p.217fr.

M a g u rn , Letters R. S .M agu rn , The Letters o f Peter P au l R u bens, C a m b rid g e ,

M ass., 1955.

M â le, A p rès le Concile de Trente E. M âle, l ’A r t r é lig ie u x a p r è s le C o n c ile d e T r e n t e , Paris, 1932.

M a riette, Abécédario A bécédario de P .J. M a riette et autres notes inédites de cet am ateur
su r les arts et les artistes, ed. b y P .d e C h en n evières and A .D e
M o n taiglo n , I—V I, Paris, 1851-1860.

M a r tin , C a l. N ational G allery G. M artin , N ational G allery Catalogues, The Flem ish School,
c ir c a 1 6 0 0 - c ir c a 1 9 0 0 , L o n d on , 1970.

M a rtin , C eilin g Paintings J. R. M artin , T h e C e ilin g P a in t in g s f o r th e J e s u it C h u r c h in

A n t w e r p ( C o r p u s R u b e n ia n u m L u d w ig B u r c h a r d , I), B ru ssels-
L o n d o n -N e w Y o rk , 1968.

M a rtin , Pom pa J.R . M artin , T h e D e c o r a t io n s f o r th e P o m p a I n tr o it u s F e r d in a n d i

( C o r p u s R u b e n ia n u m L u d w ig B u r c h a r d , XVI), B ru sse ls-L o n d o n -
N e w Y o rk , 1972.

M en saert, Peintre G. P. M en saert, L e P e in t r e A m a t e u r e t C u r i e u x , O u D e s c r ip tio n

G é n é r a le d e s T a b le a u x d e s p l u s h a b ile s M a î t r e s , q u i f o n t l ’o r n e ­
m e n t d e s E g lis e s , C o u v e n t s , A b b a y e s , P r ie u r é s & C a b in e t s p a r t i ­
c u lie r s d a n s l ’é t e n d u e d e s P a y s -B a s A u t r ic h ie n s , I—II, Brussels,
1763.
M ichel, H istoire J .F .M .M ic h e l, H is t o ir e d e la v ie d e P . P . R u b e n s , C h e v a lie r &
S e ig n e u r d e S te e n , illu s t r é e d ’A n e c d o te s q u i n ’o n t ja m a i s p a r u e n
P u b lic , & d e se s t a b le a u x é ta lé s d a n s le s P a la is , E g lis e s & P la c e s
p u b li q u e s d e l ’ E u r o p e , <ùr p a r la D é m o n s t r a t io n d e s E s ta m p e s
e x is t a n t e s & r e la tiv e s à s e s O u v r a g e s , Brussels, 1771.

M ichel, R ubens R. M ichel, R u b e n s , s a v ie , s o n o e u v re e t s o n t e m p s , Paris, 1900.

M ie lk e - W in n er H. M ielk e and M .W in n er, P e t e r P a u l R u b e n s . K r it is c h e r K a ta lo g

d e r Z e ic h n u n g e n . O r ig in a le — U m k r e is — K o p ie n ( D i e Z e ic h n u n g e n
a lte r M e i s t e r im B e r lin e r K u p fe r s t ic h k a b in e t t , S t a a t lic h e M u s e e n
p r e u s s is c h e r K u l t u r b e s i t z ) , B erlin , 1977.

M itseh , R u benszeich nu ngen E .M itsch , C a t. E xh. D i e R u b e n s z e ic h n u n g e n d e r A lb e r t in a . Z u m

4 0 0 . G e b u r t s t a g (G raphische S a m m lu n g A lb e rtin a , V ienn a,
1977), V ien n a, 1977.

14
 \ HIt K HVI,VIT O N S

M o ls f'.J.J.M o ls (born A n tw e rp , 22 Januars 022), Annotations

m a n u s c r ite s s u r R u b e n s , MS in the Ro\,il Library, Brussels
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M u c h a t l- \ 'ie b r o o k T A V . M u ch a ll-V ieb ro o k , F le m ish D r a w in g s 0/ the S e v e n te e n th

C e n t u r y (D r a w in g s o f th e (tr e a t M a s t e r s , ed. by A. K. P op h am
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O ld e n b o u r g , F lä m is c h e .Malerei R. O ld en b o u rg , D ie flä m isc h e Moierei d es \ \ II.J a h r h u n d e r ts

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O ld e n b o u r g , R u b e n s IR .O ld e n b o u rg], P e te r P a u l R u b e n s . S a m m lu n g d e r von R u d o l f
O ld e n b o u r g v e r ö ffe n tlic h te n o d e r ~ ur \ c r ö ffe n ilic h u n g v o r b e r e ite ­
ten A b h a n d lu n g e n über d en M e is t e r , ed b\ W .son Rode,
M u n ich -B erlin , 1922.

F u r th e y , B ild e r s u u l O .R arthey, D e u t s c h e r Bildersaal. Verzeichnis d e r in D e u t s e h la n d

v o r h a n d e n e n O e lb ild e r v e r s to r b e n e r M a le r a lle r S c h u le n in a lp h a ­
b e tis c h e r F o lg e ç tt s a m m e n g e s t e lll, I—II, Berlin. isoî-180 4 .

P ig le r , B a r o c k th e m e n , 19-4 A .P ig le r, B a r o c k th e m e n . F in e Auswahl von Verzeichnissen ~ u r

I k o n o g r a p h ie d e s 1-. und lö .J a h r h u n d e r is . 2nd edn ., 1- 111,
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P w t, R a p p o r t C . Piot, R a p p o r t ti M r le M in is t r e ile l'I n t é r ie u r s u r les t a b le a u x

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R e a lle x ik o n R e a lle x ik o n ç u r d e u ts c h e n K u n s tg e s c h ic h te , ed. 1rs O ,S e h m itt et

a l., S tu tig a rt-M u n ie h , 1937 (in progress)

R é a u , Ic o n o g r a p h ie L. Réau, Ic o n o g r a p h ie d e F a r t c h r é tie n . 1, Il 1 1-2), 111 (1-3), Pans,

1 955 - 1 9 5 9 .

R enger K ,R en ger, C at. H.\h. R u b e n s in der D ra/Juk, (ü m in g e n -

H a n o v e r-N u re m b e rg , 1977.

R e n g e r , R u b e n s U e d it R. Renger, 'R u b en s D ed it DedicasiU |iic Rubens' Beschäfti­

gu n g m it d er R e p ro d u k iion sgra lik , I/l ed: D er K u pferstich ',
J a h r b u c h d e r B e r lin e r M u s e e n , XVI. 10-4. p p .122 -1-3: ' 11. '['eil:
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R o m b o u t s - Y a n L e r iu s P. R om b ou ts and T .V a n Lerius, D e lig g e r e n en a n d e r e h is to ­

r isch e a r c h ie v e n d e r A n t w e r p s c h e S1111 l.u c a s g ild e l.e s lig g e r e n et
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T’he H ague, s.d . f 1872.J.

R o o se s M. Rooses, L ’Œ u v r e d e P . P . R u b e n s . H is to ir e et d e s c r ip tio n d e ses

t a b le a u x e t d e s s in s , I-Y , Antsverp, 1880-1892.

R o o s e s , L ife M .Rooses, R u b e n s , 1- 11, L ondon, 1904.

R o o s e s - R u e le n s Correspondance d e R u b e n s et d o c u m e n ts é p is to la ir e s concernant
sa vie et ses œ u v r e s , p u b lié s , traduits, annotés p a r C li .R u e l e i i s , (1),
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R iib e n s - B u lle t ijn R u b e n s - B iille t ijn . J a a r b o e k e n d e r a m b te lijk e commissie in g e s te ld

d o o r d e n g e m e e n te r a a d d e r S ta d A n t w e r p e n v o o r liet u itg e v e n d e r
b e s c h e id e n b e t r e k k e lijk h et le v e n en d e w e r k e n v a n R u b e n s .— Rulle-
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tin-Rubens. Annales de la commission officielle instituée p a r le con­

seil communal de la Ville d ’Anvers pour la publication des docu­
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Brussels, 18 8 2 -19 10 .

S.A . A. Sted elijk A rch ief, A n tw erp.

Sainsbury, Papers N .W . Sainsbury, Original Unpublished Papers illustrative o f the

life o f Sir Peter Paul Rubens, as an artist and a diplomatist, pre-
served in H .M . State Paper Office. With an appendix o f docu­
ments respecting the Arundelian collection; the Earl o f Somerset’s
collection; the Great M antuan collection; the Duke ofBuckingham,
Gentileschi, Gerbier, Honthorst, Le Sueur, Myttens, Torrentius,
Vandervoort, etc, etc, etc., Lon don, 1859.

Sandrart, edn. Peltçer Joachim von Sandrarts Academie der Bau-, Bild- und Mahlerey-
Künste von i6yy. Leben der berühmten M aler, Bildhauer und Bau-
meister, ed. b y A .R .P e ltz e r, M unich, 1925.

Seilem , Addenda [A .Seilern ], Flemish Paintings and Drawings a t j6 Princes Gâte,

London SW y, Addenda, IV , Lon don, 1969.

Seilern, Corrigenda and Addenda [A. Seilern], Corrigenda and Addenda to the Catalogue o f Paint­
ings and D rawings a t 56 Princes Gâte, London SW y, London,
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Seilem , Flemish Paintings [A. Seilern], Flemish Paintings and Drawings a t y 6 Princes Gâte,
London SW y, I, Lon don, 1955.

Smith, Catalogue Raisonné J. Sm ith , A Catalogue Raisonné o f the Works o f the Most Eminent
Dutch, Flemish, and French Painters. In which is included a short
Biographical Notice o f the Artists with a Copions Description o f
their principal P ictures..., I—IX, Lon don, 1829-1842.

Strumwasser, Old Testament G. S tru m w asser, Heroes, Heroines and Heroic Taies front the Old
Testament: A n Iconographie Analysis o f the Most Frequently Re-
presented Old Testament Subjects in Netherlandish Painting, ca.
14 3 0 -iÿ y o , Diss. U niversity o f C alifornia, Los A n geles, 1979.

Thieme-Becker Allgemeines Lexikon der bildenden Künstler von der Antike bis ■gpir
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Valentiner, Rubens in America W . R. V alen tin er, 'R u b e n s’ Paintings in A m e rica ’ , A rt Quar-
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Van den Branden, Schilderschool F .J.V a n den B ran den , Geschiedenis der Antwerpsche Schilder­
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Van den Wijngaert, Prentkunst F. V an den W ijn g ae rt, Inventaris der Rubeniaanscheprentkunst,
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16
 ABBREVIATIONS

Va rshavskaya, Rubens M . V arsh avskaya, Rubens1s Paintings in the I-Iermitage Museum

[in Russian], Len in grad , 1975.

Vlieghe, Saints H. V liegh e, Saints (Corpus Rubenianum Ludwig Burchard, VIII),

I—II, B ru sse ls-L o n d o n -N e w Y o rk , 19 72-19 73.

V.S. C .G . V o o rh e lm Schneevoogt, Catalogue des estampes gravées

d ’après P. P. Rubens, avec l’indication des collections où se trou­
vent les tableaux et les gravures, H aarlem , 1873.

Wangen, Kunstwerke G. F.W aagen, Kunstwerke und Künstler in England und Paris,
I—III, B erlin , 1837-18 39 .

W aagen, Treasures G. F.W aagen, Treasures o f A rt in Great Britain. Being an Account

o f the C hief Collections o f Paintings, Drawings, Sculptures, Illu-
minated M ss., etc, etc., I—III, Lon don, 1854.

W urçbach A . vo n W u rzbach , Niederlàndisches Künstler-Lexikon, 19 0 6 - 19 11

(edn. B .M .Is ra ë l N .V ., I—II, A m ste rd am , 1963).

E xh ibitions :

Amsterdam, 1933 Rubens-tentoonstelling, G a lle ry J. G oudstikker, A m ste rd a m ,

1933 -

A ntw erp, 1930 Tentoonstelling van Oud-Vlaamsche Kunst, W orld Exhibition ,

A n tw e rp , 1930.

Antw erp, 1936 Tekeningen van P. P. Rubens, R ubenshuis, A n tw erp, 1956.

Antw erp, 1999 P. P. Rubens, Paintings, Oilsketches, Drawings, K o n in k lijk

M u se u m v o o r Schone K unsten, A n tw e rp , 1977.

Berlin, 1999 Peter Paul Rubens, Kritischer Katalog der Werke, Staatliche M u-
seen preussischer K u ltu rb esitz, K upferstichkabinett, B erlin ,
1977 -

Brussels, 19 10 L ’art belge au X V lIe siècle, M usées R oyau x des B eau x-A rts de
B elgiq u e, B russels, 1910.

Brussels, 19 33 Esquisses de Rubens, M usées R o yau x des B eau x-A rts de

B elgiq u e, B russels, 1937.

Brussels, 1938-39 Dessins de Pierre-Paul Rubens, Palais des B eau x-A rts, B russels,
1938-1939-

Brussels, 19 3 2 -3 3 P. P. Rubens, esquisses, dessins, gravures, M usées R o y a u x des

B e a u x -A rts de B elgiq u e, Brussels, 19 52-19 53.

Brussels, 1963 Le siècle de Rubens, M usées R o yau x des B e au x-A rts de

B elgiq u e, B russels, 1965.

C am bridge-N ew York, 1936 D rawings and Oil Sketches by P .P .R u ben sfro m American Collec­
tions, Fogg A r t M u seu m , C am b rid ge, M ass.— T h e P ierp o n t
M organ L ib ra ry , N e w Y o rk , 1956.

Cologne, 1999 Peter Paul Rubens, 13 3 3 -16 4 0 , K un sthalle, C ologne, 1977.

17
A B B R E V IA T IO N S

D e t r o it , 1 9 4 6 S i x t y P a in t in g s a n d S o m e D r a w in g s b y P e t e r P a u l R u b e n s , T h e
D etro it Institute o f A rts, D etroit, 1936.

F lo r e n c e , j 977 R u b e n s e la p i t t u r a fia m m in g a d e l S e ic e n to n e lle c o lle ç io n i p u b -

b lic h e fio r e n t in e , P a lazzo Pitti, F lorence, 1977.

H e ls in k i, 1 9 4 2 - 4 4 P . P . R u b e n s , e s q u is s e s , d e s s in s , g r a v u r e s , A te n e u m , H elsinki,
1952-1953.

L o n d o n , 19 4 0 A L o a n E x h ib it io n o f W o r k s b y P e t e r P a u l R u b e n s , K t ., W ild e n ­
stein and C o., L ond on , 1950.

L o n d o n , 1977 R u b e n s , D r a w in g s a n d S k e tc h e s , B ritish M u seu m , L ondon,

1977 -

N e w Y o r k , 1951 .1 L o a n E x h ib it io n o f R u b e n s , W ild en stein , N ew Y ork , 1951.

P a r is , 19 ,16 R u b e n s el s o n te m p s , M usée de l ’O ra n g erie , Paris, 1936.

P a r is , 1 9 7 4 D e s s in s f la m a n d s e t h o lla n d a is d u d ix - s e p t iè m e siè c le , Institut

N éerlandais, Paris, 1974.

P a r is , 1 9 1 7 - 7 8 L e siè c le d e R t ib e n s d a n s le s c o lle c tio n s p u b li q u e s f r a n ç a is e s , G ran d

Palais, Paris, 1977-1978.

P a r is - A n tw e r p -L o n d o n - L e s iè c le d e R u b e n s e t d e R e m b r a n d t. D e s s in s f la m m a n d s e t h o lla n ­
N ew Y ork, 19 4 9 -8 0 d a is d u X V I I e s iè c le d e la P ie r p o n t M o r g a n L ib r a r y d e N e w Y o r k ,
Institut N éerlan dais, Paris; K o n in k lijk M u se u m v o o r Schone
Kunsten, A n tw e rp ; British M u se u m , L o nd on ; Pierp on t M o r­
gan L ib rary, N e w Y o rk , 1979-1980.

R otterdam , 19 4 4-4 4 O lie v e r fs c h e ts e n v a n R u b e n s , M u se u m B oym an s, R o tterd am ,

1953 - I 954 .

Vienna, A lbertin a, 1977 D i e R u b e n s ^ e ic h n u n g e n d e r A lb e r t in a çtim 4 0 0 .G e b u r t s ta g , G ra ­

phische S a m m lu n g A lb ertin a , V ien n a, 1977.

18
INTRODU CTION

‘ T o th e J e w s E u r o p e o w e s th e O l d T e s t a m e n t , w h ic h , b e in g t r a n s ­
la te d in to G r e e k a n d b e c o m in g tin a c c e p te d p a r t o f th e C h r is t ia n
canon, Inis e n t e r e d m o r e d e e p ly p e r h a p s th a n a n y o th e r b o o k in to
th e liv e s o f th e W e s t e r n p e o p le s . I r o n t th is g r e a t b o d y o f s a c r e d
lit e r a t u r e , some o f it r is in g to h e ig h ts o f s u b lim e m o r a l b e a u ty ,
w h ile o th e r p a r t s r e fle c t th e m o r a ls o f a b a r b a r o u s nge, generation
a ft e r g e n e r a t io n o f E u r o p e a n m en h a v e d r a w n th e ir id e a s , n o t o n ly
o f a n h is to r ic a l o r d e r g o v e r n e d b y d iv in e p r o v id e n c e , b u t o f e x t r e m e
a n t iq u it y a n d o f th e lineaments o f o r ie n t a l s o c ie ty in distant t im e s .’
11. A. L. Fisher1

n e c a n n o t o v e r e s tim a te the significance o f the O ld T esta m en t in the

O d ev elo p m en t o f w estern civilization, and in evitably the Scriptures also
becam e an im p o rta n t source o f inspiration for the fine arts. A t an early stage,
Christian artists chose as their subjects a n u m b e r o f celebrated passages o f the
O ld T e sta m en t w hich w ere in terp reted b y co m m en tato rs as a préfiguration
(typology) o f the N e w Law . Such subjects are already found depicted in the
catacom bs and the oldest basilicas. Later, C h a rlem a g n e caused tw elve O ld
T e sta m e n t scenes to be painted in the chapel o f his palace at In gelh eim , o p p o ­
site tw elv e correspondin g scenes fro m the N e w .1 M ed ieval artists, w h o could
thus loo k back on a lo n g tradition, also to o k pleasu re in ju x ta p o sin g O ld and
N e w T e sta m en t th em es. In so doing they w e re in accord w ith theologians w h o,
to p rove the tru th o f the Christian faith, o ften used great ingenu ity in their efforts
to establish the unity o f inspiration, or at least the parallelism , o f the tw o
T estam en ts. T h e k ey to Christian exegesis, and hence to the religious art based
upon it, w as the C o n c o r d ia V e te r is et N o v i T e s ta m e n ti: both T estam en ts p ro ­
claim ed the sam e divine m essage, bu t w h a t w as veiled in the O ld T esta m en t
was revea led in the N ew . P rom the fifteen th cen tu ry onw ards the first printers,
b y p u blish in g the B ib lia P a u p e r u m 3 and the S p ec u lu m H u m a n a e S a lv a tio n is,4
en d eavo u red as far as possible to exp o u n d the m ysteries o f the O ld T estam en t
to the u n lette red and to the poorer clergy, w h o cou ld not afford to ow n a
B ible b u t needed m aterial for their serm ons. T h e tw o w orks, w ith th eir illu s­
trations reinforcing the typ o logical th em e, en joyed en orm ou s success and w ere

1. A H isto ry o f E u r o p e, I, London, 19 7 0 , p .17.

2. Ermoldus Nigellus, In hon or. L u d o v ic., lib, IV, v. 191-242.
3. H.Cornell, B iblia P a u p e r u m , Stockholm, 1925.
4. J.Lutz and P.Pei’drizet, eds. S p ecu lu m H u m a n ae S a lv a tio n is, 2 cols., Mulhauscn, 1907-1000.

19
INTRODUCTION

to influen ce m an y generations to com e, alth o u g h in decreasing m easure. M e ­

d ieval artists, lik e those o f ea rlier centuries, w e re less susceptible to th e narrative
and pictu resqu e aspects o f the O ld T esta m en t th an to its d o g m atic signi­
ficance: their in terp retation o f th e B ible w as p rim a rily concern ed w ith sy m ­
b o lism .5
In the N eth erlan d s, fro m th e third decade o f th e sixteen th cen tu ry onw ards,
the m ed ie va l concern fo r sacred and sp iritual m atters, expressed in sym bols,
w as g ra d u a lly replaced b y atten tio n to earth ly and ethical m atters. T h e
R eform atio n in N o rth ern E u rope stim u la ted an u n p reced en te d in terest in the
B ible : P ro testan t artists and th eir patrons b ecam e h ig h ly fa m ilia r w ith O ld
T esta m en t them es. A lth o u g h C atholics did n o t regard the B ible as the exclu sive
a u th o rity fo r their faith, th ey too sh ow ed increased interest in the inspired
w ritin gs, the m o re so because o f th eir significance in religious co n troversy.6
T h e O ld T esta m en t, w h ich had p revio u sly been m ain ly an ad ju n ct to d evo ­
tion on typ o logical lines, w as n o w m o re often seen as a continuous historical
n arrative ru n n in g th ro u gh m an y generations, w ith em phasis on th e d ra m a o f
in d ivid u al characters and societies. F ro m this p o in t o f v ie w it w as m o re a ttrac­
tive to artists th an the N e w T estam en t. T h e O ld T esta m en t w as easy to u n d er­
stand in plain, n on -sym bolic term s ; it len t its e lf w e ll to illu stration and con­
tained a rich va riety o f incidents and characters. It is in fact a m u ch m o re
abu nd an t source than the N e w T esta m en t as regards th e tre atm en t o f in d i­
vid u al lives and em otions— fro m b irth to death, fro m lo v e to hate— as w e ll
as social and political events.7 A s religious sen tim en t w eak en ed and, u n d er the
influence o f h u m an ism , the em phasis in art shifted p a rtly fro m d evo tio n to
m oralizin g, artists o ften had recourse to app rop riate O ld T e sta m e n t th em es:
for instance, O ld T esta m en t h eroines lik e D e lila h w e re used to ex e m p lify ‘ the
fatal influen ce o f w o m e n ’ .8
D u rin g th e sixteen th cen tury, N eth erlan d s artists also increasin gly used the
O ld T esta m en t as a source o f sensual and erotic th em es, choosing app rop riate
m o m en ts fro m this or th at narrative, such as th e tales o f Judith and Susanna.
In the M id d le A g es these heroines had been in terp re te d as sym bo ls o f the
V irg in M ary ; th ey n o w lost m u ch o f th eir religious ch aracter and w e re p o r­
trayed as ideals o f physical beau ty, lik e antiqu e goddesses. C ontacts w ith the
ancient w o rld , b o th d irectly and th ro u g h th e Italian Renaissance, fostered the

5. E.M âle, L 'a r t r e lig ie u x d u X lIIe siècle en F ra n ce, Paris, 1902, pp. 171-209.
6. K n ip p in g , Ico n og ra p hy , I, p.180.
7. S tru m w a sser, O ld T esta m en t, pp.140-141,
8. K n ip p in g , Ico n og ra p hy , I, p.47; M .Kahr, ‘Delilah’, A r t B u lle tin , LIV, 1972, pp.282-299; S tru m w a sser, O ld T esta m en t,
p.142.

20
 INTRODUCTION

n ew attitu d e and the n ew choice o f fo rm s, in w h ich it is d ifficult to discern a

d evo tio n al elem en t. Indeed, such w o rk s w e re not in ten d ed for churches bu t
g en era lly for p rivate houses, w h ere they earn ed a place due to their biblical
and m o ra l associations b u t w ere no d o u b t also esteem ed fo r their sensual and
erotic ch aracter/
In the Southern N eth erlan d s the seven teen th cen tury w as in m an y respects
a continuation o f the sixteen th as far as O ld T esta m en t icon ograph y w as con­
cerned. T h e O ld T esta m en t rem ain ed a source o f inspiration for scenes that
w ere w h o lly or p a rtly d om in ated b y d evo tio n al and sym bo lic aspects, as w e ll
as fo r oth ers w h ere the em phasis w as on m oral, sensual or erotic them es.
T y p o lo gica l th in kin g w as still alive, and w as m u ch used b y the C ounter-
R eform ation to defend C ath o lic d ogm as against P rotestant a tta ck s.10 In R u ­
ben s’s w o r k this is m ost clearly seen in the ceiling paintings for the Jesuit
C h u rch in A n tw e rp (Part I o f the present series), w h ere both typ e and anti­
typ e are depicted. T h e E u c h a r ist S eries o f tapestries (Part II) also illu strates both
types and an titypes; here, h o w ev er, th ey are not arranged opposite one an­
o th er as in the Jesuit C h u rch and do not fo rm a genuine typ o logical series.
T h e y b elo n g to a co m p le x w h o le co m p risin g o th er subjects, m ostly o f an a lle ­
gorical kind . Som e in d ivid ual O ld T esta m en t paintings by Rubens and his
contem poraries, w h e th e r or not in ten d ed fo r churches, certain ly have a ty p o ­
logical significance, at all events in C a tho lic iconograph y. E xam p les in R u ben s’s
w o r k are A b r a h a m ’ s S a crifice o f Isa a c (N o .12) and A b r a h a m a n d M e lc h iç e d e k
(N o .17), b o th o f w hich p refigu re the E u ch arist.11
R eligious co n troversy had its effect u pon art, w hich becam e an im p o rtan t
factor in the C o u n ter-R efo rm a tio n ’s attack on Protestantism . A ll the doctrines
and practices th at the Protestants opposed— the cu lt o f the V irgin , the p rim acy
o f the Pope, the seven sacram ents, prayers for the dead, the efficacy o f good
w o rks, the intercession o f the saints, the ven eratio n o f im ages and relics— w e re
u p h eld b y th e C ouncil o f T re n t and d efen d ed by C ath o lic artists, acting as the
C h u rch ’s m a jo r ally. A g oo d ex a m p le is T h e F in d in g o f the P a g a n T re a su r e s a n d
J u d a s M a c c a b a e u s 's P r a y e r f o r the D e a d (N o.67), w hich, to g eth er w ith an A sc e n t
o f S o u ls fr o m P u r g a to r y ,11 was com m issioned fro m R ubens by M axim ilien V ilain
de G and, Bishop o f T ou rn ai, to decorate the A lta r o f the D ep arted w h ich was

9. S tru m w a sser, O ld T esta m en t, pp. 136, 144-145.

10. See M d ie, A p r è s te C a n d le de T ren te, p..535fr.; A.Blunt, A r tis tic T h eo ry in Italy, 1540-100,). O xford, 1456, pp .103-
136; K n ip p in g , Ico n og ra p hy , I, p.iSoff.; M iscella n ea M ed ia ev a lia (V er ö ffen tlich u n g en des T h o m a s-In stitu ts d er U n i­
versitä t ç u K ö ln ), VI, Berlin, 1969: F.Ohlv, Synagoge u n d E cclesia , T v polog isch es in m ittela lterlich er D ich tu n g , p.368,
and P.Bloch, T y p o lo g isch e K u n s t, pp .134-140; D e P o o rter, E u ch a rist, 1, p .193.
i t . D e P o orter, E u ch a rist, I, pp. 1 9 1 , 195-196.
[2. F reedberg , L ife o f C h r ist a fter the P a ssio n , No.54, fig.173,

21
INTRODUCTION

erected in th e choir o f T o u rn ai C athed ral. T h e su bject had an im p o rtan t bear­

in g on the doctrine o f P u rg a to ry :13 Judas M accabaeu s’s p rayers fo r the dead
w e re one o f the ch ief a rg u m en ts used to ju stify such prayers as a m eans to the
consolation and lib eration o f d ep arted souls. This doctrine w as attacked b y
Protestants, w h o also regarded the Books o f th e M accabees as ap ocryp h al, b u t
was h o w ev er w id ely d efen ded b y C o u n ter-R eform atio n w riters.
Y et not all O ld T esta m en t scenes in churches w ere affected b y controversy.
In T h e T r ip ty c h o f J o b in D is tr e s s (N os.54, 55) fo rm e rly in St N ich o las’s C h u rch
in Brussels, Job appeared as p atro n o f the b ro th erh o o d o f m usicians14— thus
continu ing the tradition o f n u m erou s saints to w h o m guilds and co n frater­
nities consecrated their in d ivid ual altars in churches in the Southern N e th e r­
lands. T h e presence o f J o b T o rm e n te d by D e m o n s a n d A b u s e d by h is W ife (N0.56)
in the church at W eze m a a l is explain ed b y the fact that ‘S. Job P ro p h e ta ’15
was the ch u rch ’s patron.

A m o n g the w o rk s discussed in this v o lu m e th ere are o n ly a fe w o f w h ich w e

k n o w for certain w h o com m issioned th em or fo r w h a t purpose th ey w e re in ­
tended. A m o n g these th ere are o nly three— T h e F in d in g o f the P a g a n T re a su r e s
a n d J u d a s M a c c a b a e u s ’s P r a y e r f o r the D e a d , T h e T r ip ty c h o f J o b in D is tr e s s and
J o b T o rm e n te d by D e m o n s a n d A b u s e d by his W ife — for w h ich th ere is d o cu m en ­
tary p ro o f th at they w ere painted for chu rch purposes, Som e oth ers are k n o w n
to have been in ten ded for a royal palace, a n o b le m a n ’s collection, a tow n h all
or a bou rgeois m ansion. T h e eviden ce for this consists o f d ocu m en ts th at have
chanced to survive,7 b u t clearlvj in o th er cases th ere m u st h a ve been such desti-
nations as gu ild h alls, m onasteries and the h ead q u arters o f confraternities,
a m o n g others.
S a m so n B r e a k in g the J a w s o f a L io n (N o.26) and D a v id S tr a n g lin g a B ea r (N o .35)
w ere com m issioned b y Philip IV o f Spain, th ro u gh his aunt the A rch du ch ess
Isabella, as a pair o f paintings to decorate the royal palace in M adrid. Each
one represents a subject th at was en d o w ed w ith C h ristolo gical significance in
early tim es, and especially in the M id d le A g es: Sam son and D avid , according

13. This doctrine was reaffirmed by the Council o f Trent (Sessio XXIV, 3 Decem ber 1564, D ecretu m de P u rg a torio )
and was widely propagated by Counter-Reformation writers. See M â le , A p r è s le C o n cile de T ren te, pp.58-65;
K n ip p in g , Ico n og ra p hy , II, pp.337-343; F reedh erg , L ife o f C h r ist a fter the P a ssio n , p.242, N0.64.
14. Job, who was included in the Greek Martyrology, was venerated as a saint in the Middle Ages. A church in
Venice, connected with a hospital, is dedicated to S a n G iob b e, which may be explained by the close relations
between Venetian merchants and Byzantium. In the Southern Netherlands Job became the patron o f m usi­
cians owing, it has been suggested, to the text ‘My harp also is turned to mourning, and m y organ into the
voice o f them that weep' (Job 30: 3t). See R éa u . Iconog ra p hie, II, i, p .312; R.Buddé in L exiko n d er ch ristlich en
Iko n o g rap h ie, col.413.
15. Job is thus named in the title of the anonymous engraving after the painting (see N o.56).

22
 INTRODUCTION

to the theologians, w e re bo th types o f C hrist o verco m in g the devil, and in the

seven teen th cen tury this sym bo lism w as certain ly not forgotten . But they m u st
also be seen in the lig h t o f the veneration o f the N ine W orth ies (D avid bein g
one), the idealized heroes o f ancient tim es w ith w h o m rulers in the late M id d le
A ges lik ed to identify them selves. In M adrid the tw o paintings w ere ad m ira b ly
suited to fo rm part o f the decoration g lo rifyin g the H apsbu rg princes, their
virtues and ideals, and to ep ito m ize the conflict b etw e en virtuou s heroes on
th e one hand and villains or beasts on the other.
T h e E x p u ls io n o fH a g a r (N o.io) and D a n ie l in the L io n s' D en (N o .57) have been
identified as part o f the con sign m en t o f paintings and tapestries d elivere d by
R uben s to Sir D u d le y C arleto n , the English am bassador at T h e H ague, in e x ­
change for C a rle to n ’s collection o f antique m arb le sculptures. C o n cern in g the
fo rm er, R ubens w ro te in a letter to C a rle to n :'6 \ . . i su ggietto ne sacro ne p ro ­
fano per dir cosi benche cavato d ella sacra scrittura cioe Sara in atto di gridare
ad A g a r che gravid a si parte di casa in un atto donnesco assai galan te con in ter­
ve n to anco del Patriarca A b r a h a m ’ (The subject is neith er sacred nor profane,
so to speak, alth o ugh d raw n fro m H oly Scripture. It represents Sarah in the
act o f reproaching H agar w h o, pregnant, is leavin g the house w ith an air of
w o m a n ly dignity, in the presence o f the patriarch A brah am ). It can be seen
fro m this description that R ubens did not inten d to em ph asize the religious
aspect o f the B ible story b u t rath er the stoic dignity o f H agar’s beh aviou r, thus
giv in g the episode an ethical flavour. As to D a n ie l in the L io n s' D e n , Rubens
described it, in an oth er le tte r '7 to the English en voy, as ‘ D aniel fra m o lti Leoni,
cavato dal n a tu ra le ’ (D aniel a m o n g m an y lions, taken from life). T h e last
w o rd s indicate the im p ortan ce that he, and p ro b ab ly also C arleto n , attached
to the anim als bein g depicted in a realistic and natu ral fashion— an aesthetic and
scientific consideration w h ich clearly d ilu ted the religious character o f the scen e.
T h e J u d g e m e n t o f S olom on (N0.46) adorned the co u rtro o m o f the C ity H all in
Brussels, alo n g w ith a L a st J u d g e m e n t and a J u s tic e o f C a m b y se s. Paintings o f such
th em es w ere g en era lly com m issioned by the city ald erm en and w ere intended
to edify those w h o adm inistered ju stice: to keep th em on the righ t path,
rem in d th em o f their w eaknesses, and protect th em against th em selves and
against tem p ta tio n by litigants. H ow ever, not only the ju d g es had to be re­
m ind ed o f th eir d uty and responsibility: defendants and w itnesses had to be
w arn ed o f the consequences o f p erju ry, false accusation or even sla n d er.'8

16. R o o ses-R u ele n s, II, p p .170-174, No.CLXXIV; M a g u m , U tte r s , pp.64-66, No.31.

17. R eo se s-R u e le n s, II, p .146, No.CLXVI; S U tg iirn , Utters, pp.59-61, 441, No.26.
18. J.H .A .De Ridder, (ierech lig h eid stn ferelen i w r S ch ep en h u izen in V la a n d eren in de 14de. u d e en îtide eetm\ Disser­
tation, University o f Ghent, MS I (pp.82, 114, 117), III (p.o).

23
INTRODUCTION

T h e last w o r k w hose destination is k n o w n — S a m so n A s le e p in D e lila h ’ s L a p

(N0.31)— is the o n ly one th at w as certain ly in ten d ed fo r a bou rgeois d w ellin g,
n a m ely that o f N icolaas R ockox, M ayo r o f A n tw e rp ; it h u n g abo ve the m an tel
in the m ain livin g-room . R ubens u n d o u b te d ly painted o th er O ld T esta m en t
scenes fo r bou rgeois m ansions. A m o n g those discussed in this v o lu m e one m a y
th in k first o f sm a ller pieces such as S u s a n n a a n d the E ld e r s (N0.58; 9 4 x 6 7 cm .),
n o w in the M useo e G alleria B orghese in R o m e; b u t not o n ly o f these, since
S a m so n A sle e p in D e lila h ’ s L a p m easures 185 x 205 cm . It m a y be asked w h y the
b ourgeoisie chose such scenes to d eco rate th eir hom es. R u ben s’s su bject, the
events o f Sam son’s life, w e re regard ed fro m th e M id d le A ges o n w ards as p re ­
figu rin g the L ife o f C hrist, his love fo r D e lila h sy m b o lizin g C h rist’s lo v e o f the
C hu rch . In th e seven teen th cen tu ry th e h istory o f Sam son and D e lila h w as v e ry
p o p u la r as the story o f m an o verco m e b y th e fatal influen ce o f a w o m an , as
w e ll as the th em e o f tem p tation b y m o n e y ;19 it w as regard ed as a m o ra l e x e m ­
p lu m or w a rn in g against b ein g te m p te d b y ea rth ly goods and carnal pleasures.
It is thus not stran ge to find such a scene in th e h o m e o f R ockox, a pious m an
w ith a stron g sense o f civic responsibility. B u t w e m ay also suppose th at he
adm ired, in p u re ly h u m a n term s, R u b en s’s d epiction o f th e ruin o f a m an b y
physical desire, and that he w as p erh ap s n o t insensible to D e lila h ’s fem inin e
b ea u ty.10
T h ese fe w ex a m p les indicate the d ifferen t functions and va ryin g significance
that m ig h t attach to O ld T esta m en t scenes in seven teen th -cen tu ry p ain tin g in
the Sou thern N eth erlan d s.21

R uben s painted O ld T esta m en t scenes at all stages o f his career, fro m his pre-
Italian p eriod (T h e T e m p ta tio n o f M a n , N0.3) to the g lo rio u s 1630s (B a th sh eb a
R e c e iv in g D a v id ’ s L e tte r, N o .44; T h e F in d in g o f the P a g a n T r e a su r e s a n d J u d a s
M a c c a b a e u s’ s P r a y e r f o r the D e a d , N o .67; S u s a n n a a n d the E ld e r s , N0.65). T h u s
19. R é a u , Ico n og ra p hie, II, i , pp.245-246 .
20. Customers at this time generally showed lively interest in the portrayal o f feminine beauty, in Old Testa­
m ent scenes as w ell as elsewhere. This is apparent from Sir Dudley Carleton’s letter to Rubens o f 22 May
1618, expressing the hope that the S u sa n n a which Rubens was offering for sale would prove ‘beautiful enough
to enam our the Elders’ (see N0.62).
21. It is difficult to form an idea as to how many paintings o f Old Testament scenes were executed in the South­
ern Netherlands in the 17th century, and still more difficult to estimate what proportion they represented
o f religious paintings in general. W .Brulez ( C u lt u u r en g eta l. A sp ecten va n d e rela tie eco n om ie-m a a tsch a pp ij-
c u ltu u r in E u ro p a tu ssen 1400 en 1 8 00, Am sterdam , (986, pp.64, 65) presents a table compiled from samples o f
extant documents from which it can be deduced, with the necessary reserve, that 13.6 per cent o f the religious
paintings handled by the Antwerp art trade in the 17th century were on Old Testament subjects. This attempt
at quantification deserves credit, but the figure is difficult to interpret, especially as regards the existence or
otherwise o f a preference for Old Testament scenes on the part of Rubens or his clients. A t first sight it would
not appear that there was such a preference: rather the contrary, to judge from the religious works that have
survived.

24
 INTRODUCTION

the w o rk s illu strate ev ery period o f his style. This is not the place to trace its
evolu tio n in d etail, bu t it is in terestin g to recall h o w Rubens, as the heir o f
R om an ism , continued and in a sense co m p leted the task that his Flem ish p re ­
decessors had begu n n early a hu nd red years ea rlier: n a m ely to assim ilate the
w o r k o f the Italian m asters and the artists o f the ancient w o rld and com bine
it w ith their o w n artistic tradition. R ubens certain ly shared their adm iration
for antiqu e and Italian art, w h ich he had co m e to k n o w so th o ro u g h ly in its
ow n country, and he w as also to be inspired b y th e ach ievem en ts o f his ow n
fello w -co u n trym en and others, such as the G erm an s. It is n o tew o rth y h o w
m an y o f his O ld T esta m en t scenes are based on m od els fro m Tobias S tim m e r’s
N e u e K ü n stlic h e F ig u r e n B ib lisch e r H isto r ie n , published in Basle in 1576, the w o o d ­
cuts o f w h ich he had copied w ith adm iration in his y o u th ." Som etim es he
ado p ted a com positional schem e o f S tim m e r’s, as in T h e F x p u ls io n o f H a g a r
(N0.9), A b r a h a m a n d M e lc h iç e d e k (N0.17) or D a n ie l in the L io n s' D en (N0.57); at
o th er tim es one or m ore m otifs, as in T h e C re a tio n o f A n im a ls (N o .i), T h e E x p u l­
sio n o fH a g a r (N0.9), or J o b S ea ted on a D u n g h ill b etw een h is W ife a n d three F rie n d s
(N o.54). T h ese exam p les, d atin g fro m the period after R u b en s’s return fro m
Italy u n til about 1620, sh ow w h a t a stron g im pression S tim m e r’s w oodcuts
m ad e on h im . T h ro u g h o u t his career he rem ain ed faith ful to his y ou th fu l
m e m o ry o f these fruits o f a rich im agination, w ith th eir terse com position and
strong, expressive figures. E ven his adm iration for the g rea t Italian m asters
n ever co m p le te ly o u tw eig h ed his attach m en t to the robustness and tru th to
natu re o f S tim m e r’s com positions.
A s regards his d eb t to the earlier N eth erlan d s tradition o f the fifteen th and
sixteen th centuries, w e m ay point, in this vo lu m e, to B a th sh eb a R e c e iv in g D a v id 's
L e tte r (N o.44), w h ere the th em e o f B athsheba b ath in g is a lread y to be fou nd in
Hans M e m lin g ’s B a th sh eb a a t the F o u n ta in , n o w in Stu ttgart. As in Jan M assijs’s
B a th sh eb a R e c e iv in g D a v id ’s L e tte r o f 1562 in the L ou vre, and in C orn elisz. van
H a a rlem ’s B a th sh eb a a t the F o u n ta in o f 1594 m A m sterd a m , the beau ty o f the fair
B athsheba is enhanced in R u b en s’s p ain tin g b y the presence o f a dark-skinn ed
figure. H ow ever, R uben s p referred to fo llo w the lead o f Flem ish m asters o f
the end o f the sixteen th cen tu ry: T h e T em p ta tio n o f M a n (N o.3) is based on a
com position by R aphael, b u t the protagonists exh ibit features b o rro w ed fro m
R u b en s’s m aster O tto van V een ; and again, A b r a h a m ’s S a crifice o f Isaac (No. 12)
and A b r a h a m a n d M e lc h iç e d e k (No. 17) are in som e w ays p a rticu larly close to
w o rk s b y M aarten de Vos. A n o th er sign o f R u b en s’s indebtedness to the

22. S a n d r a r t, edit. P e t t ie r , p.ioó; fiv ers. N eu e F o rsch u n g en , pp.95-96; Fugt, Cut. L ouvre, Feole jltin u w d e, II, p.34, under
N0.1116; K.L.Belkin, in Cat. Kxh. R u b en s untl S lim m er , Kunstmuseum, Basle, 1984, pp.201-220.

25
INTRODUCTION

N eth erlan d s trad ition23 m ay be seen in the fact th at u p to the second decade
o f the cen tu ry he continued to use the triptych fo rm at, as in J o b in D is tr e s s
(N os.54-56), at a tim e w h en it had o th erw ise been discarded in fa vo u r o f a
single altarpiece in an architectu ral fra m e w o rk .
L ik e all his w o rk , R u b en s’s O ld T esta m en t scenes bear abu n d an t w itness to
his ad m iration o f antiqu e sculptu re and o f th e p ain tin g and scu lp tu re o f the
sixteen th and ea rly seven teen th -cen tu ry Italian m asters w h ich he had e n ­
cou n tered on his travels south o f the A lp s. In m an y o f these w o rks, in clu d in g
som e that he had only k n o w n in a debased version in his o w n cou n try, he saw
ideal m od els w ith w h ich to create a m o n u m e n ta l w o rld o f fo rm s; and he b o r­
row ed fro m th em com positions, m otifs and colou r schem es w h ich he then
transfigured in his ow n m anner.
Rubens, w h o se k n o w le d g e o f literary tradition w as certain ly p art o f th e rea­
son fo r his in terest in an tiqu e sculptu re, had m ad e m an y draw in gs o f statuary
w h ile in Italy. T hese not o nly p rovid ed m od els o f physical p o w e r and beauty,
b u t also o f direct expression, and it is not surprising th at traces o f th em are to
be seen in m an y o f his w orks. In Lot a n d his D a u g h te r s (N o.8) th e figure o f L o t
is based on a D r u n k e n H e rcu le s, the principal figure in a scu lp tu ra l gro u p , n o w
lost, w h ich he saw in Italy. T h e m o tif o f a m an k n e e lin g on a w ild an im al as a
sign o f triu m p h , w h ich occurs no less than th ree tim es in th e sarcophagus
frieze T h e L a b o u rs o f H e rcu le s at the V illa B orghese in R o m e, appears in R u b en s’s
S a m so n B r ea k in g th e J a w s o f a L io n (N0.26), w h ile th e V e n u s F e lix (a statu ette o f
V en us and C upid) in the B elved ere at the V atican m a y be seen in S a m so n A s le e p
in D e lila h ’ s L a p (N0.31). In S a m so n T a k e n by the P h ilis tin e s (N0.32) Sam son is
based on the ch ie f figure in L a ocoon a n d his S o n s in the V atican , w h ile one o f the
Philistines resem bles th e so-called B o rg h ese W a r r io r , n o w in the L o u vre in Paris.
For the hero in D a v id S la y in g G o lia th (N o .37) R ubens m u st h ave had before
h im , in one fo rm or another, the B elv ed ere T o rso and the L a ocoo n g ro u p ; and
the la tter is recalled b y H olofernes in J u d ith B eh ea d in g H o lo fe rn e s (N o .50). In his
various versions o f S u s a n n a a n d the E ld e r s he also d re w inspiration fro m an tiq u e
m od els fo r the figure o f the heroine. T h e G alleria Borghese version (N0.58) is
based on the S p in a r io in the P alazzo dei C o n servato ri in R o m e ; th at in M adrid
(N0.59) on the L aocoon in th e g ro u p o f th at nam e. T h e Susanna in the lost v e r ­
sion o f 1618 or ea rlier (N0.62) is based on the S p in a r io as regards h er g en eral
pose, and on a V e n u s P u d ic a fo r h er arm s crossed o ver h er breast. Finally, in
the version in M unich (N0.65) the Susanna figure is inspired b y the so-called

23. C.Eisler, ‘Rubens’ Uses of the Northern Past. The Michiels Triptych and its Sources', B u lletin , K o n in k lijk e
Musen vo or Schone K u n sten van B elgië, 1907, p.44; fr e e d b e r g . L ife o f C h r is t a fter the P a ssio n , p.25.

26
 I. NTRODU C T I ON

V e n u s o f D o id a lse s in the Vatican. A ll these exam p les point to the inse­

p arable union o f Christian and classical tradition that is characteristic o f
R u ben s/4
From Raphael R ubens bo rro w ed in ter alia the com position, reproduced in a
p rint by M arcantonio R aim ondi, o f T h e T em p ta tio n o f M a n (No. 3). Figures from
R a p h a el’s F in d in g o f M o se s, in a loggia o f the Vatican, appear in R u ben s’s w o rk
o f the sam e title (N o .18); and figures fro m the fo r m e r ’s Battle o f Constantine,
also in the V atican, are seen in R u ben s’s Defeat o f S en n a ch erib (N0.47). From
M ich elan gelo, w hose m o n u m e n tal style he adm ired both in painting and in
sculpture, R ubens bo rro w ed the com position o f T h e B r a z en S er p en t on the ceil­
ing o f the Sistine C h ap el for his ow n p ainting o f the sam e subject (N o.23); and
he used a free-standing sculpture, n o w o nly k n o w n fro m a clay m od el, for the
com position o f his d ra w in g S am son S la y in g a P h ilistin e (N o.29). He also d rew
inspiration fro m several o th er figures or m otifs b y M ichelangelo, such as the
T ity u s f o r C a in S la y in g h is B roth er A b e l (N o.4), or Leda (from L ed a a n d the S w a n ,
n o w lost) for S am son A sle e p in D e lila h 's L a p (N0.31). V arious frescoes by C iu lio
R om an o in the P alazzo del T e at M antua, w'here R ubens saw th em , left traces
in som e o f his w orks, especially those execu ted soon after his return to A n t­
w erp. T h u s G iu lio ’s D a v id S tr a n g lin g a B ea r influenced the com position o f R u ­
ben s’s pain tin g o f the sam e su bject (N o.34), w'hile his D a v id a n d the Lion su p­
plied the poses o f D avid and the bear in that w o rk . Echoes o f (iiu lio ’s fresco
D a v id S la y in g Goliath can be seen in tw o d raw in gs by Rubens of the sam e su b­
je c t (N os.36, 37), w h ile his frescoes o f T h e T o ilet o f B a thsheb a and D a v id S p y in g
u p o n B a th sh eb a are reflected in the d ra w in g B a thsheb a R ec eiv in g D a v id 's L etter
(N0.43).
Several o f R u b en s’s O ld T esta m en t scenes show the influence o f the great
V enetians. O f Titian, w hose w o rk R ubens adm ired so m uch , w e find m otifs
fro m T h e M a r ty r d o m o f St L a w ren ce (Jesuit C hu rch , Venice) in J o b T o rm e n te d by
D e m o n s a n d A b u s e d by his W ife (N o .53); fro m D a v id S la y in g G o lia th (now in Santa
M aria d ella Salute, Venice) in T h e B r a z e n S e r p e n t (N0.23); and from D ia n a a n d
A cta e o n (N ational G allery o f Scotland, E dinburgh) in B a thsheb a R ec eiv in g D a v id 's
L e tte r (N o.44)— a painting, m oreo ver, w hich is suffused by the gold en glow' cha­
racteristic o f Titian in his later years. T o V ero n ese Rubens was attracted not o n ly
by the ‘ this’-w o rld ly, unm ystical spirit o f his art bu t also by his balanced co m ­
positions, by w hich he was inspired m ore than once. T h u s he used T h e F in d in g
o f M o se s in the Prado for his painting o f the sam e subject (No. 18): J u d ith a n d her
M a id -S e r v a n t w ith the Flead o f F lo lo fern es fo r his J u d ith w ith the H ead o f H o lo fern es
24. Sec W.Srechow, K u lv iii m ut the C la ssica l T n n tiiio n , Cambridge, Mass., mfiH.

27
 INTRODUCTION

(N0.51); E sth e r before A h a s u e r u s , a s o ffitto in San Sebastiano in V enice, for his

pain tin g o f the sam e su bject (N0.53); and T h e F a m ily o f D a r iu s before A le x a n d e r
the G r e a t, in th e N ation al G a llery in L on don, for his M e e tin g o f D a v id a n d A b ig a il
(N0.41). T in to re tto ’s S a m so n A s le e p in D e lila h ’s L a p , in th e collection o f the D u k e
o f D evonshire, p ro vid ed the com position for R u ben s’s p ain tin g o f th e subject
in the N ation al G a llery in L on don (N0.31); and fro m th e sam e artist’s S u s a n n a
a n d the E ld e r s in th e K unsthistorisches M u seu m in V ien n a R uben s to o k m otifs
for his o w n version o f the su bject (N o.62).
R u b en s’s in terest in C aravaggio, w ith w hose w o rk h e becam e acquainted
in R o m e, deserves special atten tion. T his is seen p a rticu larly d u rin g th e first
years after his retu rn to A n tw e rp , in such w o rk s as S u s a n n a a n d the E ld e r s
(N0.59) or J u d it h B e h e a d in g H o lo fe rn e s (N0.50). H ere w e recogn ize C a ra v ag gio ’s
concern for realistic d etail and abo ve all the chiaroscuro w h ich th ro w s the
figures in to sharp re lie f and h eighten s the sense o f d ram a. R uben s w as also
d eep ly influ en ced b y an o th er artist w o r k in g in R om e, th e G erm a n A d a m Els-
h eim er, w ith w h o m h e w as on frien d ly term s. F rom E lsh eim er he learn t the
use o f one or m o re sources o f artificial lig h t in an interior, as can be seen in
J u d it h w ith th e H e a d o f H o lo fe rn e s (N0.51) and S a m so n A sle e p in D e lila h ’s L a p
(N o.31); w h ile the com position o f E lsh eim er’s J u d ith , w h ich R ubens once
ow n ed, is reflected in his o w n p ictu re o f that n am e (N0.50). Finally, R u ben s’s
contacts w ith Italian art m a y be seen in a n u m b e r o f specific bo rro w in gs fro m
o th er p ain ters: thus the com position o f A n d rea del Sarto’s B e h e a d in g o f S t J o h n
the B a p tist, a fresco in the C hiostro d e llo Scalzo in Florence, played an im p o r ­
tan t p a rt in R u b en s’s J u d g e m e n t o f S o lo m o n (N0.45), and D an iele da V o lte r r a ’s
D e p o s itio n in Santa T rin ità dei M on ti in R o m e su p plied a m o tif fo r T o b it B u r y in g
a S la in J e w (N o.49).

R u ben s’s bo rro w in gs fro m Flem ish, G erm an , antiqu e or Italian predecessors,
w h ich he clearly assim ilated w ith o u t effort, do n o t in any w a y d etract fro m
the excep tional origin ality o f his art. In his paintings o f O ld T esta m en t them es,
and indeed th ro u gh o u t his œ u v re , his h u m an ism and stoicism 25 are convinc­

25. On the portico o f his house in Antwerp Rubens had two texts inscribed, in cartouches, from the S a tires of the
Roman poet Juvenal (d.138 A.D.). They run: 'Permittes ipsis expendere numinibus, quid / Conveniat nobis,
rebusque sit utile nostris, / Carior est illis homo quam sibi’ (Leave it to the gods to provide what is good for
us; man is dearer to them than he is to himself), and ‘Orandum est ut sit mens sana in corpore sano / Fortem
posce animum et mortis terrore carentem / Nesciat irasci, Cupiat nihil’ (One should pray for a sound mind
in a sound body, for a stout heart that has no fear of death, that knows neither wrath nor desire). (Satires 10:
346-362; see G .G.Ramsay, J u v en a l a n d P ersiu s. W ith an E n g lish T r a n sla tio n , Cambridge, Mass. - London, 1979,
pp.218-221). A bust o f Seneca, the most eminent o f the Roman Stoics, is above the door leading to Rubens’s
studio.

28
 INTRODUCTION

in g ly and im p ressively co m bin ed w ith Christian faith. These w orks, m o re ­

over, p rovide b rillian t exam p les o f his g ift as a n arrator; they bear w itness to
the fe rtility o f his im agination, the accuracy o f his draw in g, and the inspired
skill o f his b ru sh w o rk . A ll these attrib u tes en abled R ubens to eleva te his
su b ject-m a tter to an extra o rd in a ry aesthetic and ethical level.
CATALOGUE RAISONNÉ
CATALOGUE RAISONNÉ

i. The Creation of Animals: After creating the sun, moon and stars
Drawing (Fig. i) (seen in the upper part o f the drawing),
God the Father peopled the earth with
Pen and brown ink and brown wash over animals. He is seen poised in the air, sur­
black chalk; 273 x 108 m m .; inscribed in rounded by birds; below him two lions,
the centre with the pen in Rubens’s hand : a horse and an elephant represent the
qu i si fa r a la Creatione dell huom o; below newly created animal kingdom (Gene­
on the left, the mark of the collection of sis i : 20-25). An inscription in Italian in­
Sir Thomas Lawrence (£.2445).— Verso: dicates the place where the creation of
Three framed spaces intended to contain man is to be depicted, probably on a very
subjects from the Life o f Christ. small scale. The storv of the creation, an
London, C ou rtau ld Institute o f A rt, ancient theme o f Christian art, was re­
Princes G ate Collection. vived in Renaissance literature, especially
in the works of Du Bartas and Tasso.1
: W illiam Young O ttley
p r o v e n a n c e
Pictorial artists, for their part, showed a
(London, 1771-1836), sales London (T.
predilection for the creation of animals,
Philipe), 10 July 1807, lot 512, and Lon­
a theme which gave them ample scope
don (T. Philipe), 17 June 1814, lot 1173 ;
to depict the splendour and luxuriance
Sir Thomas Lawrence (London, 1786-
o f the visible world.
1830); Woodburn Brothers; Samuel
It is noticeable that some elements of
W oodburn (London, 1786-1853); Sir Tho­
this scene are derived from Tobias Stim­
mas Lawrence - Samuel Woodburn, sale,
m er’s N eue künstliche Figuren Biblischer
London (Christie’s), 4-8 June i860, lo t809,
H istorien (1576), from which Rubens made
purchased by Sir Thomas Phillipps (1792-
some copies in his youth.2As in Stim m er’s
1872); Thomas Fitzroy Fenwick, Thirle-
illustration N o.i, two lions are seen in
staine House, Cheltenham (1856-1938;
the right foreground, with a horse close
grandson of Sir Thomas Phillipps); pur­
by; the latter’s pose is inspired, in re­
chased ini946by Count A. Seilern (London,
verse, by the rearing horse in Stim m er’s
1901-1978), who bequeathed the drawing
illustration No.2.
to the Courtauld Institute of Art.
This drawing was mounted together
l it e r a t u r e : A .E .Popham, Catalogue o f with The Tem ptation o f M an (No.2; Fig.3).
D raw ings in the Collection fo rm ed by Sir They may originally have been part o f a
Thom as P hillip p s, now in the possession o f single sheet, but were separate when they
his grandson T. F itzro y Fenw ick o f Thirle- belonged to Sir Thomas Lawrence’s col­
staine H ouse, Cheltenham , 1935, pp. 194-195, lection, as they both bear his mark. Their
N o.5, pl.LXXXVII; Seilern, Flem ish P a in t­ respective subjects and style indicate that
ings, pp.87-89, N0.55, pls.CVII, CVIII; they belong together, but the reason for
H eld, D raw ings, p .43; M a rtin , C eilin gP a in t- their execution is unknown, A. E. Popham
ings, p.31 n.17; J u d so n -V a n de Velde, I, (loc. cit.) believed that they were sketches
pp.95, 96 n.i. for the wings of a large altar-piece, and

33
C A T A L O G U E NO. 2

rhey m ight also be taken as sketches for 1. Maury Thibaut de Maisières, Les po èm es in sp irés du
d é b u t de la G enèse à l ’époque d e la R en a issa n te, Lou­
the doors of an organ. Nothing is known
vain, 1931, PP-7- I 2, 47- 99 .
o f any such panels, however, and it seems 2. L u g t, C a t. L ou v re. É cole fla m a n d e , II, pp.34-35,
unlikely that they were ever executed, as Nos. 1116-1121, pis. LV -LV I; B u r c h a r d -d 'H u ls t,
D r a w in g s, pp. 19-20, No.6; K.L.Belkin, R u b en s u n d
the style of the drawings rather suggests S tim m er, in Cat. Hxh. T o bia s S tim m er, Kunstmuseum,
illustrations for books. These quick and Basic, 1984, pp.201-220.
luminous sketches, utilizing the pen to 3. Cf. e.g., S ix Scenes from the N ew T esta m e n t, in the
Pierpont Morgan Library, New York, Inv. No.III,
reinforce the structure of the forms
183 (J u d s o n - V a n de V e ld e , I, pp.93-96, No.7a, fig.50).
created by the wash, are similar in 4. H eld , D r a w in g s, p.45.
technique to Rubens’s drawings da­
ting around 1610.3 The Italian inscrip­
tions might suggest that they date 2. The Temptation of Man:
from his stay in Italy, but this is not Drawing (Fig. 3)
necessarily so: Rubens inscribed draw­
ings in Italian long after his return to Pen and brown ink and brown wash over
Antwerp.4 black chalk; 273 x 102 m m .; inscribed in
The verso (Fig.i) shows three different pen to the right above Adam in Rubens’s
types of frame for scenes of the Life of hand: qui s ifa r a il peccato d 'A d a m o di lon-
Christ, as indicated by the inscriptions ta.no et in a n çi il cacciam (ento) loro d ei’p a r a ­
A n n u n tia tio B virginis, N ativitas C h risti and diso; below on the left, the mark of the
Baptism us C h risti (here also, in a different collection of Sir Thomas Lawrence
ink, la p red ica di S. G iovanni da longe). (L.2445). - Verso: Three framed spaces in­
These were tentatively connected by tended to contain religious subjects.
Count Seilern with the ceiling decora­ London, C ou rtau ld Institute o f A rt,
tions in the Jesuit Church in Antwerp, Princes G ate Collection.
and it is not excluded that we are here
pr o v e n a n c e : W illiam Young Ottley
dealing with a preliminary layout of those
(London, 1771-1836), sales London (T. Phi­
decorations, before the introduction o f
lipe), 10 July 1807, lot 512, and London
Old Testament in addition to New Testa­
(T. Philipe), 17 June 1814, lot 1173 ; Sir
m ent subjects. In that case they would be
Thomas Lawrence (London, 1769-1830);
later in date (c.1620) than the drawing
Woodburn Brothers; Samuel Woodburn
on the recto. This would present no diffi­
(London, 1786-1853); Sir Thomas Law-
culties, as a difference in date between
rence-Samuel Woodburn, sale, London
recto and verso is not uncommon in Ru­
(Christie’s), 4-8 June i860, lot 809, pur­
bens’s drawings. However, as the cor­
chased by Sir Thomas Phillipps (1792-
respondence is only approximate, both
1872); Thomas Fitzroy Fenwick, Thirle-
between the frames drawn here and
staine House, Cheltenham (1856-1938;
the frames o f the actual ceilings, and
grandson of Sir Thomas Phillipps); pur­
between the titles noted by Rubens
chased in 1946 by Count A. Seilern (Lon­
and the pictures as executed, the con­
don, 1901-1978), who bequeathed the
nection is not beyond dispute. It may
drawing to the Courtauld Institute of
be, on the other hand, that these draw­
Art.
ings are designs for an illustrated book,
as Martin suggested. See also the verso : A .E .Popham, Catalogue o f
l it e r a t u r e

ofN o.2; Fig,4. D raw ings in the Collection fo rm ed by Sir

34
 C A T A L O G U E NO. 3

Thom as P h illipps, now in the possession o f would have been fullv displayed, are
his grandson T .F itçro y Fenw ick oj Thirle- lost); 182.5 x15 8 cm . - Verso: red wax
staine H ouse, Cheltenham , 1935, pp. 194-195, seal of the Earl Cowper.
N o.5, pl.LXXXVII; Seilern, Flem ish Painl- Antwerp, Rufensluiis. Inv. N0.S164.
in gs, pp.87-89, N o.55, pls.CVH, CVIII; p r o v e n a n c e : Earl Cowper (London,
H eld, D raw ings, p.45; M a rtin , Ceiling d.1723); Lieut.-Col. W. Forbes de Callen-
P aintings, p.31 n.17; J u d so n -V a n de Velde, dar, Falkirk, sale, London (Christie’s),
I, pp.95. 96 n.i. 29 November 1963 (as bv Karel van M a n ­
der), lot 48; purchased bv the Rubenshuis
front Duits and Co., London, in 1967,
The Garden o f Hden is represented with
the Tree o f Knowledge in the centre. Eve
e x h ib it e d : Bilder nach Bildern, Westfäli­
sches Landesmuseum, Münster, 1975;
takes an apple from the snake with her
Cologne, 1977, No.2.
right hand, and in her left hand offers an
apple to Adam, who refuses it (Genesis 3: l it e r a t u r e : M.Jaffé. Rubens and Ra­
6, where, however, Adam eats the apple). phael’, Studies in R enaissance and Baroque
Below on the left is a bear. An inscription A rt presented to A nthonv Blunt, London,
in Italian indicates the place where 1967, p.98, fig.i (as R ubens, 1 >97-1600);
A dam ’s sin and the Expulsion from Para­ Id., ‘Rubens in Italy. Part II: some redis­
dise were to be shown, in the distance and covered works of the first phase’, B urling­
on a very small scale; see under No.i. ton M a gazin e, CX, 1968, p. 179 (as R ubens,
A painting o f the same subject by Ru­ c.t y99); J.P. Ballegeer, ‘Twee werken van
bens is in the Rubenshuis at Antwerp Rubens voor de Belgische Musea’, P a n ­
(No.3; Fig.6). theon, XXVI, 1968, p. 141 ; F. Baudouin,‘ Een
The verso (Fig.4) shows three different jeugdwerk van Rubens, "Adam en Eva”
types o f frame for religious scenes, as the en de relatie Van Veen en Rubens’, A n t­
inscriptions indicate : M issio S piritu s Sancti, w erpen, 2, 1968, pp.45-61, figs.i, 4-7; Id.,
A scensio C h risti and R esurrectio C hristi. ‘P.P.Rubens, Adam en Eva in het para­
These scenes, like those whose titles ap­ dijs’, O penbaar K unstbezit in Vlaanderen,
pear on the verso of The Creation of A n i­ VII, 1969, N0.9 (repr.); Id., R ubens en çijn
m als (N o.i; Fig.2), have been tentatively eeuw , Antwerp, 1972, pp.33-43, p l.5,
connected with the ceiling decorations in figs.6-9 (as R ubens, before M a v 1600); I.Q.
the Jesuit Church in Antwerp, and it is van Regteren Altena, ‘ Het vroegste werk
possible hat here is at preliminary layout van Rubens’, M ededelingen van de K onink­
o f those decorations, before the introduc­ lijke Academ ie voor W etenschappen, Letteren
tion o f Old Testament in addition toNew' en Schone K unsten van België, Klasse der
Testament subjects. It may be, on the Schone K unsten, XXXIV, Brussels, 1972,
other hand, that these drawings are de­ No.2, p.5, fig.7 (as earlv R ubens ); F.Bau­
signs for an illustrated book. douin, P .P .R u b e n s, Antwerp, 1977, pp.47-
63, p l.11, figs.21-25 (as R ubens, before M a v
1 600) ;Jaffe, R ubens and Italy, pp .17, 18, 22,
3. The Temptation of Man (Fig.6) 28, 63, pl.6 (as R ubens, 1 >97-1600); Cat.
Exh. [J.Miiller Hofstede], Cologne, 1977,
Oil on panel (the top few centimetres of pp.44-46, 136 (N0.2). p 1 .K.2 (p.333),figs.E
the panel, where the serpent’s head 18, E19 (as 'F rü hw erk von R ubens'): J.Mül-

35
C A T A L O G U E NO. 3

1 er Hofstede, “ ‘Ut Pictura Poesis” ; Ru­ tal. Adam ’s brown torso is more power­
bens und die humanistische Kunsttheo­ ful, while the cool classical beauty o f Eve’s
rie’, G entse Bijdragen tot de K unstgeschiede­ white flesh is accentuated. Her classical
nis, XXIV, 1976-1978, p.i8o (as R ub en s ); profile and the idealized bearded head of
H.Vlieghe, D e schilder R ubens, U trecht- Adam correspond to the ideas of six­
Antwerp, 1977, pp.47-48, 62, p l.i (as R u ­ teenth-century classicism favoured by
bens); H eld, O il Sketches, pp.326, under Raphael and, under his influence, by Ru­
N0.238, 328, under No.240 (as R ubens). bens’s principal teacher, Otto van Veen
(1556-1629).
Rubens has not only given his own in­
An episode from the Fall of Man (Gene­ terpretation of the physical appearance
sis 3:6). Eve leans against the Tree of the o f our first parents as depicted by Ra­
Knowledge o f Good and Evil, from which, phael, but has modified their psycholog­
tempted by the serpent, she has plucked ical attitude to each other. Raphael pre­
an apple despite the Lord’s interdiction. sents a dialogue: in the engraving, Eve
As the snake entwines the tree, so she looks at her husband and is spoken to by
curves her arm around it, holding the him. She begins to eat the apple and with
forbidden fruit close to her mouth. As if a glance invites Adam , who is holding
ashamed, she listens with downcast eyes some fruit in his hand, to do the same,
to the reproachful words of Adam , who, while he warns her of the seriousness of
leaning against the Tree of Life, reminds what she is doing. Rubens does away with
her o f the divine ordinance with an elo­ this dialogue: he distinguishes the two
quent gesture of the hand. Both figures roles sharply and, in a manner character­
are naked; only their private parts are istic of Netherlandish humanism, intro­
concealed, as if accidentally, by the foliage duces a moralizing, didactic and rhetori­
o f plants growing close by. Adam is cal element. Adam , w ho is not yet directly
brown-skinned and bearded, with dark involved in eating the forbidden fruit,
curly hair; Eve’s skin is white and her reminds Eve o f the Lord’s command and
hair blond. They are in the foreground of warns her with an eloquent gesture of
a fresh paradisal landscape populated by the left hand, pointing to the Tree of
various animals: a rabbit at Eve’s feet, a Knowledge o f Good and Evil. Eve does
light green parrot high in the branches not reply, but stands with downcast eyes
behind Adam , a m onkey asleep in the as if caught in wrong-doing. The simple
reeds beside a pond, and in the distance, change in the direction of her glance, as
a stork, two herons and a duck. Tw o compared with Raphael’s version, en­
m ore ducks, with outstretched wings, are ables Eve to play the specific role assigned
flying above the trees. to her by Adam ’s behaviour.3
As Jaffé has observed,1 the scene is The background o f Marcantonio’s en­
based on a composition by Raphael, re­ graving is occupied by a village, indicat­
produced in a print by Marcantonio Rai­ ing the nature of human life after the
mondi,2 (Fig-5). The life-size figures, while Fall. Rubens, however, places Adam and
basically faithful to Raphael’s invention, Eve in a wooded landscape, as Dürer did
are interpreted by Rubens in a more ex­ in his F all o f M a n , an engraving o f 1504.
pressive and personal way : they are fuller, This, in contrast to his Italianate figures,
more sensual and also m ore m onum en­ is fully in line with the Netherlands tra-

36
 C A T A L O G U E N O. 3

dition and recalls the landscapes of Van the treatment o f Adam 's half-open left
Coninxloo and the young Jan Brueghel I.4 hand, with its round fleshy fingertips, is
It is the first known Rubens landscape, or rem arkably similar to that seen in the
at any rate one o f the first. Am ong the so-called Portra it o f a Geographer (Metro­
animals which appear in it as a sign of politan Museum, New York),11 a small
their friendly intercourse with man in the painting signed by Rubens and dated i f 9 7.
earthly paradise, some have a particular All these facts point to the conclusion that
symbolic significance. This cannot always The Tem ptation o f M a n was painted be­
be identified, but some specific inferen­ tween 1597 and 1600.
ces can be drawn from the context. The A Tem ptation o f M a n painted by Rubens
wise and benevolent parrot, which, like after Titian in 1628-29 is in the Prado in
the rabbit, already occurs in Dürer’s en­ Madrid. A drawing by Rubens o f the same
graving o f 1504, forms a contrast with the subject is in the Courtauld Institute of
devilish snake, similar to the contrast be­ Art, Princes Cate Collection, London
tween the Tree o f Life and the Tree of INo.2; Fig.3).
Knowledge o f Good and Evil, on which
1. R u b en s a n d R a p h a el, lot. cit.
they are seen respectively.5 The rabbit at 2. B a rtsch , XIV', p.3, N0.1.
Eve’s feet, a symbol o f carnal love and 3. E.M. Vetter, ‘ Necessarium Adae Peccatum’ , in
procreation,6 refers to the primal sin and R u p e r to -C a r o la , Z e itsch rift der V erein ig u n g d er
F r eu n d e d e r S tu d en ten sch a ft d er L 'n iv ersitä t H eid el­
its consequences; so does the monkey, berg e .V ., XVHI, Vol.30. 1000, p.144fr.; J.M üller
representing m an’s lower instincts and Hotstede, loc. cit.
sinfulness.7 In the background, the he­ 4. F.Grossnianii stated in a letter o f 1969 to F.Bau­
douin that similar translormations o f Marcanto-
rons and stork perhaps perform a similar nio’s F a ll o f M a n . with a different landscape sub­
function; the form er are said to sym ­ stituted for the village scene are already found in
bolize conjugal fidelity,8 while the stork the Netherlands in the first hall' of the 16th cen­
tury, and that Rubens may hate seen such a work.
represents the piety of children born in He mentioned as examples: (0 a painting attri­
wedlock.9 buted to Jan van Scorel in the Metropolitan Mu­
As to the date o f the painting, we have seum o f Art, New i ork; (2) ‘a weaker version, sold
at Sotheby's from the collection of Miss D .D aw ­
pointed out that Adam and Eve show kins on i May 1046, lot 124, and now in the Leeds
features that can also be found in some City Art Gallery as "Anonym ous Flemish, 16th
figures by Rubens’s master Otto van century” ’ ; (3) a painting in the Viscount Rochdale
collection, shown in the exhibition Works o f A r t
Veen: Eve’s classical profile, and the ide­
fr o m P riv a te C ollection s in L a n ca sh ire, C h esh ire,
alized head o f Adam. From a letter ad­ C u m b e rla n d , W e stm o r la n d , p a r ts o f S h ro p sh ire,
dressed by Philips Rubens to Roger de S ta ffo r d sh ir e a n d D e r b y sh ir e , X o rth W a les a nd
A n g lesey , City Art G a llert. Manchester, i960,
Piles10 we learn that before Rubens’s de­ No.23 (repr.).
parture for Italy in May 1600 his work 5. E.Panofsky, T h e L ife a nd A r t o f A lb rech t D ü r e r ,
showed a resemblance to that of his mas­ Princeton Unhersity Press, 1055, p.85.
6. de T e r n ir e n t, A ttr ib u ts , II. cols.231, 241, 242, 436.
ter, whose studio he joined in 1594 or at
7 - 1 l.W.Janson, Apes a n d A p e Lore in the M id d le A g es
the latest 1595, remaining as a pupil until a nd the R en a issa n ce, London, iota, pp. 107-144; de
at least September 1598. Although some 'T e rn ir en t, A ttr ib u ts . II, cols.352-355, 439-440.
8. H en k el-S ch ö n e, cols. 820-82-; f. M üllerl lofstede, loc.
of his works executed in Italy also show
cit.
Van Veen’s influence to some extent, it is 9 . de T e r n ir e n t, A ttr ib u ts , 1, cols.97, q8; H e n k e l-
unlikely that the present work originated S chön e, cols.827-832.
to. C. Ruelens, ‘La vie de Rubens par Roger de Piles’,
south o f the Alps, if only because it is
R u b en s-B u lletijn , II, 1883, p.mo.
painted on a large oak panel. In addition, 1 t .J a ff é , R u b en s a n d Ita lv , p,i~, fig.2.

37
C A T A L O G U E NO. 4

4. Cain Slaying his Brother Abel Buytew ech, (1 5 9 1-16 2 4 ), Rotterdam-Paris,

(Fig. 8) !975, pp.88-89, N0.110, pl.5.

e x h ib it e d : The Princes Gate Collection,

Oil on panel; 1 3 1x 9 4 c m . (oak wood
Courtauld Institute Galleries, London,
with a strip o f c.2 cm. o f soft wood added
1981, N0.60.
on the left side).
London, C ourtauld Institute o f A rt, l it e r a t u r e : E.Haverkam p Begemann,
Princes G ate Collection. W illem Buytew ech, Amsterdam, 1959, pp.7,
163 (as R ub en s ); H eld, D raw in gs, pp.97-98,
pr o v e n a n c e : M .Huard; M m e Huard,
under N o.10, 99, under N o.15 (as R ubens,
sale, Paris, 6 April 1820 et seq., lot 169;
in his youth); J.M üller Hofstede, in K u n st­
Besnard, Laneuville and others, sale, Pa­
chronik, XV, 1962, p. 132, N0.8 (as R ubens,
ris, 19, 20 (altered to 20, 21) March 1827,
C.1610); B u rch a rd -d ’H u lst, D ra w in gs, p.82,
lot i i (purchased b y Jules Didot); Count
under N0.48 (as R ubens); J.M üller Hof­
A.Seilern (London, 1901-1978), who be­
stede, ‘Beiträge zum zeichnerischen W erk
queathed the painting to the Courtauld
von Rubens’, W allra f-R ichartç-fah rbu ch,
Institute of Art.
XXVII, 1965, p.304, n.115 (as R ubens); Id.,
c o p ie s : (i) Anonymous painting, Blois, Review o f B u rch a rd -d ’H ulst, D raw in gs, in
Musée d ’Art Ancien, Château de Blois, M a ster D raw ings, 1966, 4, p.443, N0.48 (as
N o.159; canvas, 13 9 x 116 cm . l i t . J.S. R ubens) ; Seilern, A dd en d a, pp.8-10, No.298,
Held, ‘Com ments on Rubens’ Beginnings’, pls.IV—VIII (as R ubens, 16 0 8 -1 609) ; A. Cha-
M iscellanea P rof. D r D . Roggen, Antwerp, stel, Review o f Seilern, A dd en d a, in R evue
1957. pp.130-135, repr. (as R ubens before de l ’A rt, 9, 1970, p.104 (as R ubens, 1608-
1602); Seilern, A d d en d a , pp.8-10; H eld, 1609); G.Martin, Review o f Seilern, A d ­
D raw ings, pp.97-98 (under No. 10), 99 denda, in Burlington M a g a zin e, CXIV, 1972,
(under No. 15) (as a replica); (2) Etching pp.563-564 (as R ubens, at the time o f The
attributed to W .Buytewech, 1612-1613, Erection o f the C ross); M.Jaffé, Review of
(in the same direction) (Fig. 7); signa­ Seilern, A d d en d a , in A r t Bulletin, LV, 1973,
ture: P .P a u l. R ub n s. in; D avit de M eijn e p.463 (as R ubens); Cat. Exh. W illem Buyte­
excu d it.; captioned: D oor afgunstige nijt, wech (1 5 9 1-16 2 4 ), Rotterdam-Paris, 1975,
m et J a lu ç ç y gevoet. / heeft deerst gebooren pp.88-89, N o .n o , pl.5 (as R ubens, 1608-
mensch sijn broer m et smaet en schande / ver­ 1610); B.Heisner, ‘A Note on Rubens’
m oort; w anneer hij sach de çoete ojferhande / “ Slain A b el” in the Bob Jones University
meer gelden voor deheer, als ’ t offer tgeen hij Museum, Greenville’, Southeastern College
doet. l i t . V .S ., p.2, No.7; Rooses, I, p. 118, A r t Conference R eview , IX, 5, 1980, pp.211-
N0.98; L.Burchard, D ie holländischen R a ­ 215.
dierer vor R em brandt, [Dissertation], Halle
a. d. Saale, 1912, p.55; O ldenbourg, Rubens,
ppj8-79,fig.]8(asRubens,c.i6io);J.G.van Cain, distinguished by his beard, holds
Gelder, ‘De etsen van W illem Buyte- Abel, who is lying on the ground, by the
wech’, O ud H olland, XLVHI, 1931, p.62, throat and is about to strike him dead
No.2, repr. on p.52, fig.2; E.Haverkamp with an anim al’s jawbone.1 According to
Begemann, W illem Buytewech, Am ster­ the biblical story (Genesis 4: 2-12), the
dam, 1959, pp.162-163, N0.VG2, fig.5; elder son o f Adam and Eve killed his
Seilern, A dd en d a, p.8; Cat. Exh. W illem brother out o f jealousy : God had accepted

38
 C VI AI . OGU K NO. 4

the generous sacrifice of Abel the herds­ thony of 1552/53 in Caen.13 Both supposi­
man (who is wearing an animal’s skin) tions are possible; it mav also be that the
and rejected the meaner sacrifice of Cain, relevant figure in the Venetian paintings
tiller o f the soil (as his loincloth denotes). is itself based on Bandinelli’s drawing or
By analogy with Elijah's offering on Marco Dente’s engraving. The landscape
Mount Carm el (I Kings 18: 38), when the on the left is remarkable: it is reminiscent
fire of the Lord came down from heaven of late works bv Klsheimer, however the
and consumed the sacrifice, so here the sophisticated rendering of tonality and
divine favour is shown tangibly, as the atmosphere also point to a more pro­
smoke of A bel’s sacrifice rises to heaven nounced ‘Venetianism’.
while Cain’s is driven downwards.3 The A print (Fig.7) ascribed with some re­
scene takes place in front of a landscape, servation to W illem Buytewech, en­
with a tree-lined river disappearing in the graved in 1612-13 and published at
distance to the left. Amsterdam by David de Meijne, repro­
Oldenbourg3 was the first to comment duces the painting with the same figures
on this work in 1918, although he knew and in the same direction, probably to
it only from a print attributed to W.Buy- avoid Cain dealing the death-blow with
tewech (see below); he pointed out how his left hand; the landscape, however, is
strongly it is influenced by Michelangelo. different. It is of course possible that the
Not only is this true of the violent atti­ engraver did not work from the painting
tudes of the fleshy, muscular figures, but itself but from a preparatory drawing or
that o f Abel is ultimately based on Mi­ oil sketch by Rubens.14 In any case this
chelangelo’s T ityus,4 a source that Rubens print provides a terminus ante quem for the
also used for The Death o f Argus in Co­ painting. Considering the numerous Ita­
logne.5 lian ingredients in its composition, it must
However, as Count Seilern made clear, date from after Rubens’s departure for
this w'as not the sole Italian source of Italy in 1600. After comparison with other
Rubens’s inspiration. The composition as works executed before and after his re­
a whole resembles Titian’s ceiling paint­ turn to Antwerp at the end of 1608, and
ing of the same subject in the Salute in taking account of the fact that it is painted
Venice.6 As regards the figure of Cain, on an oak panel, we believe that it origi­
Shearman7 drew attention to its close nated in 1608-1609.
similarity to a figure in a Study o f N ud es,8 A small panel, sold at Amsterdam on
a drawing in the Uffizi by Baccio Bandi- 21 June 1797 by Philippus van der Schley
nelli, executed between 1520 and 1525, and Cornelis Sebille Roos as lot 176,15
which, as Marcucci9 pointed out, was used may have been a preparatory oil sketch
in T he M assacre o f the Innocents, an en­ for this painting.
graving after Bandinelli by Marco Denre The inventory, drawn up on 14 April
da Ravenna.10 Although the figure of 1614, of the estate of the collector Philips
Cain indeed closely resembles that draw­ van Valckenisse, who died in the Minder-
ing, Seilern thought it more likely to be broedersstraat in Antwerp on 3 March
derived from a prototype such as Andrea 1614, included a work described as ’Abel
Schiavone’s Sam son K illin g a Philistine in ende Caïn op doec na Rubbens oic op
the Pitti Gallery,11 or, as Wilde sug­ doeck’ (Abel and Cain on canvas after
gested,12 Veronese’s Tem ptation o f St A n ­ Rubens also on canvas).1'1

39
C A T A L O G U E N O. 5

1. See Meyer Schapiro, 'Cain's Jaw-Bone that Did the express so m uch with little effort.) It was bought
First M urder', A r t B u lle tin , XXIV, 1942, pp.205-212, by Yver for 201 fl.
figs. 1-6. 16. F.J.Van den Branden, ‘Verzamelingen van schil­
2. The two altars are already seen in a print after derijen te Antw erpen’, Antwerpsch Archievenblad,
Michiel Coxcie (1499-1592), engraved by Jan Sade- 21, p.307; Denucé, Konstkamers, pp.21, 22; Duverger,
ler I and published by Cl.J. Visscher (Heilstem, Antwerpse kunstinventarissen, 1, 1984, p.307.
XXI, p.91, N0.47; XXII, p .102, fig.47): fire rises to
heaven from Abel's altar, on which he has sacri­
ficed a lamb ; from Cain's, on which only fruits are
seen, the fire strikes downward. 5. The Flight of Lot and his Family
3. ‘Die Nachwirkung Italiens auf Rubens und die from Sodom (Fig. 9)
Gründung seiner W erkstatt’, W ie n e r J a h r b u ch ,
XXIV, 5,1918, pp.179-180, fig.13.
4. A .E .Popham and J.Wilde, T h e Ita lia n D r a w in g s ... Oil on canvas; 203 x 229 cm.
a t W in d so r C a stle, London, [1949], N0.429, pi.21. Sarasota, John and M a b le R in g lin g M u seum
5. Inv. N0.1040; K .d .K ., p.33.
o f A r t. Inv. N0.SN18,
6. H.E.W ethey, T h e P a in tin g s o f T itia n , I, London,
1969, pp .120-121, fig.157. Rubens's drawing after p r o v e n a n c e : JPieter Stevens (1590-
Titian’s Sa crifice o f Isa a c (Albertina, Inv. N0.8.203;
1668), merchant, almoner of the City of
G lü c k - H a b e r d itç l, N0.2; M its c h , R u b en sçeich n u n g en ,
p. 132, N0.56 (repr.) shows how carefully he had Antwerp, sale, Antwerp, 13 August 1668
studied the ceiling o f the Salute. et seq., lot 1; could be identical with
7. S eilern , A d d e n d a , p.9.
‘eenen Rubens, Lot m et syn fam ilie’ ,
8. Inv. N0.6911F; M o str a d i d iseg n i d ei F o n d a tori d e ll’
A cca d em ia delie Arti d el D iseg n o , Florence, 1963, which the dealer Jean Picart (Paris), in a
N0.6, fig.4. letter to his colleague Matthijs Musson
9. L.Marcucci, ‘Disegni del Bandinelli per la “ Strage
(Antwerp), dated 2 July 1674, speaks of
degli innocenti’” , Rivista d ’ A r te , XXIX, 1954 (1955),
pp.97ff. having heard about from Brussels (J,D e­
10. B a rtsch , XIV, p. 14, N o.21. nucé, loc. cit.); according to F.Mols (ma­
11. A.M .Francini Ciaranfi, T h e P itti G a ller y (English
nuscript 1771, Royal Library, Brussels,
edition), Florence, 1957, p.25, N o.152.
12. S eilern , A d d e n d a , p.9. No.5734, p .137), purchased in 1706 by the
13. T.Pignatti, Veronese, Venice, 1976, p.107, N0.22, City of Antwerp from the painter Jacob
fig.31. J.Wilde had already suggested (in Z eits ch r ift
de W it, and presented the same year by
f ü r K u n stg esch ich te, VII, 1938, p .143) that Veronese’s
T h e T em p ta tio n o f S t A n th o n y was related to Tinto­ the City to John Churchill, Duke o f M arl­
retto's C a in S la y in g h is B roth er A b e l in the Accade­ borough, Blenheim Palace; the Duke o f
m ia in Venice (S.Moschini Marconi, Gallerte d e ll’
Marlborough, Blenheim Palace, sale,
A cca d em ia d i V e n e c ia : op ere d 'a r te del secolo X V I ,
Rome, 1962, N0.398, repr.). London (Christie’s), 24 July 1886, lot 65,
14. E.H averkam p Begemann, loc. cit. bought by M urray for Charles Butler
15. L u g t, R ép erto ire, 5624. The sale catalogue reads:
(1,850 gns); Charles Butler sale, London
’ 176. Rubbens (P.P.), hoog 12, breed 9 duim [A m ­
sterdam measure o f 11 duim to the foot: 30.9X (Christie’s), 25 and 26 M ay 1911, lot 209
23.2 cm,]. Paneel. Dit uitmuntend Cabinetstuk (repr.), purchased by Agnew (6,500 gns);
verbeeld de Broedermoord van Caïn en Abel,
James Ross (Montreal, Canada), sale,Lon­
men ziet den eerstgemelden in een woedende
Actie; houdende zijn Broeder Abel bij't hoofd, en don (Christie’s), 8 July 1927, lot 23, repr,,
gereed om hem m et geweld den doodslag toe te bought by Richter for John Ringling
brengen; deeze aandoenlijke Ordonnantie, is zeer
(2,100 gns).
breed, kragtig en fix behandeld; en doet de groote
Meester kennen, die m et weinig moeite, zo veel c o p ie s : (i ) Anonymous painting, Miami
weet uit te drukken’ (Panel. This fine cabinet piece
Beach, Florida, The John and Johanna
represents the m urder of Abel by his brother
Cain. The latter is seen in a furious attitude, hold­ Bass Collection (Fig.io); canvas, 180x
ing Abel by the head and about to strike him a 234 cm. P R O V . D el Monte Collection,
m ortal blow. This impressive composition is exe­
Brussels, e x h . E xhibition o f Belgian A rt,
cuted in a broad, powerful style and with great
skill. It shows the hand o f a great master, who can Budapest, 1927, N o.10 (as R ubens ); Kunst-

40
 C A T A L O G U E NO. 5

zaal Kleykamp, The Hague, 1932, N0.6 XX, 1967, pp.71-74, fig.i (as Jordaens aj'ter
(as R ub en s); A m sterdam , 1933, N0.1 (as R ub en s); The N ational .Museum o f W estern
R ubens, c.16 18 ); City of Perth A rt Gallery, A r t, Tokyo, Catalogue o f Paintings, 1979,
Australia, from 1940 to 1950; Principal p .195, No,252, Hg.252; (3) Engraving by
Municipal Gallery of the North of Bng- Lucas Vorsterman (in reverse) (Fig.n);
land, July 1950 to October 1951. l i t . signature: P . P .R ubens p in xit— Cum p r iv i­
G. Glück, Catalogue de la Collection del leges, R egis C hristianissim i, Principum Bel­
M onte, Vienna, 1928, No.ó, pl.VI (as R u ­ garum , et ordinum Bataviae— Lucas V orster­
bens); A .L.M ayer, ‘Die Sammlung Del man sculp, et exu d . An° 1620; captioned:
Monte in Brüssel’, Pantheon, IV, 1929, Eruditione et probitate C lw° V .D .Joa n n i
p.422 (as R ub en s ); C.Norris, ‘The Rubens Branlio L C i0 urbi A ntverpiensi ab actis, so­
Exhibition at Am sterdam ’, Burlington cero am antissim o, Petrus Paulus R ubens
M a g a zin e, LXIII, 1933, p.229 n.4 (as not gener, observantiae ergo. D .D . l i t . V .S .,
R ubens); G oris-H eld , p.31, under No.36 (as p.2, N0.9; H vm ans, Gravure p p .171-172,
inferior to the p ictu re in the R ing lin g M u ­ 179-180; Rooses, I, p. 123, under No. 102,
seum ); Cat. The John and Johanna Bass C ol­ pi.28; R enger, R ubens D edit, 11 , p.205. (4), (5), (6)
lection at M iam i Beach, Florida, [1964], p.8, (7), (8), (9), (10), (11), (12), (13), (14), (15), (16), (17),
e x h ib it e d: The O ld M asters. W in ter E x ­
N0.8; R.-A.d’Hulst, ‘Drie vroege schil­ (18)
hibition, London, Burlington House, 1855,
derijen van Jacob Jordaens’, G entse B ij­
p.33, No. 148 (as R ubens).
dragen tot de Kunstgeschiedenis en de O u d ­
heidkunde, XX, 1967, pp.71-74 (as a copy); l i t e r a t u r e : T.M artyn, The English C on ­

(2) Painting by Jacob Jordaens, Tokyo, noisseur, I, London, 1766, p. 19, No.3;
The National Museum o f Western Art, A.Ponz, Viage fu e ra de Espana, 2nd edn.,
Inv. No.P.1978 (Fig.12); canvas, 169.5 x I, Madrid, 1791, p.290; W .F.M avor, N ou ­
198.5 cm. PROV. Lewis and Son, London, velle description de Blenheim, London, 1791 ;
1931; sale, London (Christie’s), 29 July Sm ith, Catalogue Raisonné, 11 , pp.241-242,
1937, lot 80; W ürzburg, Martin von No.826; J .D .Passavant, Kunstreise durch
Wagner-Museum der Universität (on England u nd Belgien, Frankfurt am Main,
loan); bought by the museum of Tokyo 1833, p.176, N0.11; W aagen Treasures, III,
in 1978. E X H . Brussels, 1965, pp. 168-169, p .124; G.Schart, Catalogue Raisonné; or, A
N o.181, repr. (as R ubens); W eltku n st aus List o f Pictures in Blenheim Palace, London,
P riva tbesitç, Cologne, Kunsthalle, 1968, 1861, p .58; Rooses, 1 , pp. 122-123, No. 102
N0.F29, fig. 16 (as ‘ die W iederholung [bei (as R ubens and Van D vck in collaboration);
R ub en s] eines G em älde im R inglin g M u ­ V, p.311, N0.102; G. Redford, A rt Sales, I,
seum ’). l i t . G. Glück, Catalogue de la C ol­ London, 1888, p.415; K .d .K ., ed. Rosenberg,
lection del Monte, Vienna, 1928, under pp.136,471 ; D illon, p. 132, pl.CXVI; K .d .K .,
N0.6 (as Rubens); Cat. A m sterdam , 1933, p .105 (as c .16 15 -16 16 ); G.Glück, Catalogue
under No.x (as R ubens); G.Glück, in de la Collection del M onte, Vienna, 1928,
Thiem e-Becker, XXIV, p.142 (as R ubens); under N0.6; Lugt, Répertoire, I, No.4; Cat.
G oris-H eld , p.31, under No.36; H.Gerson, Hxh. A m sterdam , 193 ;, under N o .i; Valen-
‘Das Jahrhundert von Rubens’, K un st­ tiner, R ubens in A m erica, N o.57; Evers, R u ­
chronik, 19, 1966, pp.58, 61 (as R ubens); bens, pp.306-307, 498 (11.303); G oris-H eld ,
R.-A.d’Hulst, ‘ Drie vroege schilderijen p.31, N0.36, pis.37, 38 (as R ubens, c .1 6 1 3 -
van Jacob Jordaens’ , G entse Bijdragen tot 1615); Denucé, N a R ubens, pp.396-397;
de Kunstgeschiedenis en de O udheidkunde, W.E.Suida, Catalogue o f Paintings, The

41
C A T A L O G U E NO. 5

John & M ahle R ing lin g M useum o f A rt, lit up by flames, show that the city is
Sarasota, Florida, 1949, p. 191, No.218, on fire, although, according to the
figs.218, 218a (as prin cip ally painted by Bible, God did not rain fire upon
R ubens, c. 161 4 -16 16 ); Larsen, R ubens, p.216 Sodom until Lot and his family had
(as R ubens and the studio, 0 ,1615); M a gurn, reached the little town of Zoar (Genesis 19 :
Letters, p.69; Cat. Brussels, 1 965, pp.168- 12-24).
169, under N o,181 (as fo llow er o f R ub en s ); The flight of Lot and his family from
R .-A.d’Hulst, ‘ Drie vroege schilderijen Sodom was regarded as a symbol of re­
van Jacob Jordaens’, Gentse Bijdragen tot nouncing carnal pleasures and preserving
de Kunstgeschiedenis en de O udheidkunde, one’s soul to everlasting life.
XX, 1967, pp.71-74 (as R ubens, 1614-1615); The composition resembles a bas-
E.Hubala, in R ubens. Kunstgeschichtliche relief: the figures, in the foreground, form
Beiträge, ed. E.Hubala, Constance, 1979, a line parallel to the picture-plane. Their
pp. 176-179, fig.69; J.Briels, ‘De Ant­ imposing forms, some of which partly
werpse kunstverzamelaar Peeter Stevens conceal or overlap with others, fill almost
(1590-1668) en zijn Constkam er’, Jaarboek the entire compositional field, so that
K on in klijk M useum A ntw erpen, 1980, p.223, practically nothing is seen of the back­
N o.i ; The John and M a ble R ingling M useum ground. The contrapposto pose of the an­
o f A rt, Sarasota, Florida. Catalogue o f the gel on the left may have been inspired by
Flem ish and D u tch Paintings, 1400-1900, the female figure on the left of Titian’s
1980, N0.41, fig.41 (as R ubens and Studio, Bacchus and A riad n e in the National Gal­
.0 16 13 -16 15 ); D.Freedberg, ‘Fame, Con­ lery, London.1 The figure-group o f the
vention and Insight: on the Relevance of angel and Lot resembles the T riton and
Fornenbergh and Gerbier’, R ing lin g M u ­ N ereid on the lid of a sarcophagus at
seum o f A r t Journal, Sarasota, Florida, 1983, Grottaferrata, Badia.1
p.238, fig.3 (as copy o f R ubens). Three versions of this composition are
known: the other two are in the National
Museum o f Western Art, Tokyo, and the
Lot, his wife and his two daughters leave John and Johanna Bass Collection, Miami
the City of Sodom, which is to be de­ Beach. The Tokyo painting presents some
stroyed by God as a punishment for the details that are not found in the other
im morality of its inhabitants. They are versions or in Vorsterman’s print, such as
accompanied by two angels. The patri­ the transparent material partly revealing
arch leaves his city reluctantly, looking the leg of Lot’s fair-haired daughter, the
back as one of the angels takes him by lightning bolts in the dark sky, and the
the arm and leads him on; the second clump of grass in the lower left corner.
angel looks into his face and evidently There has been strong disagreement as
attempts to reassure him. Lot’s wife gazes to the authorship of the different ver­
m ournfully ahead, wiping tears from her sions. Burchard considered that the one
eyes. One of the daughters carries vessels in the Ringling Museum was the best and
in a basket, while the other carries on her was painted in about 1613-1615 (by an
head some objects wrapped in a cloth. assistant in the first instance, then re­
A dog runs forward at the head o f the touched by Rubens, especially the flesh
group. A pillar indicates the gate by which parts); the other two he believed to be
the fam ily have left the city. Dark clouds. copies. I agree with this opinion, and

42
 <; V I A I . O G U E NC) . 5

consider the Tokyo version to be a p.72, N0.1504A, repr. ; (3) Anonymous

copy by Jacob Jordaens;3 the one at painting, Humberto J. Lopez, Coral C a­
Miami Beach seems to me the weakest bles, Florida; copper, 38 x 45 cm.
of the three. W e may suppose that Rembrandt was not unaffected bv Ru­
Rubens made a preparatory oil sketch bens’s dramatic interpretation of Lot’s
of this composition, or at least a draw­ flight. One of his drawings of the subject,
ing. of which there is now a copy in the Biblio­
A print of the composition by Lucas thèque Nationale in Paris,10 shows that
Vorsterman (Fig.u) was dedicated by he was acquainted with Vorsterman’s
Rubens to his father-in-law Jan Brant, print, as he depicts the movement of the
who was a well-known Antwerp humanist group in the same direction. He also made
and also the brother-in-law of Rubens’s use of the figures of the backward-looking
brother Philips. The dedication praises his Lot, the daughter with the basket of ves­
virtues, mentions his official position as sels, the dog leading the group, and part
an advocate and his family relationship to of the background architecture. Another
Rubens. This was one of nine large prints drawing of Lot’s flight, which was gen­
by Vorsterman after Rubens, published erally accepted as by Rembrandt until
in 1620. It is referred to in a letter of Benesch listed it under ‘Attributions’," is
19 June 1622 from Rubens to Pieter van in the British Museum. London.12 In this
Veen,4 in which the painter says that it version the group is moving in the oppo­
was ‘made when the engraver first came site direction to that of Vorsterman's
to work with m e’, i.e. in 1617 or perhaps print; we may suppose that the drawing
even earlier.5 Its publication was delayed is based on another prim, a copy of Vors­
until 1620 because Rubens had first to term an’s— probably the one executed by
obtain the necessary privileges.6 The pre­ an anonymous engraver and published
paratory drawing, by Anthony van Dyck, by J.C. Visscher.'1 Another Flight o f Lot
is in the Louvre in Paris;7 it does not differ and his Fam ily from Sodom painted by Ru­
in any way from Rubens’s composition. bens and dated 162s is in the Louvre in
Vorsterman's print served as a model for: Paris (N0.6; Fig. 13).
(1) an anonymous print published by In the collection of M.de Clerck de
J.C.Visscher8 (in reverse as compared Prinsdaeje at Ghent there was, in about
with Vorsterman. and with the landscape 1789-1791, a work of the same title,
extended); (2) an engraving by Langot, painted after, Rubens by Henri van Lim-
published by P. Mariette9 (also in reverse bourgt’ (The Hague, 1680-1739).14
as compared with Vorsterman, and with On 7 May 1824, at Phillips’s in London
the landscape extended). It was also (lot 41), was sold a Flight o f Lot and his
copied in pictorial form: (1) Painting by Fam ily from Sodom — engraved, as by Ru­
Jan-Baptist Lambrechts (signed), where­ bens (45 guineas).
abouts unknown; copper, 6 2 x 7 9 cm .; The group of Lot’s two daughters, as it
P R o v . Sale, New York (Sotheby Parke- appears in Van D yck’s preparatory draw­
Bernet), i2january 1979, lot 55; (2) Anon­ ing for Vorsterman’s print, vyas copied by
ymous painting, Berlin, Bode-Museum; an unknown hand in a drawing that be­
panel, 37 x47.15 cm,; i.it. Cat. H ollän­ longed to the C.Braam kam p Collection
dische u n d ßä m ische Gem älde des siebzehnten and was sold with it in Amsterdam on
Jahrhunderts im Bode-M useum , Berlin, 1976, 29 February 1768 as lot 186.15 It was sold

4.1
C A T A L O G U E NO. 6

again in Am sterdam on 12 December denzelven [P.P.Rubens], bekend door de Prent

daar Loth vertrekt uit Sodom’. (A fine study of
1768 as lot 91.16
two standing wom en, the daughters o f Loth,
drawn in black chalk with some heightening, on
r. H .E.W ethey, T h e P a in tin g s o f T itia n , III, London, coloured paper, by the same [P.P. Rubens], known
1975. pp .148-151. N0.14, figs,48, 50. from the engraving of Lot leaving Sodom). L u g t,
2. A.M .Friend, Jr, ‘Dürer and the Hercules Bor- R ép er to ir e, No. 1660.
ghese-Piccolom im , Art Bulletin, XXV, 1, March 16. ‘Een Ordinantie van twee staande V rouw en, zijn­
1943, p.46, figs.9, 10. There is an echo of the same de een Studie uit Loth, met zwart Krijt geteekend,
sculptural group in the m otif consisting o f the left door P.P.Rubbens, bekend door de Prent’. (A
and central figure in L ot a n d his D a u g h ters (cf. composition o f two standing wom en, being a study
N0.7; Fig.17). from Lot, drawn in black chalk, by P.P.Rubens,
3. R .-A.d’Hulst, Jo rd a e n s, London, 1982, pp.44, 63, known from the engraving). L u g t, R ép erto ire,
329 (n.7), fig-13- No. 1722.
4. R o o se s-R u e le n s, II, pp.444-451, No.CCLXVI; M a -
g u r n , L etters, pp.87-88, N0.48.
5. H y m a n s, G ra v u r e, p .161.
6. H y m a n s, G r a v u r e, pp.126-128.
7. C a b in e t des D essin s, Inv. N0.20314; p r o v . E.Ja­
6. The Flight of Lot and his Family
bach (1607/1610-1695), purchased in 1671 for from Sodom (Fig. 13)
Louis XIV, King o f France; l i t . S m ith , C a ta lo g u e
R a iso n n é , II, under N0.826; R o oses, V, p.146; A .de
Hevesy, ‘Rubens à Paris', G a ze tte des B e a u x -A r ts,
Oil on panel; 75 x 119 cm.; signed and
Sixth Series, XXXIV, 1948, p.99, fig.4; L u g t, C a t. dated on the column at the left:
Louvre, É cole fla m a n d e , II, pp.36-37, N o.1126, P e.P a . R ubens Fe, A0 16 2 5.
pl.LVII (as V a n D y ck ); H .Vey, D ie Z eich n u n g en A n ­
ton va n D y ck s, Brussels, 1962, pp.231-232, N0.161,
P aris, M u sée d u Louvre. Inv. No. 1760.
fig.209 (as V a n D y ck ).
8. V .S ., p.2, No.to. ?Cardinal de Richelieu;
p r o v e n a n c e :

9. V .S ., p.2, No. 11. Victor-Amédée de Savoie, Prince de Ca-

10. F.Lugt and J. Vallery-Radot, B ibliothèque N a tio n a le. rignan, sale 1740 (1,800 livres); Maréchal
In v en ta ire g én éra l des d essin s des écoles d u N o r d ,
Paris, 1936, pp.64-65, N0.246, pl.LXVII (as Rem­
de Noailles. Acquired by Louis XV, King
brandt); O.Benesch, T h e D r a w in g s o f R em b ra n d t, of France, in 1742. Moved from the Sur-
VI, London, 1973, p.376, N0.C89, fig.1714 (as copy ); intendance at Versailles to the Vieux-
U. Moussalli, ‘Rubens et Caravage, communication
Louvre in Paris on 17/18 September 1792.
faite au Congrès international d’histoire de l'art
d'Am sterdam ’, 1952, in É tu d es à 'A r t p u b liée s p a r le
c o p i e s : ( i ) Anonymous painting, where­
M u s é e d ’A lg e r , 11-12, 1955-1956, p .103; E.Haver-
kam p Begemann, Exh. Cat. R em b r a n d t: teken in g en , abouts unknown; panel, ‘7 palmen, 6 dui­
Rotterdam -Am sterdam , 1956, pp.158-159, No.219 m en: i el, 2 palmen, 3 duimen' (76 x
(as R em b ra n d t).
123 cm.). p r o v . Josephus Augustinus
u . O tto Benesch, op. cit., IV, London, 1973, p .229,
N0.A36, fig.1099. Brentano, sale, Amsterdam, 13 May 1822
12. A.M .H ind, C a ta lo g u e o f D r a w in g s by D u tch a n d et seq., N0.291 (as R ubens); (2) Anony­
F lem ish A r tis ts in the B ritish M u s e u m , I, London,
mous painting, form erly in the Staatliche
1915. p .57, No.89; F.Lugt and J. Vallery-Radot, op.
cit., p.65, under No.246; lI.Moussalli, loc. cit., Kunsthalle, Karlsruhe, Inv. No. 1962; de­
p .103; I.Q.van Regteren Altena, ‘The Origin o f stroyed by fire in 1945; canvas, 73 x
a M otif in Rem brandt’s W ork’ , Master Drawings,
n o cm. l i t . K.Koelitz, G rossherçogliche
5 , 1967, Pp.375-378, fig.I.
13. See note 8, K unsthalle ç u K arlsruhe, K atalog der G e­
14. E.Duverger, ‘Filip Spruyt en zijn inventaris van m älde-G alerie, Karlsruhe, 1881, p.62, No.
kunstwerken in openbaar en privaat bezit te Gent
176; Bernhard, Verlorene W erke, p. 131; (3)
(ca. 1789-1791)’ , G en tse B ijd ra g en tot d e K u n s t­
g esch ied en is en d e O u d h e id k u n d e, XJX, 1961-66, Anonymous painting, whereabouts un­
p.222. known; panel, 38 x58 cm. p r o v . 'Sale,
15. ‘Een fraay Studie van twee staande Vrouwe zijnde
Amsterdam (P. Brandt), 30 N ovem ber-
de dogters van Loth, m et zwart Krijt geteekend
en een weinig gehoogd, op gekleurd papier door 3 December 1976, N0.64 (as Flem ish

44
 (. V I A I . ( ) ( i I ! I! N O . 6

School ); (4) Anonymous painting, where­ ris, 1900, p .537; M.Rooses, De O ude Hol-
abouts unknown; canvas, 7 9 x 11 2 cm. landsche en Vlaam sche M eesters in den Lou­
PROV. Sale, London (Christie’s), 29 July vre en in de N ational G allery, Amsterdam,
1949, N0.284; (5) Anonymous painting, [1902], p.87; H. Hymans, in G açette des
Vassilis Allamanis, Brussels (1970); panel, B eaux-A rts, Third Series, XXIX, 1903,
77 x 11 9 cm.; (6) Anonymous painting, p.261; K .d .K ., edn. Rosenberg, pp.265, 478
A .H .D e Soucy, Sâo Paulo, Brazil (1979); (S.265); H.Knackfuss, R ubens, Bielefeld
panel, 29 x50 cm.; (7) Painting, where­ and Leipzig, 1903, p.87; A rchives de l'A rt
abouts unknown, h x h . Les Uns p a r les fran çais, 1909, La Com m ission du M uséum
A u tres, Paris, Galerie Cardo, 1930, repr. et la création du M usée du Louvre, [ 1 7 9 2 -
(as A .W a ttea u ) l i t . l’A m our de l'A r t, 11, 1793], Doc.86, p. 159; K .d .K ., pp.283, 466
1930, p .147, repr. (as A . W atteau ); H. V oll­ (S.283); O ldenbourg, R ubens, p. 16; L.Hour-
mer, in Thiem e-Becker, X X X V , 1942, p. 193 ticq, R ubens, Paris, 1924, pp.86, 90, repr.;
(as A .W a ttea u ); (8) Painting by Kugène E.Michel, La peinture au M u sée du Louvre,
Delacroix, Paris, Musée du Louvre, Inv. Ecole flam ande, Paris. 1930, pp.60-61,
N0.R.F.1942/15 (Fig.15); canvas, 33 x figs.66, 67; Evers, R ubens, pp.306-308,
41 cm. PR ov. E.Delacroix (1798-1863), fig.172; A .de Hevesy, ‘Rubens à Paris’,
sale, Paris, 17-29 February 1864, lot 167, G a lette des B eaux-A rts, Sixth Series, XXXIV,
bought by M. de Groiseilliez ; G. Viau Col­ 1948, pp.99-100, fig.6; M a gurn , Letters,
lection; A rt dealer Paul Cassirer, Berlin; pp.99, under N o.59, 100, under No.60, 454
purchased by the Louvre in 1942, l i t . n .i; R éau, Iconographie, H, p p .115-118;
A.Robaut, L ’Œ uvre de D elacroix, Paris, Van Puyvelde, R ubens, p. 146; R.AAVi-
1885, p.475, N o.1939; B .Ehrlich White, lenski, Flemish Painters, London, i960,
‘Delacroix’s Painted Copies after Rubens’, p.285, fig.577; Lexikon der christlichen Ikono­
A r t Bulletin, XLIX, 1967, p.43. graphie, III, cols.107-112; E.Hubala, in
R ubens. Kunstgeschichtliche Beiträge, ed.
e x h ib it e d : D elacroix, ses mail res, ses am is,
E.Hubala, Constance. 1979, pp.176-179,
ses élèves, Bordeaux, Musée des Beaux-
fig.70; H eld, O il Sketches, p.427, under
Arts, 1963, pp.78-79, N o.189; Le X V lie
No.309.
siècle flam an d au Louvre. H istoire des collec­
tions, Paris, Musée du Louvre, 1977-1978,
pp.12-13, 53 n.45, N0.42, fig.42.
Lot, his wife and his two daughters leave
lite r a tu r e : E.Johnston, ‘J.Highmore’s the City o f Sodom, which God intends to
Paris Journal, 1734’, The W alpole Society, destroy because of the immorality of its
XL11 , 1968-1970, p.77; D escam ps, Vie, 1 , people. The patriarch evidently leaves his
1 7 5 3 . p .3 1 4 ; Sm ith, Catalogue R aisonné, II, home with reluctance; an angel takes
p .120, N0.403; W aagen, K unstw erke, III, him by the arm and leads him on. His
p. 5 5 7 , N0.677; Rooses, I, pp.120—121, wife too is sorrowful at leaving, and a
N0.101; M.Rooses, ‘De Meesterstukken second angel pushes her bv the shoulder,
der Vlaamsche School in den Louvre: persuading her to move. She turns half
P. P. Rubens’, Elseviers’s geïllustreerd round to cast a final look at what she
M a an d schrift, September 1895, pp.300- must leave behind her, and it is clear that
306, 399-406; F. Engerand, Inventaire des she will transgress the divine order for­
tableaux com m andés et achetés p a r la direc­ bidding the family to look back. The two
tion des Bâtim ents du R oi (17 0 9 -17 9 2 ), Pa­ youthful daughters, in radiant health,

45
C A T A L O G U E NO. 6

with a lap-dog trotting beside them, Lot’s wife ‘looked back from behind him,
show no distress; one of them leads by and she became a pillar o f salt’ .
the bridle an ass laden with rich vessels, On 26 December 1624 Rubens wrote to
while the other has a basket of fruit on Valavez2 that he had received a letter of
her head. Four demons come storming 19 December from the Abbé de St Am-
through the air to set fire to the town (in broise giving the dimensions ‘o f a picture
the Bible story this did not happen until which the Cardinal de Richelieu would
Lot and his fam ily had escaped to the like to have by my hand ; I am only sorry
little town of Zoar). On the left are the it is not to be larger, for I guard against
city walls and the gate by which the falling short in his service’. In a further
company have left Sodom; on the letter to Valavez, dated 10 January 1625,3
right is an open landscape (Genesis 19: he says: ‘W hat bothers me more than
12.-24)' anything else is the fact that the picture
The same six figures are seen in Rubens’s for the Cardinal cannot, in m y opinion,
earlier Flight o f Lot and his Fam ily from be quite finished [by the 4th o f February],
Sodom , c. 1613-1615, now in the John and and even if it were ready, I could not pos­
Mable Ringling Museum o f Art, Sara­ sibly bring it [to Paris] so freshly painted.
sota (No.5; Fig.9): there they appear as Even though I desire to serve His Em i­
monumental forms, partly obscuring one nence, especially knowing how im por­
another and filling the whole composi­ tant his favour is, I do not believe that it
tional field. In the present painting, how ­ matters a great deal whether I complete
ever, they are reduced to normal size and this picture in Paris or in Antwerp. In
spaced out to form a long procession the end I hope that he ... will be satisfied
moving across the landscape : this arrange­ with my diligence, and that I shall find
ment shows some resemblance to models some subject to his taste’. Although it is
found in Mantegna, e.g. his C alum ny o f not certain that this correspondence re­
A pelles, a drawing in the British Museum, lates to The F light o f Lot and his Fam ily from
London (Fig. 16).1 The figures are marked Sodom , it is very likely that it does, espe­
by delicacy of form and refinement of ex­ cially as the painting in the Louvre is en­
pression, and are arranged for greater tirely by Rubens’s own hand and is signed
clarity in three groups— Lot with the first in full by him and dated [1625], some­
angel, his wife with the second angel, and thing he did very rarely.
the two daughters— without detriment An oil sketch, according to Burchard a
to the overall harmony. It is noteworthy preliminary study for this painting, was
that while in the composition o f 1613- sold in 1975 at Reichenau, Constance
1615 Lot is in the centre of the composi­ (No.6a; Fig.14).
tion and is seen looking back towards his A very fine copy dating from the first
lost home, here it is his wife who occupies half of the 19th century was sold under
the centre of the scene and looks partly the name of Bonington at Christie’s, Lon­
backward. Like Lot in the first version, don, on 29 July 1937, lot 125(35.5 x 53 cm).
she typifies human reluctance to obey F.Leenhoff made an engraving (in the
a divine command and to part with what same direction) for the Société fran çaise de
has to be sacrificed. Her attitude fore­ gravure A
shadows what is to come (Genesis 19:26):
i. A .E .Popham and P.Pouncey, C a ta lo g u e, B ritish M u ­
at the sound o f the fire destroying Sodom, seu m , Ita lia n D ra w in g s, T h e 14 th a n d 14 th C en tu r ies,

46
 (. a i a i . o g r i ; n o . 6a

London, 1050, pp.07- w . No. 158, pl.CXLVl. In this b y R u b e n s . A s H e ld s u g g e s t e d , w e b e ­

drawing the group o f figures is in reverse as com ­
pared with the painting in the Louvre. Rubens's
lie v e t h a t it is in d e e d a c o p v o f a lost p r e ­
interest in Mantegna is dear from the copies he p a r a t o r y s k e t c h f o r t h e p a i n t i n g in th e
made of his work: cf. B u r e lu ir it-it’ H iilst. D ra w in g s. Louvre.
pp.40-41, N o .ii.
In this s k e t c h t h e c o m p o s i t i o n is a lr e a d y
2. R o o se s-R u e le n s, Ilf, pp..ti.t-.ti5, No.CCCL.W I (orig­
inal french text); Aiagiirii, U t te r s , pp.oo, 45411.1, f o r m u l a t e d in its e s se n tia ls: a p ro c e s s io n
No. 50. co n s is tin g o f L o t , his w ife a n d t w o d a u g h ­
3. R o o s e s-R u e le n s, III, pp.310-341, No.CCCLXVll (orig­
ters, a c c o m p a n i e d b v t w o a n g e ls , m o v e s
inal french text); M a g u r n , fe tte r s , p .101, No.oo.
4. Not in V.5 .; R o oses, I, p .121, under N o .101. aw'av f r o m th e C i t y of S o d o m , th e w a ll
a n d g a t e o f w h i c h can b e se en o n th e left,
hi t h e l a r g e p a in tin g , h o w e v e r , R u b e n s
6a. The Flight of Lot and his Family sp lit u p this g r o u p o f six l i g u r e s in t o th r e e
from Sodom: O il Sketch (Fig. 14) p airs: L o t in f r o n t w i t h an a n g e l, th e n
his w i f e w i t h t h e s e c o n d a n g e l, a n d las tly
Oil on panel; 37 x 46 cm. th e t w o d a u g h t e r s . T h e n e w a r r a n g e m e n t
W hereabouts unknow n. e m p h a s i z e d t h e fi g u r e of L o t ’s w i f e a n d th e
t h e m e o f h e r l o o k i n g b a c k , w h ic h f o r m s
pr o v e n a n c e : Lucerne, Fischer Art Gal­
t h e m a i n p o in t of t h e s u b s e q u e n t s to ry .
lery; Kurt Meissner Art Gallery (1948);
In t h e s k e t c h , m o r e o v e r , th e a n g e l s arc-
offered for sale to the art dealer Paul
d is t i n g u i s h e d f r o m e a c h o t h e r b y th e fact
Schaar-Micheluzzi, Basle, in 1970; sale,
th a t o n e is p u llin g L o t a l o n g w h i l e th e
Reichenau (Constance), Internationale
o t h e r is pushing his w ife . T h i s is so in th e
Kunst Agentur K. Kühnei, 29 November
p a i n t i n g a lso , b u t L o t ’s a n g e l is t h e r e se en
1975, lot 6, repr. (withdrawn).
p o i n t i n g in t o t h e d is t a n c e in s te a d o f u p
l it e r a t u r e : A. de Hevesy, ‘ Rubens à to h e a v e n . A d o g , r u n n i n g a h e a d in th e
Paris’, G a le tte des B eaux-A rts, Sixth Series, s k e t c h , a lr e a d y a p p e a r e d in R u b e n s ’s
XXXIV, 1948, p .100, fig.5 (as R ubens); H eld, Flight o f Lot and his Fam ily from Sodom o f
O il Sketches, p.427, No.309 (as a copy). c . 16 1 3 - 1 6 1 5 (No.5; l'ig.9); in th e final
p a i n t i n g it w a s e l i m i n a t e d so as to a c c e n ­
t u a t e t h e r o l e o f t h e a n g e l as l e a d e r o f
Burchard, who saw this sketch in 1948, t h e p ro c e s s io n . In t h e s k e t c h t h e r e a r e n o
regarded it as by Rubens’s own hand and a e r ia l fig u r e s ; in t h e p a in t in g , f o u r d e ­
as a preparatory study for the painting of m o n s s w o o p d o w n to b e g in t h e ir w o r k
the same title in the Louvre in Paris, o f d e s t r u c tio n .
dated 3623 (No.6; Fig.13); he thought it T h e fi g u r e o f L o t 's w ife in t h e s k e t c h is
was painted in the same year or shortly d e r i v e d f r o m t h a t o f L o t h i m s e l f as it
before. Held, on the other hand, although a p p e a r s in V o r s t e r m a n 's e n g r a v i n g a ft e r
he knew it only from a small reproduc­ R u b e n s ’s Flight o f Lot and his Fam ily from
tion, said of it: ‘while hardly an original Sodom (C .1 6 1 3 - 1 6 1 5), w hich w as p u b li s h e d
work, may well be the copy o f a sketch, in 1620 (Fig. i t ).2 T h e d a u g h t e r w i t h th e
now lost, for the painting of the same- b a s k e t o f f r u it o n h e r h e a d — w h o is also
subject in the Louvre’.1 We have not seen f o u n d , e.g ., in R u b e n s ’s Jesus in the House
the actual work, but from good photo­ o f Simon the Pharisee, H e r m i t a g e , L e n i n ­
graphs bequeathed by Burchard we have g r a d 3— is b a s e d o n m o d e l s b y G h i b e r t i ,
also come to the conclusion that it is not G h i r l a n d a i o a n d R a p h a e l .4 T h e o t h e r

47
C A T A L O G U E NO. 7

daughter closely resembles the figure of in de zeventiende eeuw’, N ederlandsch

the Virgin in Vorsterman’s engraving K unsthistorisch Jaarboek, 1950-1951, p. 119,
after Rubens’s R etu rn fro m Egypt, also fig.io; S.Slive, Frans H als, London, 1974,
published in 1620.5 III, p.2; Bodart, p.34, N0.35, fig.35; Renger,
pp.88-89, No,62. (3), (4), (5)
1. H e ld , O il S ketch es, p.427, No.309.
2. V .S ., p.2, N0.9; see N o.5 above. l i t e r a t u r e ; F.Schlie, Beschreibendes V er­
y . K . d . K . , p .179; V a rsh a v sk a y a , R u b e n s , pp.122-127,
No. 18, repr. on p. 123.
zeichn is d er W erke älterer M eister in der
4. See Th e H ea lin g o f th e L a m e M a n (L. Dussler, R a ­ G rossherçoglichen G em älde-G alerie ç a Schw e­
p h a e l, London-New York, 1971, p .104, figs. 175, rin , Schwerin, 1882, pp.145-146, N0.899
176).
(as ‘S chulbild’); Rooses, I, p.124, No. 104; V,
5. V.S., p.26, N0.124; R o oses, I, p.246, under N o . i 82,
pl.64. p.311, N o.104 (as copy); R .Oldenbourg,
‘Die Nachwirkung Italiens auf Rubens
und die Gründung seiner W erkstatt’,
7, Lot and his Daughters (Fig. 17) Jahrbuch der kunsthistorischen Sam m lungen
des allerhöchsten K aiserhauses, 34, Vienna-
Oil on canvas; 108 x 146 cm. Leipzig, 1918, pp.175-176, fig.8 (as R u ­
Schw erin, Staatliches M useum . bens); K .d .K ., p.42 (as R ubens, 16 10 -16 11);
O ldenbourg, R ubens, pp.74-75, 81, fig.32
According to a letter
p r o v e n a n c e : (as R ubens); H eld, D ra w in gs, pp.64, 99,
dated 26 February 1852 from M r von under No. 13, 105-106, under N0.29 (as
Rössler (Westerburg in Nassau), who sold R ubens) ; A. F. de Mirimonde, ‘ “Loth et ses
the picture to the Schwerin Museum, it filles” de Verhaghen. Evolution d ’un
was in the collection of Louis XVI, King thèm e’, R evue du Louvre, 1972, No.4-5,
of France. Later it came into the posses­ p.376 ; J. G. van Gelder, ‘Rubens in Holland
sion of a Swiss officer in Dutch military in de zeventiende eeuw’, N ederlandsch
service, who died at Delft, and from K unsthistorisch Jaarboek, 1950-1951, pp.119
whose estate von Rössler acquired it. to 120, fig.io; L.Jürss, Staatliches M useum
c o p ie s : (1 ) Anonymous painting, M .Se­ Schw erin, 1882-1982. H olländische u nd F lä ­
lig, Seattle, Washington (1971); canvas m ische M alerei des 1 y.Jahrhunderts. Be­
82 x 1 12.5 cm .; (2) Engraving by W illem standskatalog I, p.125, No.70, fig.119 (as
Swanenburg (in the same direction) R ubens, c .1 6 10 -16 11).
(Fig. 18); signature: Pet. P a u l R ubens p in x it,
W .S w a n en b u rg sculp, an0 16 12 ; captioned:
Q u id vetitj p a ria n t Thalam j, qu id fra en a Lot, who had fled from .the destruction of
p u d o ris I R um pere, nec castae m entis habere Sodom to the small town o f Zoar, still
m odum : / T u rp iter hospitijs tem eratis quid- felt unsafe there and took his two daugh­
que nefandos / Concubitus petere, haec sculpta ters to a cave in the mountains. (His wife,
tabella refert. N . a W assenaer; l i t . Sm ith, who had left Sodom with them, was
Catalogue Raisonné, II, p.299, No. 1078; turned into a pillar of salt as a punish­
V .S ., p.2, N o.13; H ym ans, G ravure, pp.59- ment for disobeying the divine command
60; Rooses, I, p. 124, under No. 104; V, and looking back on the doomed city.)
p.311, N0.104; A .Rosenberg, D ie R ubens- The daughters, afraid of being left alone
stecher, Vienna, 1893, pp.18-19, repr. on on the earth with no hope o f progeny,
p.27; J.G.van Gelder, ‘Rubens in Holland conspired to m ake their father drunk and

48
 C A T A L O G U E NO. 7

practise incest with him. The fruits of this two engravings after Rubens: C hrist and
‘coitus illicitus’ were Moab and Am m on, the D isciples at Em m aus and Lot and his
who were thus both sons and grandsons Daughters. The former, after the painting
of Lot (Genesis 19: 30-38), in StEustachein Paris, is dated 16 11,4 the
This erotic subject was infrequently latter 16 12 ; both are in the same direction
treated in the Middle Ages but was con­ as the respective paintings. As there is no
siderably more popular with artists from indication that Swanenburg was in A nt­
the Renaissance onwards. It was often werp at that time or earlier, it was almost
paired with Susanna and the Elders, both certainly in Holland that he saw’ and en­
subjects affording a pretext for the depic­ graved both the Emmaus painting and
tion of attractive female nudes.1 Lot and his D a u g h ters: probably at Leiden,
Lot, his torso bared, is seated on the where he died on 15 August 1612.5 An
ground between his two daughters, one anonymous print, Daret excud it, was en­
o f whom holds a bowl into which the graved after Swanenburg’s Lot and his
other is pouring wine. He holds one of D aughters, which it reproduces in re­
them by the left shoulder, pulling the verse.6
garment off the right, and looks at her It appears from Swanenburg’s engrav­
amorously. On the right of the picture is ing that the picture was originally some­
a covered table with a platter of bread what larger on all four sides; it was prob­
and cheese and a bowl of grapes. The ably cut dow'n when being remounted.
scene is set in a cave; an opening reveals The paint, especially in the flesh parts,
a distant view of Sodom in flames. has been slightly damaged by earlier
The painting, which Burchard incor­ cleanings.
rectly regarded as a copy, was executed Rubens’s painting influenced artists un­
C.1610-1611, at about the same time as til w'ell into the eighteenth century. An
The R aising o f the Cross in Antwerp Cathe­ example is Lot and his D aughters by P.J.
dral. In Lot and his D aughters Rubens pla­ Verhaghen in the Valenciennes Museum,7
ces the sculptural figures in a single plane ; which shows that that artist also knew
by gentle inclinations of the body they Rubens’s other version, now in a private
combine into a firm ly structured decora­ collection in France (No.8; Fig. 19). We
tive group which, as Oldenbourg2writes, may suppose that he had in his studio the
‘den Rahmen leicht und doch üppig engravings after both Rubens’s works.
fü llt’ (fills the frame in an easy yet luxu­ Rosenberg stated in 1893" that Prof. Dr
riant manner). Lohm eyer at Göttingen then owned a
The m otif formed by the left and cen­ painting ‘das genau dem Stiche Swanen-
tral figures recalls a sculptural group on burgs D er trunkene Loth mit seinen Töchtern
the lid o f a sarcophagus at Grottaferrata, entsprach’ (which corresponded exactly
Badia,3 As in other works o f these years, to Swanenburg’s engraving of The D ru n ­
the elements of local colouring (olive ken Lot w ith his Daughters).
green, bluish-grey and brownish-red in
1. R é a u , Ico n og ra p hie, 11, i, pp. 118-120; C , M. Kaull'-
the clothing) are less harmonized than in mann in L ex ik o n iter ch ristlich en Iko n o g ra p h ie, 111,
later periods: their sharp contrasts testify cols. 1IO-I12.
to Caravaggio’s influence on the young 2. O ld en b o u r g , R u b e n s, lot. cit.
3. A.M .F rien d,Jr.,‘ Dürer and the HerculesBorghese-
Rubens. Piccolomini’, Art Bulletin. XXV, 1043, p.46, figs.9, 10.
W. Swanenburg is known to have made There is an echo o f the same sculptural group in

49
C A T A L O G U E NO. 8

the m otif formed by the angel 011 the left and L ol senberg, p.466 (S.54), repr. p.XXV; k '.d .K .,
in T h e F lig h t o f L ot a n d his F a m ily fr o m S od o m , Sara­
sota, John and Mable Ringling Museum of Art
p.456 (S.40). (6), (7)
(N0.5; Fig.9).
4. F reed b erg , L ife o f C h r is t a fter the P a ssio n , p.44, under l i t e r a t u r e : T.M artyn, The English C on ­
N o.8, fig.15. noisseur, I, London, 1766, p,2q; Sm ith, C a­
5. J.G.van Gelder, loc. cit.
ft. V S . , p.3, N0.14; H y m a n s, G r a v u r e, p.fto; R o oses, 1,
talogue Raisonné, 11 , p.247, N0.839; p.299,
p.12.4, under N0.104. No. 1079; J.D. Passavant, K unstreise durch
7. Signed and dated: P .J .V e r h a g h cn . A erseh o la n u s. I'. England und Belgien, Frankfurt am Main,
1770. See A.h'.de Mirintonde, op. cit., tig.9.
8. Op. cit., p .164 n. S.15.
1833, p.176, N o.12; W aagen, Treasures, III,
p.130, N o.ió; G.Scharf, Catalogue R aison­
né; or, A List o f the Pictures in Blenheim P a ­
8. L o t and his D aughters (Fig. 19) lace, London, 1861, p.22; Rooses, I, pp. 123-
124, N o .103 (as ‘prem ière époque de R ubens,
Oil 011 canvas; 188 x 225 cm., including a fa it p a r un élève, retouché p a r le m aître’);
strip of c.io cm., later added at the top. V , 1892, p.311, N0.103; Illustrated C atalo­
B ia rritç, Private Collection. gue o f 300 Paintings by O ld M a sters o f the
Sedelm eyer G allery, Paris, 1898, N0.158,
: Gisbert van Ceulen, A nt­
p r o v e n a n c e
repr. (as R ubens); K .d .K ., edn. Rosenberg,
werp; purchased from him, 17 Septem­ pp.54, 466 (c. 16 10 -16 16 ); D illo n , p .109,
ber 1698, by the Bavarian Elector Max pl.XLI; K .d .K ., pp.40, 456 ( c .16 1 0 -1 6 1 1 );
Emanuel (reigned 1679-1726); presented Katalog der Ä lteren Pinakothek, Munich,
in 1706 by the Holy Roman Emperor to 1936, p.XIV; F u b in i-H eld , p.137 (as R u ­
John Churchill, Duke of Marlborough, bens); J. M üller Hofstede, ‘Aspekte der
Blenheim Palace; purchased before the Entwurfszeichnung bei Rubens’, A kten
Blenheim Collection sale (London, Chris­ Kongress Bonn 11)64, Berlin, 1967, III,
tie’s, 24 July 1886 et seq.) by Sedelmeyer, p p .117-118, pl. 18, 3 (as R ubens, c . i ó i j -
Paris, for Baron Hirsch de Gereuth; M a­ 1618); A .F.de Mirimonde, ‘ “ Loth et ses
dame la Baronne Hirsch de Gereuth, sale, filles” de Verhaghen. Evolution d’un
Paris (Galerie Georges Petit), 17 June thèm e’, R evue d u Louvre, XXII, 1972, p.376,
1904, lot 38; Jules Féral, Paris (1905). fig.8.
c o p i Es : ( i ) Anonymous painting, Amiens,
Musée de Picardie, Cat. [878, No,23o; can­
vas, 170 x 236 cm. p r o v. Donated by Ba­ After L ot’s wife was turned into a pillar
ron de Fourment in 1878; (2) Anonymous of salt, his daughters feared that they
painting, whereabouts unknown, p r o v . would be left alone on earth without
G. Kasper-Ansermet, Peymeinade-Grasse, hope of progeny. They therefore con­
France (1954); (3) Anonymous painting, spired to make their father drunk and
J.Pinget, Geneva (1968); panel, 78 x practise incest with him (Genesis 19: 30-
108 cm .; (4) Engraving, in reverse, by 38). See under No,7.
W illem de Leeuw (Fig.21). l i t . V .S ., p.2, Lot is seated on the ground on a fur-
N o.12; (5) Reproduced above the m antel­ lined cloak of grey silk, his back resting
piece in Interior o f R u b en s’s House, attri­ against a cushion covered with a white
buted to Cornelis de Vos, Stockholm, cloth. Bald and bearded, with a ruddy
Nationalmuseum, N0.407 (Fig.20). lit . complexion, he rests one hand on the
Rooses, V, p.311, N0.103; K .d .K ., edn. R o ­ rock to preserve his balance; with the

50
 ( AT A l . OGl ' L NO. 9

other he eagerly grasps the beaker ottered so badly rubbed that it is difficult to
by one of his daughters, who is kneeling judge.
beside him. She wears a low-cut dress of On stylistic grounds the present paint­
blue silk and is stroking the old m an’s ing may be dated c.1614.
neck as he looks at her with bleary eyes. The Lot and his D aughters depicted over
Her sister, completely naked and seated the fireplace in the so-called Interior o f
on a red silken cloth, pours out the wine R ub en s’s House in the National Museum
and holds in her hand a dish of fruit, in Stockholm, attributed to Cornelis de
bread and cheese. Through an opening Vos,10 differs from this painting in several
in the cave can be seen the flames of So­ respects. Lot’s daughter holding the
dom, burning in the distance. winejug is at a greater distance from
The figure of Lot is probably derived, her father; both her feet are visible, but
directly or indirectly, from a D runken Her­ one of her knees has disappeared ; the tree-
cu les, the principal figure in an antique trunk on the right is replaced by a wide
sculptural group, now lost, which Ru­ landscape under a lofty sky. Moreover
bens, during his stay in Italy, copied in a the Stockholm version is wider, so
drawing, Studies o f a R eclining H ercules and that it may be questioned whether it
a R iver G od, now in the Biblioteca A m ­ represents the present painting or some
brosiana in Milan.1 Echoes of this Hercu­ other.
les can be found in some o f Michelange­
lo’s recumbent figures, such as those of 1. T u b in i-H e ld , pp.125, 1jfi-i iM, pl.8. The ligure of
Hercules is drawn from two slightly different
the Medici tombs, especially the Crepus- angles.
colo,1 or Noah in The D runkenness o f Noah 2. C.de Toinay, M ichela n g elo . III. t h e .Medici C h a p el,
in the Sistine chapel,3and also in Raphael’s Princeton, 1948, pp.oo-ti-’ . lig ix; l-.llaitt, M ic h e ­
la n g elo, T h e C o m p lete S cu lp tu r e. London, 1904,
river god in The Judgem ent o f Paris, en­ pp.214-217, No.22, tigs.212-21".
graved by Marcantonio Raimondi:4 all .(. C.de Toinay, M ichela n g elo , tl. ' i he Ststnie C ed in g .
these works were known to Rubens. In Princeton, 194s, pp.24-20, lig.42; Id., T h e P a in t­
in gs o f M ich ela n g elo , Princeton, 1045, pp.29-44,
addition to the figure of Lot, echoes of the
lig. 39.
same Hercules can be found in other 4. A .de Witt, M a rca n to n io K a tin on dt. In cision e, Flo­
works by Rubens, e.g. Satyr Sleeping o ff a rence, 1908, p l.XL.
5. K .d .K ., p.41.
D rinking-Bout in the Vienna Akademie,5 b. K .d .K ., p.244.
The Birth o f M a rie d e’ M edici in the Louvre 7. B itr c h a r d -d 'H u ls l, D ra w in g ',, pp.K--8o, N0.51, tig.51.
in Paris,6 or A Silenus Surprised by the 8. V .S ., p .124, No.44; liv e rs. \ e u e 101 sch ling en , p .153.
fig.57; J.M üller Hotstede, op. cit.. pp. 1 16-1 18, lig.i
W ater-N ym ph A egle, a drawing at W ind­ (in reverse); B od a rt, p .141, No.301, lig.301.
sor Castle.7 The figure of Lot’s naked 9. Inv. N0.AXV1 ; black chalk, heightened with while
daughter is closely similar (in reverse) to chalk, 435x360111111.; D elen , p.o-, No. 196 (as D is ­
cip le o f R ub en s).
that of Venus in Venus Suckling C u p id s, a
10. C a ta lo g u e d e s c r ip tif des collections du M usée X a lio n a l
lost painting by Rubens, known only [S to c k h o lm ], M a îtr es étra n g ers, .Stockholm, 1928,
from a print by Cornelis Galle.8 Thus in p ,l 49 , N0.907.

all probability the master already pos­

sessed a study which he could use for the
figure o f Lot’s daughter. M üller Hofstede 9. The Expulsion of Hagar (Fig. 22)
identified this study with a drawing in the
Stedelijk Prentenkabinet in Antwerp,9 O il 011 panel; 63 x 76 cm. The parqueted
which is not impossible, but that work is panel shows traces of horizontal cracks at

51
C A T A L O G U E NO. 9

the top and bottom ; otherwise the paint B eau x-A rts, Sixth Series, LXXII, 1968,p. 102,
is in good condition. No.375, repr. (as R ubens); Varshavskaya,
Leningrad, Herm itage. Inv. N0.475. R ubens, pp.96-99, N o .ii, repr. on p.97 (as
R ubens, c .16 15 -16 18 ).
p r o v e n a n c e : Pierre Crozat (Paris, 1665
to 1740); Louis-François Crozat, Marquis
Abram ’s1 wife Sarai2 was about 75 years
du Châtel (Toulouse, 1691-Paris, 1750),
old and was childless. Concluding that
nephew of Pierre; Joseph-Antoine Cro­
she was an obstacle to God’s promise of
zat, Baron du Tugny (Toulouse, 1696-
numerous progeny to Abram , she per­
Paris, 1751), brother of Louis-François;
suaded him to take Hagar, her Egyptian
Louis-Antoine Crozat, Baron de Thiers
handmaid, as a second wife. W hen Hagar
(Toulouse, 1699-Paris, 1770), brother of
found herself pregnant she despised her
Joseph-Antoine, and purchased from his
mistress and, being ill-treated by her,
heirs by Catherine II, Empress of Russia,
fled into the wilderness (Genesis 16:
in 1772.
1-6).3
l it e r a t u r e : [Lacurne de Sainte-Palaye], This subject, o f rare occurrence,4 is
Catalogue des tableaux du C abinet de M . C ro ­ here treated as a scene of ordinary life.
za t, baron de Thiers, Paris, 1755, p.65; Rubens, in a letter of 26 May 1618 to Sir
Sm ith, Catalogue R aisonné, IX, p.316, Dudley Carleton, called it ‘suggietto né
N0.261; W aagen, K unstw erke, III, pp.51- sacro né profano per dir cosi benche ca­
53; M ariette, Abécédario, I, p .66; V, p.272; vato della sacra scrittura’ (neither sacred
G.F.Waagen. D ie G em äldesam m lung in der nor profane, so to speak, although drawn
Kaiserlichen Erm itage ç u S t Petersburg, from Holy Scripture).5 Hagar, with a
Munich, 1864, p.136, No.535 (as R ubens, bundle under her arm, is just leaving her
0.1625); Rooses, I, p.125, N o.105 (as R ubens, master’s house, and turns round for a
c. 1612); A.Somof, Erm itage Im périal, last look at the old couple. Her offended
C atalogue de la G alerie des tableaux. mistress Sarai stands at the door with
II. Ecoles N éerlandaises et école A llem an d e, her left hand on her hip and her right
St Petersburg, 1895, pp.305-306, N o.535 hand raised, as if addressing herself for­
(as R ubens, c.162 y); K .d .K ., ed. Rosenberg, cibly to Hagar. The patriarch stands in
p.64 (as R ubens, c.16 12 ); D illo n , p .109, the doorway. A dog barks angrily at the
pl.LV (as R ubens, c.16 12 ); J.J.Tikkanen, unfortunate Hagar. The house is over­
D ie Beinstellungen in d er Kunstgeschichte, grown by a vine, and on the right a land­
Helsinki, 1912, p.40; K .d .K ., pp.171, scape stretches into the distance.
461 (S.171) (as R ubens, 1618 ); Evers, N eue Evers6 pointed out the analogy between
Forschungen, pp.95-96, lig.3 (as R ub en s); this rendering and the woodcut of the
J.G.van Gelder, 'Rubens in Holland same subject (N0.13) in Stim mer’s N eue
in de zeventiende eeuw’, N ederlandsch K ünstliche Figuren Biblischer H istorien, a
K unsthistorisch Jaarboek, 1950-1951, The book published in Basle in 1576 and re­
Hague-Antwerp, 1951, p .131 11.1 (as printed by G. Hirsch in Munich (1923) as
replica); M u sée de l ’Erm itage. D épartem ent Tobias S tim m ers Bibel (Fig.24).7 Sandrart
de l ’A r t occidental. Catalogue des peintures, relates in his notes on Holbein and Stim­
Leningrad-Moscow, 1958, II, p.80, N0.475, m er (the latter’s dates were Schaffhau-
repr.; A.Stuffmann, ‘Les tableaux de la sen, 1539-Strasburg, 1584)8 that in 1627,
collection de Pierre Crozat’, G açette des when he was travelling with Rubens on

52
 C A T A L O G UK NO. 10

a barge from Utrecht to Amsterdam, 1. Atter the birth of Hagar’s son tshmael, Abram's
name was changed by God into Abraham (Gene­
Rubens told him that he held in great sis 17: 5).
esteem the illustrations by Dürer, Hol­ 2. After her husband had received a promise from
bein, Stimmer and other German [sic] God that she would bear a son, Sarai's name was
changed to Sarah (Genesis 17: is-th).
masters, and had made copies from Sum ­ 3. I.exikon d er ch ristlich en Ikonog rap hie, I, cols,70-80.
mer's Bible in his youth. The evidence The subject does not occur in R ea llex ik o n or in
collected by F. Lugt9 has confirmed Sand- K éa u , Iconog ra p hie.
4. It is not mentioned, for instance, by F ig ler , B arock-
rart’s statement. Rubens admired Sum ­ them en , 19 14 .
mer's gift for finding precise and clearly 5. R o o se s-R u e le n s, II, No.CL.WIY, pp. 170—171 ; M a -
defined poses for his figures and groups, g u r n , L etters, N0.31, p.65.
6. E vers, N e u e F o rsch u n g en , loc. cit.
and studied, with evident delight, the 7. Op. cit.. N o.13.
way in which he did this. Stim mer’s E x ­ 8. S a n d r a r t, ed n . P e ltç e r , p p .102-103, 100.
pu lsion o f H agar was clearly in his mind 9. I.u g t, R u b en s a n d S tim m er, pp.99-114; I.u g t, C a t.
L ouvre, É cole fla m a n d e , II, pp.34-35, Nos.1116-1121.
when he painted his own version o f the
Other copies by Rubens alter Stimmer, not m en­
subject. In it, the action takes place in the tioned by Lugt, were published in B u rch a rd -
direction opposite to that in the engrav­ d ’H u ls l, T ekenin g en (p.28, N o.i. tig.i); H eld , D r a w ­
ings (pp.155-156, No. 150, pl.ififi): and B u r ch a r d -
ing.10 He seems to have been especially
d ’ H u lst, D ra w in g s (pp. 10-20. No.o. fig.o). A Samson
struck by Hagar's dignified attitude, as he C a r r y in g the C a tes o f G a^a alter Stimmers’ Bible
shows her in the same dress, with the (N0.69) was sold at Sotheby's. London, 011 1 July
1965(lot 162)and 21 March 1973 (lot it , rep r.p .51),
same bundle under her arm, with the
and is now in a private collection in Antwerp. See
same gesture o f the right hand, and w alk­ also K.L.Belkin, R u b en s u n d S tim m er, in Cat. F.xh.
ing away in the same manner. In the case T o bia s S tim m er, Kunstmuseum, Basle, 1984, pp.201-
220.
of Sarai he retained the hand planted on
10. P.J.Mariette in .Mariette, A b eced a rio, V, p.272, al­
her hip but depicted her raising the other ready knew that Hagar in Rubens's picture was
hand, thus emphasizing her expression of Stim m ers Hagar in reverse, a fact also noticed by
J.J.Tikkatten (loc. cit.).
rage. True to his artistic temperament he
gave an active role to the dog, which acts
as a link between the two women. He
10. The Expulsion of Hagar (Fig.23)
altered completely the position of Abram,
who in Stim m ers engraving is seated
Oil on panel; 71 x 102 cm.
majestically in front of the house. In the
Eaton H all, Collection o f the D uke o f W est­
painting he is closer to Sarai, as a kind of
m inster.
bemused echo of her words, and also
p r o v k n a n c e : Sir Dudley Carleton ( 1 5 7 5
closer to Hagar, who is being driven into
the wilderness along with his own off­ to 1 6 5 2 ); W elbore Kllis Agar, sale, Lon­
spring and w hom he does not dare to pro­ don (Christie’s), 3 May 1806, lot 52. (The
tect. A ll these changes in detail and in the sale did not take place; the whole collec­
composition as a whole give the painting tion was bought for 30,000 gns bv the Karl
greater psychological coherence and en­ of Grosvenor).
hance its dramatic effect. J. Young, A Catalogue o f the
l it e r a t u r e :
On stylistic and other grounds the Pictures at Grosvenor House. London, Lon­
w ork may be dated c.1615-1618. In the don, [1821], p.35, No. 101, ill. with an en­
latter year Rubens made an autograph graving by the author; Sm ith, Catalogue
replica for Sir Dudley Carleton (No. 10; R aisonné, II, p.217, No.773; Waagen, K un st­
Fig.23). werke, II, p.ri6; Catalogue o f the Pictures in

53
C A T A L O G U E NO. 10

the Collection o f the M arquess o f W estm in s­ Rubens answered on 12 May with a

ter, G rosvenor House, Appendix, p.XLII, counter-proposal: he would supply tap­
N o . i o i , in W .Hazlitt, C riticism s on A rt, estries to the value of 2,000 florins and
1843; Mrs Jameson, Private G alleries o f A rt pictures to the value of 4,000, including
in London, 1844, p.270, No. 110; W aagen, those originals already chosen by Carle­
Treasures, III, p.164; G.P.Waagen, D ie G e­ ton for 3,000. For the remaining 1,000 flo­
m äldesam m lung in der Kaiserlichen Erm itage rins he suggested that Carleton should
St Petersburg, Munich, 1864, p .136, un­ choose works from the remainder o f the
der N0.535; A.Lavice, R evue des M usées list, or else he could supply other origi­
d ’A ngleterre, Paris, 1869, pp.310-311; R oo­ nals. But he strongly recommended that
ses, I, pp.125-126, N o.106 (as R ubens, 1618 ; Carleton should take the H u n t and the
landscape by Jan W ild en s ); G.Redford, A r t Susanna which were on the list as re­
Sales, London, 1888,1 , p.95; A.Somof, E r­ touched works, and valued at 600 and
m itage Im périal, Catalogue de la G alerie des 300 florins respectively. ‘For the last
tableaux. II. Ecoles N éerlandaises et école A l­ 100 florins I should add some other trifle
lem ande, St Petersburg, 1895, p.306, under by my hand, to complete the 4,000 flo­
N o.535 (as a repetition o f the paintin g in the rins’ .3
H erm itage ); D illon, pp. 109, 237 (as R ubens, Carleton accepted the counter-propo­
c .t6 t f) \ K.d.K., p.461 (S.171) (as a repeti­ sal, as appears from Rubens’s letter to
tion by R u b en s’s own hand, painted in 1618 him of 20 May 1618.4 This contained the
fo r S ir D u dley Carleton); Evers, N eue F or­ words: ‘I shall not fail to get at [...] that
schungen, pp.95-96; J.G.van Gelder, ‘Ru­ little thing for 100 florins; this I shall do
bens in Holland in de zeventiende eeuw ’, more for honour than for profit, since I
N ederlandsch Kunsthistorisch Jaarboek, 1950 know how important it is to preserve the
to i ç p , The Hagu e-An twerp, 1951, pp. favour o f a person of Your Excellency’s
130-131, fig.19; Varshavskaya, R ubens, rank’. The agreement, once concluded,
pp.96-99, fig. on p.98. was carried out with speed. In a letter of
26 May5 Rubens informed Carleton that
‘all the pictures [.,,] will be finished, by
For the iconography, see N0.9 above. divine aid, on the very day o f the 28th of
In a letter dated 28 April 1618 Rubens this month, according to m y promise’.
offered to Sir Dudley Carleton, the English He also mentioned for the first time what
Minister at The Hague, in exchange for ‘that little thing for 100 florins’ was to
his collection of antique marble sculp­ consist of: ‘[it] is painted on a panel about
tures, a number of paintings, either com ­ three-and-one-half feet long by two-and-
pletely his own work or partly that of one-half feet high.6 The subject is truly
the studio, to be chosen up to a total of original7— neither sacred nor profane, so
6,000 florins from a list appended to the to speak, although drawn from Holy
letter.1 On 8 May Carleton replied that Scripture. It represents Sarah in the act
he agreed to the exchange provided Ru­ o f reproaching Hagar who, pregnant, is
bens would supply tapestries for half the leaving the house with an air of womanly
amount, the other h alf to consist of dignity, in the presence o f the patriarch
wholly autograph paintings from the list, Abraham ’ . He adds: ‘It is done on a panel
nam ely a Prom etheus, a D aniel, Leopards, a because small things are more successful
Leda, a St Peter and a St Sebastian.2 on wood than on canvas’. As regards the

54
 CATALOGUE N O . 10

H unt and the Susanna he says: ‘According entry reads: ‘Yn Abrao con le sue donne
to m y custom, I have employed a man di Rubens’. In September 1618 Carleton
competent in his field to finish the land­ handed a copy of the inventory to the
scape, solely to augment Your Hxcel- plenipotentiary of the King of Denmark.
lency’s enjoyment. But as for the rest, you An inventory of the castle o f Rhenen in
may be sure that f have not permitted a Holland was drawn up in 1633 after the
living soul to lay a hand to them ’. All the death of the Klector Palatine Frederick V'
paintings were ready by 28 May as Ru­ (1596-1632) (the ‘Winter King’ of Bohe­
bens had promised, for on f June he in­ mia), who took refuge in the Netherlands
formed Carleton that he had entrusted after his defeat in 1620 at the battle of the
them to his agent Frans Pietersson de White Mountain near Prague. Item 114
Grabber8 for delivery to Carleton at The in this inventory is ‘ Hin Stück Abraham
Hague. und Agar von Rubens’." As Frederick
This correspondence provides much in 16 13 married Elizabeth, daughter of
important information. In the first place, James I of England, it is possible that this
it shows with a high degree of certainty refers to Carleton’s painting, which might
that the present Expulsion o f Hagar, which explain why he crossed it out of his inven­
is now owned by the Duke of W estmin­ tory o f 1618 after including it by mistake.
ster but whose pedigree is incomplete, is In that case he must have parted with it
in fact the one painted by Rubens for soon after acquiring it from Rubens. It
Carleton in 1618. Both the nature of the does not appear in any inventory of Rhe­
support and the dimensions go to con­ nen castle after 1633.
firm this, and there is nothing in the style
to contradict such a date. It also appears 1. R o o ses-R u elen s, II, pp .i is—i -44, No.CLXVI (original
Italian text); Martini, /.dim , p p .w -o i, No,28.
from the correspondence that Rubens
2. R o o ses-R u ele n s, II. pp .143-148. No.CL.WII (original
painted the work him self except for the Italian text).
landscape, for which he employed a 3. R o o ses-R u elen s, II, pp .140-100, No.CLXVIH (origi­
nal Italian text); M a g u r n , le tte r s , pp.61-03, No.20.
‘com petent’ artist. This can only have
4. K ooses-R u e/en s, II, pp .101-104, No.CLXX (original
been Jan Wildens (Antwerp, 1584/1586- Italian text); M a g u rn . le tte r s , pp.04-04, No.to.
Antwerp, 1653), who worked in Rubens’s 3. R o o ses-R u elen s, II. p p .i'0 -1-4, No.CLXXIV (origi­
nal Italian text); Ahiguni. L eiters, pp.64-00. No.41.
studio as a landscape specialist after his
o. Measurements in Antwerp feel, corresponding to
return from Italy in 1616.9 74.3 x 103 cm.
The painting is a replica of a smaller 7. The letter is in Italian, and the words 'vero uri^i-
tutle’ are not interpreted alike by all authors. R oo-
work (panel, 63 x 7 6 cm.) now in the
ses (I, p .120) translated them as 'entièrement de sa
Hermitage in Leningrad (N0.9; Fig.22), main'. R o oses-R u elen s (II, p. 172) substituted 'le su­
from which it differs in details only: e.g. jet est vraiment original': .\ h lg u r n . Letters (p.os)
and V a rsh a vsk a y a , Rubens (p.go) followed this with
the folds of Sarai’s garm ent (in part), the
The subject is truly original'; Burchard in his notes
bundle carried by Hagar, and the brick­ preferred Rooses’s interpretation. Hither is pos­
work of the house. sible, but in my opinion the phrase relates to the
subject o f the painting, as Rubens deals with the
The E xpu lsion o f H agar figures in Carle-
question o f its authenticus a lew lines further on.
ton’s inventory of his picture collection, 8. R o o ses-R u elen s, II. pp.iKi-iX t, No.CLXXIX; Abi­
drawn up in his own hand in 1618, be­ gunt, U tte r s , pp.07-08, No.34. All the pictures de­
tween Rubens’s Susanna and Tintoretto’s livered, including T h e ILvpulsion 0/ lla g o r , were
listed by Rubens in the margin.
Rape o f Proserpina; but for unknown rea­ 0. W. Adler, Ja n U ’jh len s. I k r l.a m lseh a ftsm ita rh eiter
sons he immediately crossed it out.'0 The iles R u lv its , hridingen. toSo. p 12.

S3
CATALOGUE NO. II

10. MS in London, Public Record Office, Foreign State Royal Academy o f Arts, London, 1950-
P a p e r s, H o lla n d 126; S a in sb u r y , P a p er s, p.45. The
entry does not appear in R o o se s-K u e le n s, II,
1951, No.225; Flem ish A rt, 130 0 -1 yoo, Royal
p p .185-188, No.CLXXXI. Academy of Arts, London, 1953-1954,
11. J.C.O vervoorde, 'Het slot van de W interkoning N0.193.
te Rhenen’, B u lletin va n d en N ed erla n d sch en O u d ­
h eid k u n d ig en B on d , IV (1902-1Q03), 1904, p.79.
lite r a tu r e : Beauties o f the D u lw ich P ic­
ture G allery, London, 1824, p.83, N0.323
(as R ubens, P ortra it o f a Venetian Lady);
i i . Hagar in the Wilderness (Fig. 26)
Sm ith, Catalogue Raisonné, II, p .173, N0.604
(as R ubens, H agar and Ishmael in the D esert),
Oil on panel; 71.5 x72 .6 cm . Cut at the
182, N0.634 (as R ubens, H agar and Ishmael
top, originally about 85 cm. high and also
in the D esert), 253, No.857 (as R ubens, M a g ­
wider.
dalen); W aagen, K unstw erke, II, p.188 (as
London, D u lw ich College Picture G allery.
R ubens, M a ry M agdalen); A.Jameson, A
N0.131.
H andbook to the P u b lic G alleries o f A r t in
p roven an ce: Chevalier Augustin dt and near London, London, II, 1842, p.472,
Steenhault, sale, Brussels, 22 May 1758, No. 182 (as R ubens, M a ry M agdalen); A.
lot i (already cut down; 440 florins); Jameson, Sacred and Legendary A rt, I, Lon­
H umbert Guillaume Laurent Borremans, don, 1857, p.371 (as R ubens, M agda len R e ­
‘avocat au Conseil de Brabant', sale, Brus­ pentant); Blanc, Trésor, II, p .66 (as R ubens,
sels, 5 June 1781, lot i (790 florins); D u­ ?Agar) ; A. Lavice, R evue des M u sées d ’A n g le­
bois (art dealer), sale, Paris, 12-16 March terre, Paris, 1867, p.181 (as R ubens, Helena
1782 (5,000 frs); La Borde, sale, Paris, F ourm ent as M agdalen); J.P.Richter and
14 June 1784; E.Cox, sale, London, 24 J. C. L. Sparkes, A D escriptive and H istorical
April 1807, lot 54 (£200; bought by C atalogue w ith Biographical N otices o f the
Attley); P. F. Bourgeois (1756-1811), who Painters, London, 1880, pp.141-142, No.182
bequeathed it to the Dulwich Gallery. (as R ubens, P ortra it o f H elena Fourm ent) ;
R ooses, I, pp.126-127 (as not by R ubens,
c o p i e s : ( i ) Painting, reasonably attri­
H agar in the D esert); II, p.323, N0.471 (as
buted to Thomas Gainsborough. W here­
R ubens, 0.163$, M agdalen); V, p.311 (as
abouts unknown; canvas, 50.5 x 60.9 cm.
H agar in the D esert); Catalogue o f the P ic­
EXH. The M a rsha ll Collection, Sotheby,
tures in the G allery o f AU eyn’s College o f
London, 1973-1974, pp.6-8, N0.6, repr,
G od ’s G ift at D u lw ich, London, 1892, p.33,
(as G ainsborough, Helena Fourm ent); (2)
N o.131 (as R ubens, P ortra it o f H elena F ou r­
Anonymous painting, Seena and Arnold
m ent) ; Rooses, Life, repr. p.499 (as R ubens,
Davis, Scarsdale, New York (1981); can­
H elena Fourm ent as M a ry M agdalen) ;
vas, 62 x75.5 cm.; (3) Etching by Frans
G. Glück, ‘Rubens’ Liebesgarten’ J a h rb u ch
De Roy, active in Brussels c.1758 (Fig.25).
der Kunsthistorischen Sammlungen in W ien,
l i t . V .S ., pp.4-5, N0.29; H.Hymans, ‘Zur
X X X V , 1920-1921, p.96 n.2 (as R ubens,
neuesten Rubensforschung’, Z eitschrift f ü r
M a ry M agdalen); K .d .K ., p.360 (as R ubens,
bildende K unst, N.S., IV, 1893, p.14.
0.163$, Helena Fourm ent), p,47o (S,36o); O l­
e x h i b i t e d : Some Pictures from the D ulw ich denbourg, R ubens, pp. 145-147, fig.84 (as
G allery, The National Gallery, London, R ubens, H elena Fourm ent); A D escriptive
1947, N0.41 ; W orks by H olbein and O ther and H istorical Catalogue o f the Pictures in
M a sters o f the 16th and l j t h C enturies, the G allery o f A lley n ’s College o f G od ’s G ift

56
 CATALOGUE NO. II

at D ulw ich, London, 1926, pp.73-74. No. 131 As can be seen from Frans De Roy’s en­
(as R ubens, H elena Fourm ent ); G lik k , R u ­ graving of C.1750, which gives the original
bens, Van D yck, p.150 n.57 (as R ubens, state of the painting in reverse (Fig.25),
M agdalen), p.389 (‘Nachtrag von L. Bur­ Rubens depicted the moment when the
chard’ : not H elena Fourm ent ); L.Van Puy- angel appears to Hagar, who looks up in
velde, ‘Les portraits de femmes de Ru­ surprise. However, in the course of time
bens’, La revue de l’art, 71, 1937, p.23 (as the painting was cut down, transforming
R ubens, Helena Fourm ent ); Evers, Rubens, it from a vertical to almost a square
pp.412, 506 n,43o (as R ubens, Portrait o f shape. It was also overpainted, so that
Helena Fourm ent ); F.Grossmann, ‘ Rubens neither the angel nor Ishmael can now be
et Van Dyck à la Dulwich Gallery’, Les seen (the demijohn, below on the left,
arts p lastiques, 1948, p. 54, fig.39 (as Rubens, has escaped overpainting). The measure­
H agar); A b r ie f Catalogue o f the Pictures in ments in the sale catalogues of 1758
D ulw ich College Picture G allery, 1953, p-35, (76x78.3cm .) and 178r (66x68.3cm .)
No. 131 (as R ubens, Hagar in the W ild ern ess ); show that the painting was already cut
Paintings fro m the D ulw ich College Picture down by then; however, it was still de­
G allery, 1954, pp.2o-2r, No. 131 (as R ubens, scribed as H agar in the W ilderness. The
H agar in the W ilderness)-, P.Murray, D u l­ figures of Ishmael and the angel were
w ich Picture G allery. A Catalogue, London, probably painted out by the art dealer
1980, p .113, N o .131, repr. (as R ubens, H a­ Dubois, for in his sale of 1782 the picture
gar in the D esert). is described as ‘Une fem m e assise, les bras
allongés, les mains jointes, posées sur le
genou (Agar?)’ (A woman seated, w’ith
Sarai, being old and childless, persuaded outstretched arms, resting her clasped
her husband Abram to take her F.gyptian hands on her knee. Hagar?).
handmaid Hagar as his secondary wife so The title H agar in the W ilderness reap­
as to ensure his posterity. Hagar, being peared in the Bourgeois inventory of 1813.
pregnant and afraid o f Sarai, fled to the Since then successive authors have dis­
wilderness (see also N0.9), but was com­ agreed as to the subject. Besides H agar in
manded by an angel to return, and bore the W ilderness (Smith, Blanc, Rooses, Bur­
her son Ishmael. After Sarah’s own son chard, Grossmann) it has been identified
Isaac was born she would no longer allow as P ortra it o f a Venetian Ladv (Cat. Dul­
Hagar and her child to remain in the wich, 1824), M a ry M agdalen (Smith, W aa­
house, so Abram gave them bread and gen, Jameson, Lavice, Rooses, Glück), or
water and sent them away. After wan­ a Portrait o f Hélène Fourment (Cat. D ul­
dering for some time in the wilderness of wich, 1880, 1892, 1926, Oldenbourg, Van
Beersheba Hagar had no water left; she Puyvelde, Evers). Only since the 1940s,
laid the weeping Ishmael under a tree when cleaning brought to light traces of
and burst into tears. God then sent an an angel in the sky,2 has the correct title
angel who showed her a spring and told been generally accepted, and it now ap­
her that Ishmael would be the ancestor pears in all the Dulwich Gallery cata­
o f a great nation (Genesis 21: 9-19). Ac­ logues.
cording to Galatians 4: 22-31, Hagar was Some critics (Lavice, Rooses) saw in
a symbol o f the old covenant and Sarah Hagar the features of Helena Fourment
of the new.1 and believed that Rubens had used his

57
CATALOGUE N O . 12

second wife as a m odel; others thought it Berlin; Eugène L.Garbâty, son of J.Gar-
was simply a portrait o f Helena. Despite baty ; Ella and Maurice Garbâty (brother
some similarity of age, hair arrangement of Eugène L.Garbâty), Scarsdale, New
and certain facial traits, the identification York; purchased by the W illiam Rock­
is not wholly convincing. It is more likely hill Nelson Gallery and Atkins Museum
that Rubens used a model such as the of A rt in 1966.
woman seen in his G arden o f Love in the
Prado in Madrid.3 c o p i e s : ( i) Anonymous painting, where­
The work is painted thinly, so that in abouts unknown; canvas, 132 x90 cm.;
sale, Brussels (Nackers), 20-21 March
places the white ground is scarcely cov­
ered; it has in the past been extensively 1968, lot 810, pl.VII (as V an Dyck); (2)
cleaned, especially the upper part of the Engraving by Andries Stock (1580-1648);
figure. It dates from c. 1630-1632, about inscribed : Petro Paulo R ubens, C um p riv i­
the same time as The Garden o f Love in the legio (both on the plate) and A ndreas
Prado. Since it was copied by Thomas Stock sculp.; captioned: C u r quantum 0
Gainsborough, who died in 1788,4 it must Abraham e paras absum ere fe rr o j Q uidve
have been in England before that date. heres patrius te ne retardat am or ? / Tard at
amor D om ini prohibet qu i ju ssera t ante /
1. R é a u , Iconog ra p hie, II, i, p .134; L ex iko n d er ch r ist­ C uncta iubente vole nolo retanle D eo j ; dedi­
lich en Ik o n o g ra p h ie, I, cols.79-80,
cation: Spectabili ornatissim oque viro D .T i-
2. [L, Burchard], Som e P ic tu r es fr o m the D u lw ich G a ller y ,
The National Gallery, London, 1947, No.41. m anno Volbergio Q uaestoris generalis con-
3. K .d .K ., p.348. foederatorum Belgii provinciarum Com m is-
4. Gainsborough (1727-1788) never travelled on the
sario, D om ino et amico suo colendissim o ta­
Continent (J.Hayes, G a in sb oro u g h , London, 1975).
bulam hanc in perpetui am oris m onim entum
libens m eritoque dicabat atque consecrabat
l i t . V .S ., p.4, N0.25; H ym ans, G ravure,
12. Abraham’s Sacrifice of Isaac pp.65-66. (3), (4)
(Fig. 27)
e x h ib ite d : G em älde A lter M eister aus Ber­
Oil on panel; 141 x 110 cm. liner Besitç, Kaiser-Friedrich-Museums-
Kansas C ity, M issou ri, W illiam R ockhill Verein, Akademie der Künste, Berlin,
Nelson G allery and A tk in s M useum o f A rt, 1925, N o.327.
Accession No.66-3.
lit e r a t u r e : Kritische F or­
M .Unger,
p roven an ce: ?BaIthazar Flessiers, The schungen im Gebiete der M a lerei, Leipzig,
Hague, 1614; ?Tyman van Volbergen,The 1865, p.2i8ff. ; G em älde-Sam m lung des H errn
Hague; William II, King of Holland, sale, J u liu s Unger in C an nstatt, Cologne, 7-8
The Hague, 9 September 1851 et seq., April 1884, foreword and p.25, No.50;
lot 48; Manasse Unger (1802-1868), Cann­ Rooses, I, p.127, N o.105 (as ‘prem ière époque
statt, near Stuttgart; Julius Unger, neph­ de R u b en s’); V, p.312; W .von Bode, 'Kri­
ew of Manasse Unger, Cannstatt, sale, tik und Chronologie der Gemälde von
Cologne (J.M.Heberle), 7-8 April 1884, Peter Paul Rubens’, Z eitsch rift f ü r bildende
lot 50 (withdrawn); Henriette Unger, K unst, XVI, 1905, p.202 (as R ubens, after his
widow of Julius Unger, Berlin-Wilmers- return from Italy or in 1608 in Rom e); K .d .K .,
dorf, sale, Berlin (Paul Cassirer), 21 Sep­ edn. R osenberg, p.46 (as R ubens, c .1 6 1 1 -
tem ber 1917, lot 29, bought by J.Garbâty, 1612 ); D illon, p.213; R .Oldenbourg, ‘Die

58
 CATALOGUE NO. 12,

Nachwirkung Italiens auf Rubens und die the angel intervenes, holding back Abra­
Gründung seiner W erkstatt’,Jahrbuch der ham ’s hand armed with the knife, and
Kunstsam m lungen des Allerhöchsten Kaiser­ speaking to him. Thus the emphasis is
hauses, Vienna, 1918, p.189 n.2 (as R ü ­ not on the preparation of the sacrifice but
hens); K .d .K ., p.46 (as R ubens, c .1 6 1 1 - on the mom ent o f relief following the
1612); O ldenbourg, R ubens, p.92 n.i ; livers, supreme trial.
N eue Forschungen , p.41; G oris-H eld, p.31, Abraham, patriarchal in his enormous
No.37 (as R ubens, c. 160 8 -1610 ); J.G.van bulk and regal red robe, looks up at the
Gelder, ‘Rubens in Holland in de zeven­ angel with surprise and fear. Beside him,
tiende eeuw’, N ederlands Kunsthistorisch and contrasting with his massive figure,
Jaarboek, III, 1950—1951, p.128; R.T.Coe, is the youthful Isaac on his knees, his
‘Rubens in 1614: The Sacrifice of Abra­ hands tied behind him and his head in­
ham ’, The N elson G allerv & A tk in s M useum clined sideways to expose the throat. Be­
B ulletin, Kansas City, Missouri, IV, No.7, hind Isaac is the stone altar with faggots
1966, pp.1-24 (as R ubens, 1614); Id., 'The and a pan from which the sacrificial fire
Sacrifice of Abraham by Rubens: more ascends; below on the left is the ram
Michelangelo sources’, The Nelson G allerv caught in a thicket.
& A tk in s M useum Bulletin, IV, No.8, 1967, In the seventeenth century A braham ’s
pp.9-16; H andbook o f the Collections in the Sacrifice o f Isaac was regarded as prefigur­
W illiam R ockhill Nelson G allerv of A rt and ing The R aising o f the Cross — a typology
M a ry A tk in s M u seum o f Fine A rts, Kansas which was also recognized in earlier times
C itv, M issou ri, I, Kansas City, 1973, pp.t 2.1 and can be found, e.g., in the Biblia Pau­
to 122, 257; J.G.van Gelder, 'Rubens Mar­ p eru m .1 Bible commentators expatiated
ginalia 1 ’, Burlington M a gazin e, CXX, 1978, on the mystical significance o f the sacri­
p.457; H eld, O il Sketches, I, p.238, under fice, explaining how Isaac carried the fire­
No.r6o. wood in the same wav as Christ carried
his cross to Calvary; Abraham repre­
sented God the father, making a gift of
One of the most dramatic events related his only son, and Isaac was a type of
in the Old Testament is in Genesis 22: 1- Christ, obeying his father and offering
14, where the Lord puts Abraham to the himself up on the altar of the Cross.2 In
test by commanding him to sacrifice his the ceiling decoration of the Jesuit Church
only son Isaac. Abraham makes ready to in Antwerp, completed in 1621, Rubens
do so, but at the critical m oment he is emphasized the concordance of the two
prevented by an angel speaking in God’s themes by depicting The R aising o f the
name: ‘Lay not thine hand upon the lad, C ross next to A braham ’s Sacrifice o f Isaac.3
neither do thou anything unto him; for As far as the group of protagonists is
now I know that thou fearest God and concerned, the painting is related to the
hast not withheld thine only son from work of the same title by Maarten de Vos
m e’. Lifting up his eyes in thanksgiving, in the Herzog Anton Clrich-Museum at
Abraham sees behind him a ram caught Brunswick.4 However, it is executed in
in a thicket by his horns; he takes the ani­ the heroic-dramatic style that Rubens ab­
mal as a victim provided by God, and sorbed above all from the examples of
sacrifices him in place of Isaac. Michelangelo’s art that he had seen dur­
Rubens shows the moment at which ing his stay in Italy. He may no doubt also

59
C A T A L O G U E N O . 12

have called to mind Andrea del Sarto’s now in the Victoria and Albert Museum,
Sacrifice o f Isaac, now in the Gemälde­ London.13
galerie at Dresden,5 and Titian’s ceiling In two versions o f a painting A W om an
painting o f the same subject, form erly in R eceiving a M a n at a D oor (present loca­
Santa Maria dell’Isola in Venice and now tion unknown; tentatively ascribed by
in the Salute in that city;6 but his work P .C .Sutton to Pieter de Hooch)13 the par­
owes its chief debt to Michelangelo’s terri- lour in which the scene takes place is
bilitd. By its vivid colouring, its rhythmic ornamented with an A braham ’s Sacrifice o f
composition and the emotional inter­ Isaac, the composition and dimensions of
action among the figures, Rubens in a which correspond to those of the present
typically baroque manner enhances the work.
expressive possibilities o f the subject.7 Rooses,14 after describing and criticizing
W e do not know who commissioned Rubens’s Sacrifice o f Isaac on the basis of
the work or what its exact purpose was. Stock’s print, added : ‘Un tableau de cette
As to its date, it must have been com ­ composition existe ou a existé au château
pleted by 1614, since by the end of that des rois de Prusse à Potsdam. It était peint
year it was already in Holland. On 29 sur toile et mesurait 7 pieds 9 pouces de
October the painter Blathazar Flessiers hauteur, sur 5 pieds de largeur’.15 (There
applied to the States-General for a licence is or was a painting with this composition
to make an engraving after the picture. in the Palace o f the Kings o f Prussia at
This was at first refused, but permission Potsdam. It was on canvas, measuring
was granted on 24 December.8 The print 7 feet and 9 inches high and 5 feet wide.)
was made by the engraver Andreas Stock The painting in question is now in the
(1580-1648),9 probably still in 1614, with Brera in Milan; however, it is not by
a dedication to Tym an van Volbergen, Rubens but by Jordaens.16
who was then clerk to the Audit Office
o f the States-General and later its secre­ 1. H .Cornell, B iblia P a u p e r u m , Stockholm, 1925,
tary.10 It m ay be that the painting was p.277, pls.io, 21, 22, 29, among others.
2. M a r tin , C eilin g P a in tin g s, pp. 199-200 n.72.
then in the possession of Flessiers or Van
3. M a r tin , C eilin g P a in tin g s, pp. 199-200.
Volbergen, but this is not certain. Since 4. A .Zw eite, M a r te n de V o s a ls M a le r , Berlin, 1980,
it was not customary to engrave a work p.290, No.62, fig.76.
5. J.Shearman, A n d r e a d el S a rto , Oxford, 1965, II,
painted some years earlier, it seems likely
pp.280-281, p i.170.
that it was executed in c.1613-1614, which 6. H.E.W ethey, T itia n , London, 1969, I, pp.120-121,
is also the date most appropriate to its pl.158.
7. See R .T.Coe, op. cit., T h e N elson G a llery & A tk in s
style.
M u s e u m B u lletin , IV, N 0 .8,1967, pp.9-16.
No oil sketch for the painting is known ; 8. C.K ram m , D e leven s en w erk en d er H o lla n d sch e en
a drawing for the figure o f Isaac is in the V la a m sch e K u n stsch ild er s, B eeld ho u w ers, G ra v eu rs en
B ouw m eesters, v a n den vroegsten tot o p o n z e n tijd , II,
print room o f the Staatliche Museen in
Am sterdam , 1858, p.491; T h iem e-B eck er, XII, p.92;
Berlin (No. 12a; Fig.28). Very probably R .T.Coe, op. cit., pp.6-7, 22-23; A .T h.van Deu­
Rubens also made a preliminary drawing ren, R eso lu tion d er S ta ten -G en era a l, II, (1613-1616),
Den Haag, 1984, p,344, N0.905.
o f the angel. In the painting o f The Four
9. T h iem e-B eck er, XXXII, p.70.
Evangelists (c.1614, Potsdam-Sanssouci)11 10. J.G.van Gelder, op. cit., N ed er la n d s K u n sth isto risch
there appears an angel which is a variant Ja a rb o ek , III, 1950-1951, p.128 n.i.
11. K .d .K ., p.68; V lieg h e, S a in ts, I, pp.70-72, No.54,
o f the one in A braham ’s Sacrifice o f Isaac
fig.96; A n tw e r p , 1977, p,9i, No,34, repr.
and for which Rubens made a drawing, 12. Inv. N0.D517. H e ld , D r a w in g s, p.136, N o.102; J.G.

60
 CATALOGUE N O . 123

van Gelder, op. cit., B u rlin g to n M a g a z in e , (.'.XX, J.G.van Gelder, 'Rubens Marginalia I’,
1978, p.457.
13. P.C.Sutton, P ieter île H ooch, Oxford, 1980, p .122,
Burlington M a g a zin e, CXX, 1978, p.457 (as
N0S.B7A, B7B, flg.171. R ubens, c .16 13 -16 14 ).
14. R o oses, I, p.127, under N0.107.
15. D escr ip tio n des ta b lea u x d e la G a lerie royale et du ca­
bin et de S a n s-S o u ci, Potsdam, 1771, No.3.
10. R .-A.d’Hulst, Jacob Jo r d a en s, London, 1982, p .132, A study for the figure of Isaac in the paint­
fig.100. ing A braham ’s Sa crifce o f Isaac, now in the
W illiam Rockhill Nelson Gallery and A t­
kins Museum of Art, Kansas City, Mis­
12a. Study for the Figure of Isaac: souri (No. 12; Fig.27).
Drawing (Fig. 28) Mielke has pointed out that this draw­
ing must have been preceded by one or
Buff paper, with watermark (neither in more general compositional sketches. The
Briquet, H eawood nor Churchill)-, torn at young m an’s pose corresponds to that of
the top and at the right, and lower right Isaac in relation to Abraham, as planned
corner torn off; cut unevenly at the left; by Rubens and as it occurs in the painting,
backed on a piece o f paper arched at the and the drawing also clearly indicates the
top. Black chalk, heightened with white; place of the altar. This means that the
469 x 225 mm. study was not one that Rubens had pre­
Berlin-Dahlem , Staatliche M u seen Preussi- viously on hand, but that it was made for
scher K u ltu rbesitç, K upferstichkabinett. the purpose of the work in Kansas City.
Inv. N0.4562. The disproportion between the size o f the
youth’s chest and that of his left upper
p roven an ce: Unknown.
arm is noticeable, as is the smallness of
M.Rooses, ‘Œuvres de Ru­
lite r a tu r e : his pelvis and thigh, indicating that the
bens, Addenda’, in R ubens-B ulletijn, V, pp. drawing cannot have been made from a
97-98 (as R ubens); G lü ck -H a b erd itç l, p.37, live model. The origin of the contrapposto
No.73, repr. (as R ubens, c.16 11); B ock- pose is probably to be found in some an­
Rosenberg, I, p.252, N0.4562, fig. 179 (as tique model : Kauffmann, perhaps rightly,
R ubens); H.Kauffmann, ‘Rubens und imagined a lost work which he believed
Mantegna’, in K öln und der N ordw esten. to be also the source of Ghiberti’s Isaac in
Beiträge ç u r G eschichte, W irtschaft und K u l­ A braham ’s Sa crifce o f Isaac, the relief sub­
tu r des R hein-, M a as- und Schelde-Raum es, m itted by him in a competition for the
Cologne, 1941, pp.99-111, republished in Baptistery in Florence.
H.Kauffmann, P eter P a ul R ubens. B ild­ The Isaac in the painting differs in
gedanke u nd K ünstlerische Form , Berlin, some respects from the drawing. The pro­
1976, p.28; R .T.Coe, ‘Rubens in 1614: portions of the nude figure were modi­
The Sacrifice of Abraham ’, The N elson fied; the powerful, elongated torso lost
G allery & A tk in s M u seum Bulletin, Kansas its Michelangelesque features, becoming
City, Missouri, IV, No.7, 1966, p. 12, fig.8 weaker and almost delicate; the pelvis
(as R ubens) ; Id., ‘Rubens’ Sacrifice of Abra­ was made larger and the legs longer.
ham ’, A r t N ew s, Decem ber 1966, p.38, Also, in the painting the right foot almost
fig.5 (as R ubens ); Bernhard, repr. p.211 (as disappears and the loincloth, the end of
R ubens); H.M ielke, in M ielk e-W in n er, which now hangs downward, is wound
PP-5 7-58» N o.15, fig.15 (as R ubens, c .16 11); around the left elbow as if to conceal the

61
 C A T A L O G U E N O . 13

way in which the arm disappears behind scala dorm endo (the corresponding figures
the youth’s back. appearing above the heads of the three
As the painting was executed in c.1613- patriarchs); below on the left, m ark of
1614 (see N o.12) and the drawing was a the Louvre (L.1886); below on the right,
study for it, it must date from the same mark of the collection of P.J.Mariette
period. Van Gelder observed that the (L.1852).
watermark o f the paper is the same as Pa ris, Cabinet des D essins du M usée du
that o f three drawings o f about the same Louvre. Inv. N0.20.222.
date, viz.: A Fem ale N ud e (Psyche), c.1612-
p roven an ce: P.J.Mariette (Paris, 1694-
1615, Windsor Castle ;1 Study fo r the Figure
1774), sale, Paris, 15 Novem ber 1775-
o f C hrist on the C ross, c.1614-1615, British
30 January 1776, lot 1004 (together with
Museum, London ;2 and Study fo r a Flying
No.39 below, and ‘ Q uatre p etits Sujets de la
A ngel, C.1614, Victoria and Albert M u­ V ie de saint Ig n a ce), bought by Joullain.
seum, London .3 »
Rubens kept the study by him and used R ubens, ses m aîtres, ses élèves,
e x h ib ite d :

it again, with modifications, for a fettered dessins du m usée du Louvre, Louvre, Paris,
captive on top of the rear face of the tri­ 1978, N0.7.
umphal arch of Ferdinand, designed in lite r a tu r e : Rooses, V, p.223, N0.1420
1634-1635 for the Joyous Entry of the (as R u b en s); M ichel, R ubens, p.to8, repr.;
Cardinal Infante Ferdinand into Ant­ G lü ck -H a b e rd itfl, N0.40 (as R ubens, early
w erp .4 years in Italy); K .Zoege von Manteuffel,
1. B u r c h a r d -d ’H u ls t, D r a w in g s, pp.109-110, N0.65,
‘Kunstchronik’, in Z eitschrift f ü r bildende
repr.; L on don , 1977, p.6i, No.57, repr. K un st, 1930, p.129; Evers, 1943, pp.202-203,
2. H o ld , D r a w in g s, p .131, No.82, fig.92; L on d on , 1977, fig.217 (as R ubens); G oris-H eld , p.42, un­
p . 66 , N0.64, repr.
3. G liic k -H a b e r d it^ l, p.48, N o.141 (as c. 1622); H eld ,
der No, 107 (as R ubens ); Lugt, C at. Louvre,
D r a w in g s, p .136, N o.102, fig.112 (as C.1Ô22); L on don , École flam ande, II, p.11, N0.1006, pl.XII (as
1977, p .112, N0.152, repr.; J.G.van Gelder, loc. cit., R ubens, before 1608) ; H eld, D raw ings, pp.25,
(as c.1 6 1 4 ).
44, 62 (as R ubens, c .16 12 -16 15 ); A .P. de
4. M a r tin , P o m p a , pp .153-158, Nos.40, 40a, figs.73,74.
Mirimonde, ‘La musique dans les œuvres
flamandes du XVIIe siècle au Louvre’, La
13. Abraham, Isaac and Jacob: R evu e du Louvre, XIII, Nos.4-5, 1963, pp.
Drawing (Fig. 29) 173-174; Vlieghe, Saints, I, p .102, under
N0.70 (as R ubens); J u d so n -V a n de Velde, I,
Laid down. Pen and brown ink and brown pp.95-96, under No.7a (as R ubens, c.1610 );
wash, heightened with white body-colour A. P. de Mirimonde, ‘Rubens et la Musi­
on the ram and the grass below on the que’, Jaarboek K on in klijk M u seum voor
left; sheet, with the inscriptions: 230 x Schone K unsten, A ntw erpen, 1977, pp. 170-
150 m m .; drawing, 165 x1x8 m m .; sev­ 171, fig.64; D e Poorter, Eucharist, I, p.268,
eral inscriptions with the pen in brown under No.2b (as R ubens); Cat. Exh. R u ­
ink in Rubens’s hand: above, D eus A b ra ­ bens, ses m aîtres, ses élèves, dessins du musée
ham D eus Isac D en s Jacob, and below, 1. II du Louvre, Louvre, Paris, 1978, p.25, N0.7,
Patriarca A braham in alto di sacrificante / repr. (as R ubens).
per esser p iu cognoscibile di quella m aniera /
2. Isac si potrd depinger cieco per ehe tal ( si Abraham stands on the left with sword
fe ce in vechiaia j j. Jacob ebbe la visione della in hand, his head upraised, listening to

62
 C V I A I . O G l ' H N O . 13

the voice from heaven forbidding him to short letter to a patron enclosing two
kill his son Isaac. Beside him is the ram sketches and commenting on their icono­
caught in a thicket (Genesis 22: 2-13). In graphy and execution. Rubens writes
the centre of the drawing is the aged apologetically as to the latter, and even
Isaac, plunged in thought, with one arm finds it necessary to emphasize by con­
resting on his knee; he points with a fin­ trast the care with which he will carry
ger to his blind eyes (Genesis 27: 1). On out the final versions if they are commis­
the right is Jacob, leaning on a staff and sioned. W e do not know to whom the
resting his head on his hand ; he is asleep illustrated letter was addressed. Presum­
and dreaming o f the heavenly ladderwith ably there was no final commission, as
angels ascending and descending (Gene­ no further stages of development of the
sis 28: 12). Above, in the clouds, is a choir sketches are known to exist.
o f angels making music in praise of Yah- From the inscription of King D avid
veh.1 In the background is a landscape Playing the H arp (’. ..n ü poi si farebbono
with a low horizon. li dissegni come anco la pitru ra...’) it is
In Rubens’s description at the bottom, clear that the two drawings were sketches
only Abraham is referred to as a patri­ for paintings and not, for example, for
arch. Although this term is used for all book illustrations or tapestries. The pur­
the tribal ancestors o f Israel before M o­ pose of the paintings is unknown. Fivers
ses, it applies more especially to Abra­ believes that they were intended as two
ham, Isaac and Jacob: from the early panels to be placed side by side,4 and in
Middle Ages onwards, these three were view' of the many musical instruments he
often portrayed together. suggested that they might be doors for
As Manteuffel observed,2 Rubens’s an organ.5 This is probable, though not
Isaac was inspired by Michelangelo’sJere­ certain. King David was celebrated as a
m iah in the Sistine Chapel, which he poet and musician, the reputed author of
copied in a drawing now in the Louvre,3 the Psalms; he was a patron of singers
The present sheet no doubt belongs and musicians, and was thus frequently
with another drawing, also in the Louvre depicted on the panels of organ-lofts.6
(N0.39; Fig.87), of K ing D avid Playing the There is some disagreement as to the
H arp. Both represent Old Testament the­ date of the two drawings. Mariette placed
mes; both are by Rubens, with Italian in­ them in Rubens’s Italian period.7 His
scriptions ; and in his note on King D avid view was later shared by Rooses, who
Playing the H arp Rubens speaks of 'questi thought them somewhat cursory in exe­
s c iç ç i’ (in the plural). Moreover, the two cution; by Glück and Haberditzl, who
drawings are pendants to each other : they dated them shortly after moo; and finally
were already so listed in the sale catalo­ by Lugt, who was reluctant to express a
gue o f the P. J. Mariette collection in 1775— precise view but was convinced that in
1776, and the orientation o f the principal any case they dated from before 1608.
figures (Abraham and David) suggests Although none of these authors actually
that the compositions are com plemen­ says so, the fact that the inscriptions are
tary. in Italian was clearly not without influ­
Apart from the inscriptions, there is no ence on their opinion. However, as Ru­
documentary evidence concerning the bens generally corresponded in Italian
two sheets. The texts together form a even after his stay in that country, the

63
 C A T A L O G U E NO. I4

drawings may date from after 1608, and contre de Joseph et de son père Jacob en
they appear on stylistic grounds to do so. Egypte’); P.Gam betta, Lugano (Casta-
Held accordingly placed them between gnola), Switzerland (1972).
1612 and 1615. In my opinion they can
e x h ib ite d : Pierre-Paul R ubens, Tokyo-
best be compared with The Tree o f Jesse
Yamaguchi-Tsu-Kyoto, 1985-86, N0.40
in the Louvre,8 a sketch for a border de­
(French edn.).
coration engraved by Theodoor Galle,
who was paid for it in March 1613; con­ lite r a tu r e : H eld, O il Sketches, p.429,
sequently they may be dated c.1612. under N o.310 (as The M eeting o f Jacob and
1. For the identification o f the angels' instruments see
Joseph, not by R ubens) ; D. Bodart, Cat. Exh.
A. P. de Mirimonde, ‘Rubens et la musique’, loc. P ierre-Paul R ub en s (French edn.), Tokyo-
cit. Yamaguchi-Tsu-Kyoto, 1985-86, p.43,
2. Op. cit., Z eits ch rift f ü r b ild en d e K u n s t, 1930, p.129.
3. L u g t, C a t. L ou v re, É cole fla m a n d e , II, p.22, N0.1043,
N0.40, repr.
pl.XXXVIII.
4. Loc.cit. Evers, however, does not exclude the pos­
sibility that the two drawings were sketches for a
single painting. As he him self points out, however,
In a certificate dated 10 June 1958 and
this would involve the juxtaposition o f two hea­ addressed to Edward Speelman Ltd, Lon­
venly scenes o f more or less the same form , which don, Burchard identified the subject of
seems to me unlikely. Evers also thinks it possible
that, the patron having rejected the sketches with
this painting as The M eeting o f Jacob and
Old Testament figures, Rubens painted two scenes Joseph. He stated that when it was shown
consisting only o f large figures o f music-making to him in 1926 by Dr Hans Wendland in
angels. In this connection he refers to a painting in
Potsdam and an engraving (D e P o o rter, E u ch a rist, I,
Berlin, and again in 1930 when it was in
pp.265-268 [No.2b], 270 [No.3b], figs.102, 103). the Hildebrand Collection in the same
5. F.Lugt shared this opinion (loc. cit.). city, it was called The M eetin g o f Jacob and
6. R é a u , Ico n og ra p hie, II, i, pp.254-255.
7. The catalogue o f the sale o f 15 N ovem ber 1775-
Esau; but Burchard considered that the
30 January 1776, held after M ariette’s death, says great difference in age between the two
o f the drawings: ‘Ils ont été exécutés à Rome'. men embracing each other, and the pla­
S. J u d s o n -V a n d e V e ld e, pp.91-92, N0.6a, fig.48.
cing o f the action on a river-bank, could
hardly be intended to represent that
scene. The M eeting o f Jacob and Joseph ap­
14. The Meeting of Jacob
peared to him more consistent with what
and Joseph(?) : O il Sketch (Fig. 44)
was depicted here. He based his view on
the statement in the Bible that Joseph
Oil on panel (was at some time trans­
was a young man o f only 30 (Genesis 41 :
ferred to canvas and later transferred
46) when reunited with Jacob, who was
back to panel); 50 x 63 cm.
then 130 years old (Genesis 47: 9). As the
Lausanne, Collection o f M . Jean Zanchi,
meeting took place in Goshen in the Nile
p roven an ce: Dr Hans Wendland, Ber­ delta, Burchard thought the recumbent
lin (1926); Hildebrand Collection, Berlin figure on the left of the painting might
(1930; as The M eeting o f Jacob and Esau); be an allegory of the river.
Mrs Anne W ertheimer, Switzerland, But Burchard’s identification is not
who sold it to Edward Speelman Ltd., satisfactory either. He seems not to have
London, in 1958; T. P. Grange, London noticed that the picture not only depicts
(1958); sale, Paris (Palais Galliéra), 29-30 the meeting of two men of different ages,
Novem ber 1968, lot 147, repr. (as 'R e n ­ but that the older man, supported by his

64
 CATALOGUE NO. I5

wife, is giving his daughter in marriage 15. The Reconciliation of Esau

to the younger man. This might be an and Jacob: Drawing (Fig.41)
illustration of a different Old Testament
scene, for instance that in which Caleb, W aterm ark: double C with crown. Be­
in fulfilm ent o f a promise, gave his low Esau’s shoulder the paper is partly
daughter Achsah to his younger brother eaten away by the ink; pen and brown
Othniel as a reward for capturing the ink, 316 x205 m m. Above on the left,
Canaanite town o f Kirjath-sepher (Joshua num ber 10; below on the left, P .P .R u b e -
15:16-19; Judges 1: 11-15).1 On the other n iu s (us abbreviated).— Verse: sheet used
hand, the sketch may depict a m ytholog­ in horizontal form at; in the centre, the
ical scene. m ark placed around 1831 on the draw­
Burchard regarded this work as an im ­ ings from the collection of Friedrich W il­
portant oil sketch by Rubens,2 executed helm I, King of Prussia (/,.1631); below
with a view to a large painting, and he on the right, Z 3241 in black pencil, cut
described how the sketch was built up: off by the margin.
first some outlines slightly indicated in Berlin-Dahlem , Staatliche M useen Preussi-
pencil, then the brush modelling in scher K ulturbesitç, K upferstichkabinett. Inv.
brown and white with some touches of N o.3241.
bright colour. The clear distinction be­
tween principal and secondary figures, p roven an cb : Matthäus Merian the
Younger (Frankfurt am Main, 1621-1687);
the roughly brushed landscape in con­
trast to the well-defined men and women Elector Friedrich W ilhelm of Branden­
suggested to Burchard a late date, be­ burg (1620-1688); Friedrich W ilhelm I,
tween 1630 and 1640. King of Prussia (1688-1740); in the eigh­
fn m y opinion the sketch is unlikely to teenth Century in the Royal Library, Ber­
lin; since 1814 in the Akademie der
be by Rubens’s hand. No painting based
on it is known. Künste; transferred in 1831 to the Royal
Printroom, which was founded in that
year.

e x h i b i t e d : Berlin, u r i , No.27; E x Biblio­

theca Regia Berolinensi, Berlin, 1982, N o.37.
1. The cuirass worn by the young man, and the atten­
dant warriors, may allude to the capture o f Kirjath- Rooses, V, pp.223-224 (No.
lite r a tu r e :
sepher. The water in the foreground, and the river 1421), 243, under No. 1465, 246-247, under
god seated on the left, could be a reference to the
fact that Caleb granted his daughter, at her request,
No. 1473 (as R ubens) ; Bock-Rosenberg, p. 124,
a well-watered area in addition to the land he had N o.3241 (as Van D yck); F.Lugt, ‘Beiträge
already assigned to her (Joshua 15:19). The donkey zu dem Katalog der Niederländischen
on the right may recall the fact that she was riding
Handzeichnungen in Berlin’, Jahrbuch der
on an ass when she made her request to Caleb, be­
fore going off with her husband (Joshua 15:18). Preussischen Kunstsammlungen, LII, 1931,
2. As appears from a certificate o f 1925, W ilhelm von p.144, figs.10, 10a (as R ub en s ); H.Konow,
Bode also regarded the painting as an autograph oil
‘Eine Zeichnungssammlung aus dem Be­
sketch by Rubens; Jaffé agreed, according to the
catalogue o f the sale in Paris (Palais Galliéra) in sitz Matthäus Merians des Jüngeren’, Ber­
1908. Held (loc. cit.), on the other hand, does not liner M useen, LXI, 1940, pp.61-62, repr. on
believe it to be by Rubens himself; he thinks it
cover (as R ubens) ; B u rch a rd -d 'H u lst, D raw -
m ight be a copy o f a late w ork, but even that he
considers unlikely. in gs, pp. 133-135, figs.Bor, 8ov (as R ubens);

65
C A T A L O G U E NO . I5

M.Jaffé, ‘Rubens as a Draughtsman’, B u r­ ters in symmetrical attitudes, with a small

lington M a g a zin e, CVII, 1965, p.379 (as group o f figures and animals behind
riccordo by V a n D y ck ); J. M üller Hofstede, each.
Review o f B u rch a rd -d ’H u lst, D raw in gs, in Above the figure of Esau appears an
M a ster D raw ings, 4 , 1966, pp.448-449, un­ outline sketch of a man in a toga: this
der N0.80 (as R ubens, c .1626-1628); M.Jaf­ figure does not belong to the R econcilia­
fé, Van D y ck ’s A n tw erp Sketchbook, Lon­ tion, and was sketched by Rubens before
don, 1966, II, p.239 under 55V, fig.CLVI he drew the present scene.
(as riccordo by V an D yck); Bernhard, repr. The drawing was already listed as R u ­
p.269; H.M ielke, in M ie lk e-W in n e r, p p .76 bens in the catalogue, drawn up c.1780, of
to 77, N0.27, figs.27r, 27V (as R ubens) ; H eld, the collection of Friedrich W ilhelm I,
O il Sketches, pp.384, under N0.286, 428, King of Prussia, then in the Königliche
under N0.310 (as R ubens, c. 1617-1619); Bibliothek. This catalogue was the work
M.Jaffé, Review o f H eld, O il Sketches, in of the librarian, Friedrich W ilhelm
A pollo, CXV, 239, 1982, pp.62-64. Stosch, who, according to Helma Konow,
generally took over the attributions from
Matthäus Merian the Younger, a form er
The rivalry between Esau and Jacob, the owner o f the sheet.2 Rooses, too, regarded
twin sons of Isaac and Rebekah, was the the drawing as by Rubens. Bock and Ro­
main feature o f their history. Having senberg, on the other hand, catalogued it
persuaded his brother to sell him his in 1930 on stylistic grounds as an early
birthright for a mess o f pottage, Jacob, work by Van Dyck. Jaffe still accepted
with his m other’s connivance, sought a this in 1965 and 1966, although Lugt in
blessing from Isaac in Esau’s place. There­ 1931 had already shown good grounds for
after Esau’s anger obliged him to flee to reassigning it to Rubens. The attribution
Mesopotamia, where he served his uncle to Rubens was upheld by Burchard-
Laban and married the latter’s two d’Hulst, M üller Hofstede, M ielke and
daughters, Leah and Rachel. After falling Held.
out w ith Laban he took his wives and Rubens drew the Reconciliation on the
children with his flocks and herds to upper half o f the sheet, the lower half
Canaan, where he was reconciled with being occupied by a rather less careful
Esau (Genesis 27, 28). rendering o f G aius M u ciu s Scaevola before
The news o f Esau’s approach with four Porsenna. The two drawings are without
hundred men at first put fear into Jacob, question by the same hand, and the
so he resolved to offer his brother a large style shows them to be o f the same date,
part o f his herds and to protect his wives C.1616-1618. However, they are not stu­
and children as far as he could. But his dies but ricordi: this is shown by the style
fear was unfounded: as the drawing o f drawing and the very unusual fact
shows, Esau, seen here in armour and that two drawings of compositions ap­
accompanied by warriors,1 ran forward pear on a single sheet. The Reconciliation
to embrace Jacob, who bowed before drawing, which differs in composition in
him, standing at the head o f his family many respects from the sketch in the Na­
and surrounded by his flocks and herds. tional Gallery o f Scotland, Edinburgh
Rubens situates the meeting in the fore­ (No.ióa; Fig.43), as w ell as from the large
ground and places the two main charac­ canvas in the Staatsgalerie, Schleissheim

66
 CATALOGUE NO. 16

(N0.16; Fig.42), both painted c.1625-1628, (Sotheby), 25 July 1973, lot 109; (3)
shows that Rubens was also occupied with Anonymous drawing, Vienna, Albertina;
this theme towards the end o f the second 381 x 295 m m .; (4) Anonymous drawing,
decade of the century. It is noteworthy Kunstsammlungen Veste Coburg, Inv.
that a Reconciliation (the canvas now in N0.Z4456; 4 0 1x4 0 1m m .; (5) Anonym ­
Schleissheim) and a G ains M u ciu s Scaevola ous painting (the group of the woman
before Porsenna, according to Cruzada Vil- with the two children only), Rinaldo
laamil,3 were in 1636 in the same hall of Schreiber, Brescia (1963); panel, 42 x
the Alcazar, Madrid, and were among the 32 cm .; (6) Anonymous drawing (the
eight paintings that Rubens took to Ma­ group o f the woman with the two chil­
drid in 1628. dren only), Stedelijk Prentenkabinet,
On the reverse of the sheet is a drawing Antwerp, Inv. No. A .XVI.4; 260 x 197 mm.
o f M eleager Presenting the H ead o f the Caly- p rov. Van Marie and De Sille, sale,
donian Boar to A ta la n ta (Ovid, M etam or­ Rotterdam, 1891 (130 florins); Max
phoses, 8: 260-546), Rooses, Antwerp, l i t . Rooses, V, p.224,
N o.1422, pl.405; Delen, pp.68-69, N o.199;
1. A similar group o f a personage in armour with a
horse behind him and accompanied by warriors (7) Anonymous drawing (the group of
occurs in A b r a h a m a n d M e lc h iç e d e k , c.1015, in the the woman with the two children only),
Caen M useum (N0.17; Fig.31).
whereabouts unknown; 282 x200 mm.
2. H.M ielke, loc. cit.
3. C r u ç a d a V illa a m il, pp.306-307, 380. p r o v . sale, London (Christie’s), 30 March
1971, lot 142; (8) Anonymous drawing
(the armour of Esau only), Copenhagen,
16, The Reconciliation of Esau Printroom (‘Rubens Cantoor’, N0.VI69);
and Jacob (Fig. 42) (9) Anonymous drawing (the two oxen,
at the right of the picture), Copenhagen,
Oil on canvas; 331 x 282 cm. Printroom (‘Rubens Cantoor’, N o.V I86);
Schleissheim , Staatsgalerie. (10) Anonymous drawing (the head of the
horse), Copenhagen, Printroom (‘Rubens
p roven an ce: Royal Palace, salon nuevo,
Cantoor’, N0.VI83). (11), (12), (13), (14), (15), (16)
Madrid, since 1628; Johann-Wilhelm of
Neuburg (Düsseldorf Gallery), since 1694;
lite r a tu r e : F.Pacheco, A rte de la Pin-
from there to Munich in 1806. Alte Pina­
tura (1638), ed. F.J. Sanchez Canton, Ma­
kothek, Munich (Inv. N0.1302).
drid, 1956, I, p .153; G.J.Karsch, D ésigna­
c o p i e s : ( i ) Anonymous painting, A m ­ tion exacte des p eintures dans la G alerie Elec­
sterdam, Rijksmuseum (on loan to the torale de la résidence à D üsseldorf, Düssel­
Rijksmuseum Muiderslot, Muiden, since dorf, 1719, N o.171 ; J. van Gooi, D e nieuw e
1922); panel, 32 x33 cm. l i t . Rooses, I, Schouburg der N ederlandsche K unstschilders
p .137, under No.io9bis; P.J.J.Van Thiel en Schilderessen, The Elague, II, 1751^.543 ;
a.o., A lle schilderijen van het R ijksm useum Catalogue des tableaux qui se trouvent dans
te A m sterdam , Am sterdam , 1976, p.486, les G aleries du Palais de S .A .S .E . Palatine à
N0.A346, repr.; C.W right, Paintings in D ü sse ld o r f Mannheim, 1760 , p.20, No.37;
D u tch M useum s, London, 1980, p.396; M ichel, H istoire, p.302, N0.37 ; N. de Pigage,
(2) Anonymous painting, whereabouts La G alerie Electorale de D ü sse ld o rf ou C ata­
unknown; panel, 64x49 cm. p r o v . logue raisonné et fig u ré de ses tableaux, Basle,
?Julius Singer (1957). sale, London 1781, pp.268-269, No.254; Sm ith, Catalogue

à7
CATALOGUE NO. I6

R aisonné, II, p.68, N0.201 ; C ru ça d a V illa- This painting, with seven others, was
am il, pp.306-307, 380; F. von Reber, K ata­ commissioned from Rubens by Philip IV
log der G em äldesam m lung der K . älterer of Spain through his aunt, the Arch­
Pinakothek ç u M ü nchen , Munich, 1888, duchess Isabella, for the royal palace in
p.153, N0.751; Rooses, I, pp.128-136 (No. Madrid.1 Rubens brought the eight works
108), 136-137 (No.109) (as ‘p a r u n élève et with him, or had them forwarded, when
retouché p a r le m aître, les an im au x sont de he went to Spain in 1628,2 and they were
W ild en s’ ; 16 15 -16 2 0 ); V, p.312, N o.109 hung in the ‘salon nuevo’ o f the palace.
(as ‘ les retouches d u m aître sont im portan­ The R econciliation o f Esau and Jacob figures
tes’ ); H.Knackfuss, R ubens, Bielefeld- in the palace inventory of 16363 and again
Leipzig, 1898, pp.86-87, fig.88 (as R ubens); in that of 1686,4 but not subsequently. In
K .d .K ., eân. Rosenberg, pp.119, 470 (as 1694 Charles II o f Spain sent it as a gift
‘eine von R ubens retouschierle Schüler a rbeit’, to his brother-in-law Prince Johann W il­
16 15 -16 18 ); T .Levin, ‘Beiträge zur G e­ helm o f Neuburg,5 who reigned from
schichte der Kunstbestrebungen in dem 1690 to 1716 and created the Düsseldorf
Hause Pfalz-N euburg’, Jahrbuch des D ü s ­ Gallery. The painting was removed from
seldorfer Geschichtsverein, XX, 1906, p.236 that Gallery to Munich in 1806.6
(as R ubens); K .d .K ., p.290 (as R ubens, 1625 A preliminary oil sketch by Rubens is
to 1625); Cat. Ältere Pinakothek M ünchen, in the National Gallery o f Scotland, Edin­
Munich, 1936, p.211, N0.1302 (as ‘Schüler­ burgh (No.i6a; Fig.43). This bears a close
arbeit’) ; V an Puyvelde, Esquisses, p.70, un­ resemblance, as far as essentials are con­
der N0.21 ; Y. Bottineau, T Alcâzar de M a­ cerned, with the ricordo drawing o f 1616-
drid et l’inventaire de 1686 (suite)’, B ulle­ 1618 in the Printroom of the Museum at
tin H ispanique, LIX, 1957, p.41 ; B u rch a rd - Berlin-Dahlem (No.15; Fig.41). However,
d ’H u lst, D raw ings, p.134, under No.80 (as the painting (in which the studio may
R ubens, 162 5-1628 ); J.M.Brown, ‘On the have had some hand) and the oil sketch
Origins of ‘‘Las Lanzas” by Velasquez’, are of later date, c. 1625-1628.
Z eitschrift f ü r Kunstgeschichte, 27, Heft 3-4, In converting the work from an oil
1964, p.243, fig-3 (as R ubens); J.M üller sketch to a large painting, Rubens made
Hofstede, Review of B u rch a rd -d ’H u lst, only minor changes. Their chief purpose
D raw in gs, in M a ster D raw ings, 4, 1966, was to compress the group formed by
p.448 (as R ubens, c .1626-1628); S.N.Orso, Jacob and his companions into a triangle
In the Presence o f the “ P lan et K in g” : Studies with Jacob at the apex: this was achieved
in A r t and Decoration at the C o u rt o f mainly by adding a third camel and plac­
P h ilip I V o f Spain, Princeton (Diss. Ph.D.), ing the kneeling woman closer to Jacob.
1978, pp.62, 79, 257; M. Crawford Volk, Rubens also moved the two brothers
'Rubens in Madrid and the Decoration of closer together, to stress the theme of
the Salon Nuevo in the Palace’, Burlington their reconciliation.7 In addition he placed
M a g a zin e, CXXII, 1980, p.176, fig.27 ; H eld, some birds in the rather em pty sky, and
O il Sketches, p.428, under N0.510 (as R u ­ enriched the dress of the kneeling woman
bens, in or shortly after the m id 1620s). with a piece o f drapery hanging over her
back and touching the ground.
The R econciliation o f Esau and Jacob is re­
For a description of the subject and its miniscent of other works by Rubens in
origin, see N o.15. which two personages with their suites

68
 CATALOGUE NO. l6a

are shown as meeting with greater or less Reder for 100 gns). Burchard noted that
solemnity, but always with warmth and it was a copy.
tenderness. Important examples are: The
1. B a lis, H u n tin g S cenes, p.iKo.
M eeting o f A braham and M elchiçedek, tap­ 2. F.Pacheco, loc. cit.; C ru ^ a d a Villa a m il, p.380;
estry, c. 1626-1628, Madrid, Convent o f the C.Justi, D ieg o V e la ç q u e ç , I, Bonn, 1022, pp.2155-256,
Descalzas Reales;8 The M eeting o f David p.257 n.i.
3. C r u ç a d a V illa a m il, pp.306-507; S.N. Orso, op. cit.,
and A big ail, c.1630-1632, Malibu, Califor­
p.257.
nia,]. Paul Getty Museum (N0.41 ; Fig.90) ;9 4. C r iiç a d a V illa a tn il, p.307; V.Bottineau, loc. cit.,
and The M eeting o f F erdinand, K ing o f H u n ­ p.41, No.66,
5. Y.Bottineau, loc. cit., p.41, under N0.66; Id., 'A
gary, and the C ard in al Infante Ferdinand, propos du séjour espagnol de Luca Giordano', C o ­
c.1634-1635, Vienna, Kunsthistorisches le t t e d es B e a u x -A r ts, Sixth Series, LVI. 1060, pp.252-
Museum.10 253 .
6. Cat. A lte r e P in a ko th ek M im ch en , Munich, 1036,
The kneeling wom an as she appears in
p.XX.
the painting (not in the oil sketch) is lit­ 7. H eld , O il Sketch es, loc. cit.
erally repeated in Latona T urn in g the Peas­ 8. D e P o o rter, P u ch a rist, pp.282-285, N0.7, lig.tio.
9. J .S .H e ld , Flem ish a m i O erm a n P a in tin g s o f the 17th
ants into Frogs, a work of the School of C entury. T h e C ollection s o f the D etroit In stitu te o f
Rubens (?Jan Boeckhorst and Jan Wil- A r ts , Detroit, 1982, pp.87-00.
dens), now in the Alte Pinakothek in to. K .d .K ., p.363; M a r tin , P o m p a , pp.57-63, fig. 13.
11. Inv. No.307; canvas, 120X 228 cm.
M unich."
12. Inv. No.237 (attributed to [an van den Hoecke);
A painting of The Reconciliation o f Esau canvas, 237 x 378 cm.
and Jacob in the Groeninge Museum in 13. Inv. N0.762 (attributed to 'Jan van Boeckhorst');
panel, 58.4 x 87 cm. Engraved by A.J.von Prettner
Bruges,12 and the preparatory oil sketch
(V.S., p .5, N0.31); the engrac ing served as an illus­
for it in the Kunsthistorisches Museum in tration for the 1728 catalogue of the Imperial col­
Vienna,'3 were regarded by Burchard, lections in Vienna. See I I.VIieghe, 'Erasmus Q uel­
linus and Rubens's Studio Practice', B u rlin g ton
rightly in m y opinion, as School of Ru­
M a g a z in e , CXIX. to77, p.643, iig.57.
bens. Vlieghe,'4 who attributes the paint­ 14. H .Vlieghe, op. cit., pp.640. 043, ligs.51-53.
ing to Erasmus Quellinus, believes that
Rubens retouched it somewhat (the heads
o f the five soldiers), and that the oil sketch
16a. The Reconciliation of Esau
in Vienna is a copy of a lost elaborate oil
and Jacob: O il Sketch (Fig.43)
sketch by Rubens.
In the C atalogue R aisonné des diverses
A piece of wood, c.6 cm. wide, has been
curiosités du Cabinet de fe u M . Q uentin de
added at the top; at the lower left is
Lorengère . . . p a r E .F .G ersa in t, Pa ris,
a fine horizontal crack; panel, 48.8 x
M .D C C X L I V [17 4 4 ]; note: les C uriosités
40.3 cm.— Verso: an oval red seal, 2.5 cm.
seront vendues le Lun di deuxièm e M a rs 1744
long and unidentified, is applied to the
et jo u r s suivants, we find on p.16, lot 63:
panel.
Un Tableau de l’Ecole de R ubens, représen­
E dinburgh, N ational G allerv o f Scotland.
tant Jacob et Esaii, de 26 pouces trois quarts
Inv. N0.2397.
de large, su r 20 pouces trois quarts de haut
[56.17 X 72.41 cm.]. p roven an ce: ?Charles-Antoine Coypel
A ‘Reconciliation o f Esau and Jacob— on (1694-1752), sale, Paris, 1753, lot 23;
pan el— i f f in. by i f f in .’ was sold as by J.D.Lem pereur (Paris, 1701-1779), sale,
Sir P. P. Rubens at Christie’s, London, Paris (dir. Boileau and Joullain), 24 May
r February 1957, lot 3 1 (bought by D. 1773 et seq., lot 29 (purchased by Boileau,

69
C A T A L O G U E NO. l6a

one of the auctioneers; 3,600 fr.); Prince Saint-Winoc. l i t . Catalogue des peintures

de Conti, sale, Paris, 8 April 1777, lot 242 du M u sée de D unkerque, Dunkirk, 1976,
(purchased by Remy); M .de Beaujon, p.59, N0.447; (3) Anonymous painting,
sale, Paris, 25 April 1787, lot 23; Robert whereabouts unknown; panel, 48.5x
de Saint-Victor, sale, Paris, 26 Novem ber 39.5 cm. P R O V . J.J.M .Chabot, sale, The
1822, lot 27 (purchased by Nieuwenhuijs; Hague (Van M arie and Bignell), 1 Sep­
810fr.) ;John Smith, owned it between 1822 tem ber 1942, lot 25; probably identical
and 1831 (see Sm ith, Catalogue R aisonné, with a painting at Goudstikker, Am ster­
II, p.183, under N0.639); R.F.Reinagle, dam, C.1943, N0.6265. l i t . H eld, O il Sketch­
sale, London (E.Forster), 6 M ay 1831, es, p.429; (4) Anonymous painting, Prince
lot 55 (70 gs); Robert Hamilton, Bloom ­ Colonna, Rome. lit . H. Hymans, ‘Zur
field House, Norwood, Surrey, sale, Lon­ neuesten Rubensforschung’, Zeitschrift fü r
don (E.Forster), 16 March 1832, lot 193; bildende K un st, N.S., IV, 1893, p.14; E. A.
H .A.J.M unro of Novar, sale, London Safarik, G alleria Colonna in Rom a. D ip in ti,
(Christie’s), 1 June 1878, lot 87 (purchased Rome, 1981, pp.119-120, repr. (5) En­
by A .Levy; £325 rós); A lbert Levy, sale, graving, in reverse, by Peter de Balliu,
London (Christie’s), 3 May 1884, lot 44 with a dedication, dated 24 February 1652,
(purchased by Lesser; £299 5s); Mrs San- by the painter Johannes de Heem to the
dars, mentioned under No. 16 as a former collector Maerten Kretser (Amsterdam,
owner in the catalogue of A Loan E x h ib i­ 1598-1669).1 l i t . V .S ., p.5, N0.30; Rooses,
tion o f Flem ish O ld M a sters, Milton Gal­ I, p .136, under N o.109 (erroneously as
leries, London, Decem ber 1944; Anony­ after the p ain tin g in M u n ich ).
mous sale, London (Christie’s), 1 June
ex h ibited Exhibition o f W orks by the O ld
:
1934, lot 82; Sir Felix Cassel, Bart., K.C.,
M asters. W in ter Exhibition , Royal Academy
Luton, Bedfordshire, sold by him D e­
of Arts, London, 1908, N0.73; Brussels,
cember 1944 to Baron Paul Hâtvany, Lon­
1Ç3J, N0.1; A Loan E xhibition o f Pictures
don; acquired by The National Gallery
by Flem ish O ld M a sters, Milton Galleries,
of Scotland in 1980.
London, 1944, No. 16.

c o p i e s : ( i ) Anonymous painting, where­ lit e r a t u r e : Sm ith, Catalogue Raisonné,

abouts unknown; panel, 46.5x40.5 cm. II, p.183, N0.639; IX, p.311, N0.241; Waa­
p R o v. Sternberg sale, London (Christie’s), gen, Treasures, II, p. 136; Blanc, Trésor, I,
25 February 1928, lot 61 (bought by Sa- p.377; W .Frost and H.Reeve, Catalogue o f
ville Gallery, London; £1,312 10s); M ark the Paintings . . . i n the collection o f the late
Farquhar Oliver, Richmond ; Gallery Dur- H ugh A n d rew Johnstone M u n ro , E sq., o f
lacher, New York; Academy of Fine Arts, N ovar, London, 1865, p.44, N0.169; Rooses,
Honolulu; auctioned in New York. l i t . I, p .137, No.io9bis (as R ubens, c .i ó i y -
V an Puyvelde, Esquisses, p.70, under No,21 162 0); V, p.312, No.io9bis; V an Puyvelde,
(he thought the Durlacher picture to be Esquisses, p.70, N0.21 (as R ubens, c.16 18 );
different from the one in the Oliver Col­ J. M üller Hofstede, Review of B u rcha rd -
lection); G oris-H eld, Appendix, p.49, No. d ’H u lst, D raw ings, in M a ster D raw ings, 4,
A38; H eld , O il Sketches, p.429, under 1966, p.448, under N0.80 (as R ubens, 16 2 6 -
N0.310; (2) Anonymous painting, Dun­ 1628); H eld, O il Sketches, pp.427-429,
kirk, Musée des Beaux-Arts; panel, N0.310, fig.312 (as R ubens, c . i 624-1626);
73.5 x56 cm. P R O V . Bergues, Abbaye J. S. Held, ‘Rubens’ Oelskizzen. Ein

70
 CATALOGUE N O . 17

Arbeitsbericht’, in Peter P a ul R ubens. Macrten Kretser see Lugt, Ttali.iansche kunstwer­

ken in Nederlandschc verzamelingen van vroeger
W erk u nd N achruhm , Munich, 1981, p.55. tijden’, O u d H o lla n d , 1936, p .n o.
2. H eld , O il S ketch es, pp.428-429.

This oil sketch, painted by Rubens c. 1625-

1628 in preparation for the large canvas 17. Abraham and Melchizedek
now in the Staatsgalerie, Schleissheim (Fig- 3 1)
(No. 16; Fig.42), shows a close resem­
blance, as far as essentials are concerned, O il on panel (transferred to canvas);
to the ricordo drawing of c.1616-1618 in 204 x 250 cm.
the Printroom of the Museum at Berlin- C aen, M u sée des Beaux-A rts. Inv. No. 172.
Dahlem (No.15; Fig.41). W hile it may be
p ro ven an ce: Purchased for 6000 fl.
assumed that Rubens used that fairly
from the Du Bois family by the dealer
simple drawing years later as the basis for
Gerard Hoet for Landgraf W ilhelm VIII
his oil sketch, the latter differs from it in
o f Hesse-Kassel in 1749, and came to
many respects: reflecting the develop­
Kassel on i June 1750; Gemäldegalerie,
ment of Rubens’s style, it is richer and
Kassel; in 1806 removed as war booty to
subtler in composition and in psycholog­
France by Denon, Director o f the Musée
ical expression. The encounter o f the two
Napoléon; transferred to the Musée de
brothers is moved further towards the
Caen in 1811.
background: this is achieved by placing
the kneeling woman who was originally c o p i e s : (i) Anonymous painting, where­
behind Jacob in the foreground, as well abouts unknown; panel, 56x70.5 cm.
as a goat, a sheep and a ram— in the p r o v . Sale, London (Sotheby’s), 28 July
drawing, these animals were suggested in 1976, lot 129, bought by J.M .B.Gutt-
the background.2 In addition Rubens re­ mann Galleries, Los Angeles; (2) Anony­
placed the horizontal m ovem ent of the mous painting, after W itdoeck’s engrav­
composition by a diagonal one from up­ ing, whereabouts unknown; panel, 81 x
per left to low er right, via the figures of 63 cm. p r o v . Alphonse Kann (Paris) sale,
Esau (red and black), Jacob (blue and N ew York, 7 January 1927, lot 74; in 1952
green), and the kneeling woman (gold in a private collection, Zürich; (3) Anony­
and yellow), contrasting with the neutral mous painting (fragment: the crouching
colours o f the elements around them. man), whereabouts unknown; canvas,
Jacob is thus seen kneeling submissively 8 1x 6 2 cm. p rov. Dutartre sale, Paris,
before his brother, to whom Rubens has 19 March 1804 et seq., lot 46; Prince Au­
in addition given a stronger and more guste d ’Arenberg. l i t . C.Spruyt, Litho­
martial aspect than in the drawing. Two graphies d ’après les p rin cip a u x tableaux de
figures and a cow, added to Jacob’s suite, la collection de S .A .S . M onseigneur le Prince
compensate for the imbalance caused by A u g u ste d ’A renberg, avec le catalogue des­
the greater importance given to Esau in crip tif, Brussels, 1829, p .13, N0.70; Sm ith,
terms of dimensions and colour. C atalogue R aisonné, II, p.265, No.897 (as a
study); W .Burger, G alerie d ’A renberg,
i. ‘Dom ino Martino Kretser, Artis Pictoriae admira­ Brussels, 1859, p.77; Rooses, IV, p.87,
tori ac patrono uno unico, hanc cultus et obser­
N o.857 (as ‘ une étu d e’); (4) Anonymous
vantiae sue indicem tabulam Joannes de Heem
Dicat Consecratque Antverpiae, 24 1'ebr. 1052’. l or drawing, after W itdoeck’s engraving,

71
C A T A L O G U E N O . 17

whereabouts unknown; pen and brown Les chefs-d’œ uvre des musées de France. La
ink and brown wash, heightened with P ein ture, I, Paris, 1900, p.92, repr.; R.A.
white body-colour, 2,90 x 460 m m . p r o v . Peltzer, ‘Reisebriefe aus französischen
Sale, Amsterdam (De Vries), 26-27 June Provinzgalerien’, Blätter f ü r Gem äldekunde,
1928, lot 247, pl.XIII; (5) Engraving by 1912, p.107; G.M enegoz, Catalogue des
Hans W itdoeck (in reverse), dated 1638; tableaux, sculptures, dessins, gravures et
inscribed : P. P. R ubens p in x it / H . W itdou c aquarelles . . . d u M usée de Caen, Caen, 1913,
sculp. A 0 1638 (left); C um p rivileg iis Regis pp.32-33, N0.109; K .d .K ., p .n o (as R u ­
C hristianissim i j P rincipum Belgarum , et bens, c.16 13 ); L.Burchard, in O ld M a ster
O rd . Bataviae (right); letter: M elchisedech D raw in gs, II, 1927, P-39 (as R ubens, 1613);
R e x salem proferens panem et vinu m : erat Lugt, C at. Louvre, École flam an de, II, p.19,
enim sacerdos D ei altissim i, b en edixit ei / E t under N o.1030 (as R ubens, c.16 13 ); B ur­
d ix it benedictus A braam Deo excelso qui chard, 1930, p.59, under N0.53 (as R ubens,
creavit Coelum et Terram , l i t . V .S ., p.4, C .1618); B u rch a rd -d ’H u lst, Tekeningen, pp.
N0.22; Rooses, I, p.120, under N0.100; V, 62,63, under Nos.59,60 (as R ubens, c.16 13 ) ;
p.146, under N0.1339; Bodart, p.143, H. Vogel, K atalog der Staatlichen G em älde­
N0.305, repr.; R enger, p.116, N0.80. A galerie z u K assel, Kassel, 1958, p.12; H eld,
m odel drawing for this engraving in the D raw ings, pp.109, under No.36, 128, un­
Albertina, Vienna (No.i7b; Fig.33), was der N0.75 (as R ubens, c.16 13 ); B u rch a rd -
retouched by Rubens, as were proofs now d ’H u lst, D raw in gs, pp.151-153, under
in the Hermitage, Leningrad (No.17c; N 0 .91,161, under N0.96 (as R ubens, 1618);
Fig.34), and in the Rijksprentenkabinet, M a rtin , C eiling Paintings, pp.64, under
Am sterdam (No.i7d; Fig.35). (6) N0.3, 77, under N0.7 (as R ub en s ); E.Her-
zog, D ie Gem äldegalerie der Staatlichen K un st­
e x h ib ite d : Brussels, 1910 , No.353; Paris,
sam m lungen K assel, Hanau, 1969, pp.21-22
19 7 7 -7 8 , N0.120.
(as R ubens ); K. Renger, ‘Planänderungen
: S.Causid, V erzeichnis der
l it e r a t u r e in Rubensstichen’, Z eitschrift f ü r K u n st­
hochfürstlich-H essiscken Gem älde-Sam m lung geschichte, XXXVII, 1974, pp.9-13, fig.5;
in C assel, Kassel, 1783, p.29, N0.97; Sm ith, D e Poorter, Eucharist, pp.284, under N0.7,
Catalogue R aisonné, II, p .iio , N o.376; 286, under No.7a (as Rubens); H eld, Oil
G.Mancel, N otice des tableaux com posant Sketches, pp.30 (under N0.4), 40 (under
le m usée de Caen, Caen, [1851], pp.30, 31, N0.8), 145 (under N0.92), 315 (under
N0.84; L. Clém ent de Ris, Les M u sées de N0.228); O. Millar, Cat. Exh. V an D y ck in
Province, Paris, I, 1859, pp.157-158; II, England, London, National Portrait Gal­
1864, p.112; C .A .vo n Drach, ‘Nachtrag lery, 1982-1983, p.43, under No.3.
zur Geschichte der Casseler Gem älde­
galerie’, inO, Eisenmann, Katalog der könig­
lichen G em älde-G alerie ç a Cassel, Kassel, The scene depicts the meeting of Abra­
1888, p.LII; C .A .vo n Drach, ‘Briefe des ham and the royal high priest Melchize-
Kunstsammlers Antoine Rutgers an den dek, after Abraham ’s return ‘from the
Landgrafen W ilhelm VIII. von Hessen’, slaughter o f Chedorlaomer and the kings
O u d H olland, VIII, 1890, p.189; Rooses, I, that were with him, at the valley o f Sha-
pp.119-120, N0.100, pl.27 (as R ubens, veh’. This meeting is described in Gene­
c .1623); III, p.203; IV, p.87, under N0.857; sis 14: 18-20 as follows: ‘And Melchize-
V, pp.145-146, 313 (No.i2obis); L.Gonse, dek, King of Salem, brought forth bread

72
 CATALOGUE NO . I7

and wine: and he was the priest o f the The composition strongly resembles
most high God. And he blessed him, and that of the woodcut of the same subject
said, Blessed be Abram of the most high in Tobias Sum m er’s Neue K ünstliche F igu ­
God, possessor o f heaven and earth. And ren Biblischer H istorien, published at Basle
blessed be the most high God, which in 1576 (Fig.30).3 Rubens was w ell ac­
hath delivered thine enemies into thy quainted with this Bible picture-book: in
hand. And [Abraham] gave him tithes of his youth he had drawn copies of several
all’. figures or groups of figures from it, in­
In the Middle Ages M elchizedek’s of­ cluding the two protagonists of Sum ­
fering of bread and wine was regarded m er’s A braham and M elchized ek.4 It is thus
by theologians as a préfiguration o f the not surprising that the composition o f the
Last Supper and the institution o f the painting at Caen broadly reproduces that
Eucharist. Typological thinking was still o f Stim mer’s model, though in reverse
very much alive in the seventeenth cen­ direction. The figure of the laden servant
tury. Typology was used by the Counter- behind Melchizedek also recalls Stim­
Reformation to defend Catholic views mer. On the other hand, the painting has
against Protestant attacks. In painting, features in common— as regards the fig­
Melchizedek’s offering became one o f the ures, for instance the servant carrying the
most frequent Types’ of the Last Supper. basket of loaves— with Maarten de Vos’s
Melchizedek him self prefigures Christ, picture of the same subject of 1602, now
the royal high priest of the New Cove­ in the collection of Dr E.Schapiro in Lon­
nant.1 Abraham giving the tithes to M el­ don;5 it is not impossible that the latter
chizedek prefigures the offerings o f the work is also based on Stimmer’s woodcut.
Magi to the infant Christ.2 Naturally, under the influence o f models
Melchizedek advances towards Abra­ later seen in Italy, Rubens gave the pic­
ham from the right and welcomes him ture an air of its own, distinguished by
with outstretched arms. He wears a monumental splendour of forms and col­
priestly robe with a richly embroidered ouring.
chasuble over it; on his head is the papal There is no documentary evidence as
cam auro, a fur-trimmed red cap, with a to the date or purpose of the painting. In
laurel wreath around it. Behind him are view of the subject, it may w ell have been
three dignitaries, one wearing a turban, intended for a Chapel of the Holy Sacra­
and beside him are two youths distribut­ m ent in one of the many churches in and
ing loaves to Abraham ’s followers. A around Antwerp. As to the date, Bur­
half-naked man brings forward a basket chard in 1927 placed it around 1615 ;6
full of loaves, and another, almost naked, later, in 19507 and 1963,8 he amended this
puts a huge wine-jar down on the floor; to C.1618. His reason for so doing was the
beside him is a dark-skinned servant publication by J.Sthyr in 1936 of a draw­
holding up Melchizedek’s train. Abra­ ing in the Printroom in Copenhagen
ham is in armour, with a general’s short (No. 17a; Fig.32)9 which comprised two
cloak over it; he is accompanied by two studies for a St Andrew and also one for
warriors and two youths, one holding his the figure of Melchizedek in the Caen
horse. The scene takes place in an archi­ painting. Since Sthyr connected the
tectural setting with Melchizedek em er­ St Andrew studies with the fishmongers’
ging from a city gate, temple or palace. triptych (The M iracu lous D raught o f Fishes)

73
CA TA LO G U E NO. IJ

in the Church o f Our-Lady-across-the- though in a different pose. But Rubens

Dyle at Malines,10 and since the latter m ay also have made variants o f drawings
work was commissioned in February 1618, already to hand, adapting them to the
Burchard concluded that A braham and new painting. A copy drawing in the
M elch ized ek must have been painted at Printroom at Copenhagen (Fig,40),15 re­
about the same time. It is, however, pos­ presenting the crouching man with the
sible that the St Andrew studies and the heavy pitcher, may give an idea o f such
one of Melchizedek were not contempo­ variants. As M üller Hofstede remarked,
raneous, especially as the latter, sketched it cannot be a copy after the painting at
in outline with summarily indicated shad­ Caen : the m an’s right foot, visible in the
ows, is considerably less finished, while painting, is missing, and in its place the
the form er studies are partly drawn over man’s loincloth trails to the ground. A n­
it. It could in that case be supposed that other drawing in the Copenhagen Print­
A braham and M elchized ek was painted be­ room (Fig.38),16 also a copy but by a dif­
fore The M iracu lous D ra ug ht o f Fishes, i.e. ferent hand from the first, is probably
before 1618" also based on a Rubens drawing.
No compositional sketches for A braham Rubens again treated the theme of the
and M elch ized ek are known. Burchard12 m eeting o f Abraham and Melchizedek in
believed that in addition to the above- a ceiling piece for the Jesuit Church at
mentioned study for the figure o f M el­ Antwerp in 1620-1621,17 and also, c.1626-
chizedek in the Printroom at Copen­ 1628, a tapestry of the Eucharist Series, a
hagen, Rubens drew two studies from cycle commissioned by the Archduchess
life for the naked kneeling serving-man Isabella for the Poor Clares’ convent of
on the right o f the picture : viz. A K neeling the Descalzas Reales in Madrid.18 A l­
N u d e M a n , seen fro m behind, setting dow n a though the scene was previously often
H eavy C hest in the Louvre, Paris (Fig.36), depicted in a landscape, in his three
and A Kneeling N u d e M a n , seen p a rtly from versions Rubens used an architectural
behind, setting dow n a Heavy Load in the setting, with Melchizedek emerging from
Boymans-van Beuningen Museum, Rot­ a city gate, tem ple or palace.
terdam (Fig.37).13 However, critics no
longer believe that these studies were j. D e P o o rter, E u ch a rist, pp.191-193, 283.
2. R é a u , Ico n og ra p hie, II, i, pp.128-129.
made specially for the Caen painting. It 3. Reprinted by G.H irth, Munich, 1923; woodcut
is now agreed14 that they were drawn in N o.it.
C. 1609 for Rubens’s A doration o f the M agi, 4. K .L.Belkin, in Cat. Exh. R u b en s u n d S tim m er,
Kunstmuseum, Basle, 1984, p ,i2 4 , N o , i o 2, fig .14 3 .
now in the Prado in Madrid (Fig.39), in 5. A .Zw eite, M a r te n d e V o s a ls M a le r , Berlin, 1980,
which there is also a similar kneeling ser­ p.320, N0.106, fig.135.
vant, and that he re-used the drawing in 6. L.Burchard, in O ld M a s te r D r a w in g s, II, 1927, p.39.
7. B u r ch a r d , 1930, p .59, under N0.53.
the Louvre for his Abraham and M elchi- 8. B u r c h a r d -d ’ H u lst, D r a w in g s , p.161, under N0.96.
Zedek. 9. ‘Nyerhvervede Rubenstegninger’, K u n stm u seets
Other motifs in Abraham and M e lch ize ­ A a r s s k r ift, XXIII, Copenhagen, 1936, pp.54-56, fig.
p.55; B u r c h a r d -d ’ H u ls t, D r a w in g s, pp.160-161,
dek are also based on studies for The A d o r­ N0.96, repr. (as c . 1 6 1 4 - 1 6 1 8 ).
ation o f the M a g i: for instance, the man 10. K .d .K ., p.174.
with the basket o f loaves and the dark- 11. Oldenbourg ( K .d .K ., p .n o), later followed by
Lugt and Held, believed that A b r a h a m a n d M e l­
skinned youth behind Melchizedek, who
ch iz e d e k was painted c.1615.
also occurs in the painting in the Prado, 12. B u rch a rd , 1930, loc. cit. Burchard’s opinion was

74
 CATALOGUE N O . 17a

shared by me in B u r c h a r d -d 'H u ls t, T ek en in g en , loc. The drawing was once the right part of
cit. and B u r c h a r d -d 'H u ls t, Drawings, loc. cit.
a larger sheet; the left part, also in
13. B u r c h a r d -d 'H u ls t, D r a w in g s, pp. 151-153 (N0.91,
repr.), 153-155 (N0.92, repr.). the Printroom, Copenhagen, represents
14. See L u g t, C a t. L ou v re, É cole fla m a n d e . II, p .19, under S t John the Evangelist and St Sim on.1
N0.1030; H e ld , D r a w in g s, p,i28, under N0.75; H eld ,
St Andrew with his X-shaped cross is
O il S ketch es, p.453, under N0.325; J,M üller Hof­
stede, ‘Beiträge zum zeichnerischen W erk von sketched twice, but in different attitudes
Rubens’, W a llr a f-R ic h a r ty -J a h r b u c h , XXVII, 1965, and from different angles. In the centre
p.299; A.-M.Logan, Review o f J.Kuznetsov, R u ­
bens D r a w in g s (in Russian), in M a ste r D r a w in g s, 14,
o f the sheet is a study for an ancient priest,
1976, p.301. used for the Melchizedek figure in the
j 5. Statens M useum for Kunst, Inv. 'Rubens Cantoor’, painting Abraham and M elchized ek in the
No.I, 9; red chalk, the outlines defined with the
Museum at Caen (No.17; Fig.31); the fig­
pen and brown ink, 220 x 198 m m. l i t . J.Müller
Hofstede, op. cit., p.300 11.105. ure, sketched in outline with summarily
iti. Statens Museum for Kunst. Inv. ‘ Rubens Cantoor’, indicated shadows, is considerably less
No.I, 4; black chalk, 101 x 115 m m. i.it. J.M uller
finished than the studies of St Andrew.
Hofstede, op. cit., p.300 n.105.
17. M a r tin , C e ilin g P a in tin g s, pp.76-79, No.7, fig.43. A variant of the right-hand sketch, done
18, D e P o o rter, E u ch a rist, pp.282-285, N0.7, fig.119. from life, is in the Staatliche Graphische
Sammlung, Munich.2 A third version was
formerly in the collection of Mrs G.W.
W rangham.3 As was pointed out by Do-
17a. Tw o Studies for St Andrew broklonsky,4 the ex-Wrangham drawing
and a Study for an Ancient Priest is a study for the outside of the right wing
(Melchizedek) : Drawing (Fig. 32) o f The M iracu lous D ra ug ht o f Fishes trip­
tych in the Church of Our-Lady-across-
Fully mounted. Buff paper. Black chalk, the-Dyle at Malines,5 commissioned in
heightened with white body-colour; 281 1618. The Munich sheet is the earliest; it
x 314 m m .— Verso: ‘ E tude de R ubens p o u r is followed first by the one in Copen­
le tableau d ’Eucharistie. C oll. C a ral Fesch’ hagen and then by the ex-Wrangham
inscribed in a modern hand. sheet.
Copenhagen, Printroom o f the Statens M u ­ Burchard believed these three draw­
seum fo r K un st. Inv. N o.13.235. ings of St Andrew to be studies for the
painting at Malines, and, as the drawings
Purchased a t Pierre Du-
p r o v e n a n c e :
on the present sheet, including the study
baut’s, Paris, in 1934. Presented by the
o f Melchizedek, were in his opinion all
Ny Carlsberg Foundation.
done at the same time, he concluded that
lit e r a t u r e : J.Sthyr, ‘Nyerhvervede the A braham and M elch ized ek at Caen was
Rubenstegninger\Kunstmuseen Aarssfcri/l, also painted c.1618. On stylistic grounds
XIII, Copenhagen, 1936, pp.54-56, repr. we now consider this date somewhat too
p.51; E.Fischer and J.Sthyr, Seks aarhun- late. It is possible, however, that the study
dreders europaeisk tegnekunst, Kobberstik- of Melchizedek was already on this sheet
sam lingen, Copenhagen, 1953, pi.70; Bur- when the two studies of St Andrew were
ch a rd -d ’H u lst, Tekeningen, p .66, under added at a later date (see No. 17). In that
N0.65; H eld, D raw in gs, p. 109, N0.36, pi.37 case we may suppose that the Abraham
(as R ubens, c. 16 14 -16 1 y ); B u rcha rd -d ’H ulst, and M elchized ek in Caen was painted ear­
D raw ings, pp.160, 161, N0.96, repr. (as lier than the work at Malines, that is to
R ubens, 16 14 -16 18 ). say before 1618.

75
C A T A L O G U E NO. 17b

The figure o f St Andrew occurs— in a p.29, N0.11, repr.; K.Renger, ‘Planände­

pose closest to that on the right o f the rungen in Rubensstichen’, Zeitschrift fü r
Copenhagen sheet— as St Paul in the K unstgeschichte, XXXVII, 1974, pp.9-i3,
group hovering in the clouds in The M i­ fig.6; R enger, R ubens D edit, pp .153-156,
racles o f St Benedict in the Brussels M u­ fig.15; M itsch, R ubens Zeichnungen, pp. 184-
seum,6 which was painted at a later date. 187, N0.78, repr. p.187; Bodart, p.143, un­
1. Inv. N o.13.234; B u r c h a r d -d ’H u ls t, D r a w in g s , pp .159- der No. 305; R enger, p .n 6, under N0.80.
160, N0.95, repr.
2. Inv. N0.2871; B u r c k a r d - d 'H u ls t, T e k en in g en , p.66,
N0.65, pl.XXVII.
3. See K.T.Parker, ‘Some Drawings by Rubens and This drawing is the model for the en­
his School in the Collection o f Mrs G.W .W rang- graving after Rubens’s painting in Caen
ham ’, O ld M a ste r D r a w in g s, III, 1928, p.2, pl.2.
(No. 17; Fig.31) made by Jan Witdoeck,
4. M.Dobroklonsky, ‘Einige Rubenszeichnungen in
der Erm itage’, Z eits ch r ift f ü r b ild en d e K u n s t, LX 1V, who worked for Rubens at the end o f the
1930-1931, p.32. 1630s. The print was made in 1638, as
5. K .d .K ., p.174.
shown by the inscription, which reads:
6. K .d .K ., p.302; V lieg he, S a in ts, I, p p .iio -115 , N0.73,
fig.125. P . P. R ubens p in x it, j H .W itd o u c sculp. A 0
1638; M elchisedech R e x salem proferens p a ­
nem et v in u m : erat enim sacerdos D ei altis-
17b. Abraham and Melchizedek: sim i, benedixit ei / Et d ix it benedictus Abraam
Retouched Drawing (Fig. 33) Deo excelso q u i creavit Coelum et Terram .;
C um p rivileg iis R egis Christianissim i P rin-
Black chalk, pen and brown ink and cipum Belgarum et O rd . Bataviae.
brown wash, heightened with white; The composition of the m odelletto, as
363 X 412 m m . Traced for transfer. M ark compared to the painting, is extended by
o f the Albertina (L.174); below on the a narrow strip at the right and at the top.
right, in pen and ink: 63. The cut-off figure behind the servants
V ienna, A lbertina. Inv. No.15,015. bringing bread and wine is completed,
and two new spectators are added; the
p ro ven an ce: E.Jabach (Paris, 1610-
architecture, which in the painting ex­
1695); P.Crozat (Paris, 1665-1740); sale
tends only to where the capitals begin, is
P.Crozat, Paris, 10 April-13 May 1741,
surmounted by an attic. These additions
lot 816; J.Tonneman (Amsterdam, 1688-
were certainly made at Rubens’s direc­
1750); sale Tonneman, Am sterdam (dir.
tion: in keeping with his later style he
Hendrik de Leth), 21 October 1754 et
wished to provide a m ore spacious set­
seq., bought by Oudaan for 182 florins.
ting rather than fill the scene with sculp­
c o p y : Reproduced in facsimile by J.Pili- tural forms as in the pictorial version.
zotti, lithographer in Vienna at the be­ The stages of development of this draw­
ginning of the nineteenth century. ing have been w ell described by Renger.
It was first roughed out in black chalk,
EXh i Bi t ED : Vienna, AI bertina, 19 77, No ,78.
probably by W itdoeck or someone else
lite r a tu r e ; Rooses, I, p.120, under in the studio, the new portions being
N0.100; V, pp.145-146, N0.1339, pl.381; drawn more loosely and tentatively than
H.Knackfuss, R ubens, Bielefeld-Leipzig, the rest. In particular the addition to the
1907, p .18, fig.8; L.Hourticq, R ubens, Pa­ architecture is weaker, probably because
ris, 1924, p.43, repr.; M u ch a ll-V iebroo k, the draughtsman had no model. Then

76
 ( A I A L O G AU N O . I7C

Rubens retouched, with pen and brown sian), Moscow, 1974, No. 144, repr.; K.Ren-
ink, faces and other parts of the figures ger, ‘Planänderungen in Rubensstichen’,
here and there in the main portion and Z eitschrift f ü r Kunstgeschichte, XXXVII, 1974,
the right-hand strip; he did not trouble pp.9-13, fig.7; Renger, R ubens D ed il, pp.
with the upper part of the architecture. 153-156, fig.16; A.-M.Logan, Review of
He also made small changes in the pose J.Kuznetsov, R ubens D raw ings (in Rus­
of the man carrying a load, whose left leg sian), in M a ster D raw ings, 14, 1976, p.301 ;
he brought closer to the edge of the com ­ R enger, p.116, under N0.80,
positional field, and in the hind legs of
the dog, which he brought nearer the
centre. The essential differences between A proof o fjan W itdoeck’s engraving after
the final state of the print and the paint­ the m odelletto in the Albertina, Vienna
ing were made on a proof that is now' in (No.i7b; Fig.33). The main figures are
the Hermitage at Leningrad (No. 17c; already engraved as they appear in Ru­
Fig-3 4 )- bens’s painting at Caen (No.17; Fig.31);
the architecture, the heads of the two
spectators directly behind Melchizedek,
17c. Abraham and Melchizedek: and the head of the horse behind Abra­
Retouched Engraving (Fig. 34) ham, are only sketchily outlined. The
two spectators’ heads which, in the Vien­
Black chalk and tip of the brush in brown na drawing, were added at the edge of
over a proof of the engraving; 410 x the scene are here again omitted.
460 mm. Below on the right, a mark of Rubens made substantial changes in
the Engravings Department of the Her­ two respects. In the first place, he de­
mitage (L.Suppl.2681 a). signed a new architectural setting in
Leningrad, Herm itage. Inv. No. 135289. black chalk: he moved the arch over to
the right so as to span the group of Abra­
p roven an ce: A.S.Vlassoff (Moscow,
ham and his follow ers, while placing be­
d .1825); acquired from the Prince Galitzin
side it on the left a new architecture of
Collection in 1886.
massive elements including two columns
e x h i b i t e d : R ubens D raw ings in the M u ­
and a pilaster, projecting and with broad
seum s o f the U .S.S.R . (in Russian), Lenin- bands of rustication.1 The architectural
grad-Moscow, [1965], No.39; R ubens and setting thus becomes much more plastic
Flem ish Baroque (in Russian), Leningrad, and spacious, and plays a more im por­
1978, N0J29. tant part than in the painting. The shift­
lite r a tu r e : M .Dobroklonsky, ‘Einige ing of the arch to the right practically
Rubenszeichnungen in der Eremitage’, creates a new composition. The strictly
Zeitschrift fü r bildende K unst, 1930-1931, 2, symmetrical layout of the painting, where
p.37; Id., R ubens D raw ings [in the H er­ the spectator’s eye is led directly to the
m itage] (in Russian), Moscow-Leningrad, offering o f the bread and thence, between
1940, pp.23-24, No.30, pl.XXVIII; Id., the groups of figures, to the vista under
D raw ings o f the Flemish School, tylli and the arch, is dispensed with. Attention is
iS tk centuries [in the Hermitage] (in Rus­ now directed first and foremost to Abra­
sian), Moscow, 1955, pp.138-139, N0.662; ham, spanned by the arch, who becomes
J. Kuznetsov, R ubens D raw ings (in Rus­ the principal figure in the scene.

77
CA TA LO G U E NO. Ijà

Rubens’s second basic change, executed f ü r R eproduktionsgraphik der R ubensw erk­

with black chalk and the tip o f the brush, statt, Munich, 1985, pp.294-296, N0.55,
relates to the figure of the boy with the repr.
horse, which he separated slightly from
Abraham and his followers so as to create
more space at the edge of the sheet and A proof o f Jan W itdoeck’s engraving after
give the group more importance.2 At the Rubens’s painting at Caen (No.17; Fig.31),
same time he sketched in the low-lying executed from a m odelletto in the A lber­
landscape that extends behind the tina, Vienna (No.i7b; Fig.33), followed by
group. He made some further corrections a proof in the Hermitage in Leningrad
in a second proof, now in the Rijks- (N0.17C; Fig.34).
prentenkabinet in Am sterdam (No.izd; The Am sterdam proof shows the final
Rg- 35). state of the engraving in its essential fea­
tures. Compared with the previous cor­
i. For this new architectural setting Rubens chose a
rected proof it varies in one main respect:
m odel that was close at hand— the portico of his
own house in Antwerp, the spectator behind the man w ith the
a. A.-M. Logan (loc. cit.) considers that the architec­ basket of loaves has disappeared, and in
tural background and the boy with the horse are
his place only cross-hatchings are to be
too m uch worked up and show no p e n tim e n ti, and
cannot therefore be by Rubens's hand. seen. Rubens must have given oral in­
structions for this change, unless he did
so in an earlier, lost proof.
Apart from this he made only a few
i7d. Abraham and Melchizedek :
small corrections to the proof: he en­
Retouched Engraving (Fig. 35)
larged the laurel wreath around Melchi-
zedek’s head, added a decorative elem ent
Pen and brown ink and brown wash, to the helm et of one o f Abraham ’s fol­
heightened with white body-colour and
lowers, and clarified the outline between
a little white oil-paint over a proof of
Abraham ’s cloak and the horse’s head.
the engraving; 410x450 m m .— Verso:
He also touched up some faces, hands and
m ark o f the Royal Library, The Hague other bodily parts with pen and brown
(L.240).
ink: Abraham ’s beard, arms and legs, the
A m sterdam , R ijksprentenkabinet. beard of the warrior next to him, Melchi-
zedek’s hands and the faces of his atten­
p roven an ce:Library o f the Prince of
dants, the muscles of the crouching ser­
Orange, abandoned by him, and renamed
vant, and the foot o f the page-boy leading
in 1799 the National Library, later the
Royal Library under Louis Bonaparte, the horse. He used the brush and brown
ink especially for shaded parts, such as
King o f Holland, 1806-1810.
the page’s face, the dog, the ornaments of
lite r a tu r e : Rooses, I, p .120, under M elchizedek’s cloak, and the ceremonial
N o.100; K.Renger, 'Planänderungen in vase, adding white body colour here and
Rubensstichen’, Z eitsch rift f ü r K u n st­ there and sometimes also a little white
geschichte, XXXVII, 1974, pp.9-13, fig.8; oil paint. He used body colour alone to
R enger, R ubens D ed it, pp.153-156, fig.17; retouch certain garments, the nude bod­
R enger, p.116, under No.80; Bodart, p.143, ies, the loaves in the basket on the ground,
under No.305; I. Pohlen, U ntersuchungen the pilaster behind the man with the

78
 ( A I' A L O G U E NO. l8

load, and the rusticated bands, all for the of the child Jesus from the Massacre of
purpose of accentuating the chiaroscuro the Innocents.'
and the sculptural effect. The pyramidal composition shows
A ll these changes in the modelletto and Pharaoh’s daughter standing in the centre
the two proofs testify to the extreme care surrounded by six of her attendants, two
that Rubens bestowed on the preparation of whom present the infant Moses to her.
of this print. Pharaoh’s daughter and the attendant
immediately to her right are repeated in
variant attitudes on the right of the sheet.
18. The Finding of Moses: Drawing The composition is related to that of
(Fig- 4 5 ) Veronese’s picture of the same subject in
the Prado, Madrid,2 while some of the
Pen and brown ink and brown wash; figures recall attitudes in Raphael’s F in d ­
168 x 290 m m .— Verso : above on the ing o f M oses, a painting which decorates
right, m ark o f the Städelsches Kunst­ one of the loggias in the Vatican.3 As in
institut, Frankfurt am Main (L . 2356). that work, Pharaoh’s daughter holds her
F ran kfurt am M a in , Städelsches K un st­ right arm over her breast, while the pose
institut. Inv. No.2991. of her head, torso and left arm corre­
spond to those of the woman standing on
p r o v e n a n c e ; Probably in the estate o f
the extreme left of Raphael’s composi­
Arnoud de Lange, sold at Amsterdam,
tion; in the drawing as in the fresco, one
12 December 1803 et seq. (Lugt, Répertoire,
of the women rests her arm on her com ­
6718), Kunstboek G, N o.16: 'D e V in ding
panion’s flank.
van M oses, m eesterlyk m et de pen en roet ge-
On the verso of the sheet is a drawing
w asschen, door P .P .R u b b e n s j ƒ.3.15 G rui-
of St Christopher,4 a study for St C hristo­
ter’ (De Gruyter). In the Städelsches Kunst­
pher and the H erm it ,5 the painting on the
institut as early as 1862.
outside of The Descent from the Cross in
l i t e r a t u r e : S tift und Feder, 1927, No.21 Antwerp Cathedral. This drawing was
(as C ornelis Schut) ; B u rcha rd -d ’H u lst, D ra w ­ very probably executed c.1613-1614, and
ings, pp.76-78, N0.44V, repr. (as R ubens); from the point of view of style there is
M.Jaffe, ‘Unpublished Drawings by Ru­ no reason to suppose that The Finding o f
bens in French Museums’, G azette des M oses is not of the same date.
B eau x-A rts, Sixth Series, LXVI, 1965, No painting based on this drawing is
pp.178, 180 (as R ubens); Bernhard, p.236, known. The inventory, dated 16 October
repr. 1686, of acquisitions by Alexander Voet
since 17 November 1685 mentions ‘een
stucxken van Rubbens, Moises Vin-
On the banks of the Nile, Pharaoh’s dinghe’.6
daughter and her attendants find the in­
fant Moses, who has been abandoned by 1. R éa u , Iconograp hie, II, i. p .181.
2. T.Pignatti, V eron ese, Venice, i«77. p. 146. N0.240,
his Hebrew m other Jochebed in a basket fig.560.
by the riverside (Exodus 2: 1-10). See also 3. K .d .K ., R a ffa e l, ly iy, p .181; L..Dossier, R a p h a el,
N o.19. London-New York, 1071, p.8y, lig. 151.
4. Pen and brown ink and brown wash; 200 x 108mm.
The rescue of Moses from the water See B u n h a n l- t l’ liu ls t , D r a w in g s, pp.70-77, No.44c,
was regarded as typology for the escape repr.

79
CA T A L O G U E NO. I9

5. F. Baudouin, P .P .R u b e n s , Antwerp, 1977, pp.80-87, Paris, 1867, p .130 (as R ubens); W .Biïrger,
Fig. 56.
6. D em icé, K on stk a m ers, p.319.
Trésors d ’A r t en Angleterre, Paris, 1869,
p.194 (as R ubens); Rooses, IV , p .173;
A bridg ed Catalogue o f the P ictures at
D oughty H ouse, Richm ond, London, 1903,
19. Moses Adopted by Pharaoh’s p.38, No.220 (as R ubens); J.O.Kronig, A
Daughter (Fig. 46) Catalogue o f the Paintings at D oughty House,
Richm ond and elsew here in the Collection o f
Oil on canvas, 119 x 157.5 cm. Sir Frederick Cook, II, London, 1914, No.336
G eneva, Collection o f M .J e a n P. François. (as School W ork); A bridg ed Catalogue o f the
Pictures at D oughty H ouse, R ichm ond, S u r­
p roven an ce: ?S.Woodburn (London,
rey, in the Collection o f S ir H erbert Cook,
1786-1853), sale, London (Christie’s),
London, 1932, p.48, N o.336 (as School o f
17 May 1854, lot 210 (as R ubens School);
R ubens); B u rch a rd -d ’H u lst, D raw in gs, pp.
W illiam Angerstcin (1857); Anderson
77-78, under N0.44, 164, under N0.99 (as
Collection; Sir Frederick Cook, Doughty
R ubens); M itsch , R ubensçeichnungen, p.62,
House, Richmond, Surrey; Sir Herbert
under N0.26; [D.Bodart], Cat. Exh. P.P.
Cook, Doughty House, Richmond, Sur­
R ubens, T okyo-Y amaguchi-T su-Kyoto,
rey; Sir Francis Cook; W .Hallsborough
1985-1986, p.52, No.56, repr.
Gallery, London (1959).

c o p i e s : (1) Anonymous painting, where­

abouts unknown; panel, 108 x 17 5 cm. The infant Moses lies asleep in an osier
p rov. Starnberg am See (near Munich), cradle. A t the foot of the cradle, on the
Dr R. Paulus, 1936; (2) Anonymous paint­ left, kneels the daughter of Pharaoh, in a
ing, whereabouts unknown; copper, rich dress; beside her stands the child’s
43 x 59 cm. p r o v . Ooms sale, Antwerp, sister Miriam, slightly bent forward. A t
1922, lot 126; J.De W inter sale, Brussels the head of the cradle, supporting one
(Giroux), 12 March 1928, lot 144, repr.; arm on the hood, stands Jochebed, with
Lenzburg (Switzerland), E.Eich (1938); one breast bared, whom Pharaoh’s
(3) Anonymous painting, Stockholm, daughter— not knowing that she is the
University Collection; panel, 41 x 32cm. child’s mother— has just appointed to act
lit. Catalogue o f the Stockholm U niversity as a wet-nurse to the foundling. The scene
Collection o f Paintings, Uppsala, 1978, is set in the foreground of a landscape
N o.131 (as A rtu s W olfaerts). (4), (5), (6) with big trees on the left in the near dis­
tance; a row o f tall trees in the middle
e x h ib ite d : A r t Treasures o f the United
ground gives way to glimpses o f open
K ingdom , Manchester, 1857, definitive
space in the far distance. On the right,
catalogue, N o.576; P .P .R u b e n s, Tokyo-
part of a house (Pharaoh’s palace) with an
Yamaguchi-Tsu-Kyoto, 1985-1986, N o.56.
arched gate. The painting illustrates Exo­
G.F.Waagen noted in his
lite r a tu r e : dus 2: 9, ‘And Pharaoh’s daughter said
copy of the provisional catalogue of the unto her, Take this child away, and nurse
exhibition A rt Treasures o f the United K in g­ it for me, and I will give thee thy wages.
dom , Manchester, 1857 (Library of the And the woman took the child, and
Berlin Museum): ‘zu schwach. Schule’ ; nursed it’.
A.Lavice, R evue des M usées d ’Angleterre, According to Pharaoh’s edict (Exodus

80
 (.ATAl.OUUI: N O . 19

i : 22), all new-born male Hebrew chil­ scape is conceived in Rubens's late style,
dren were to be cast into the Nile. There­ comparable with the landscapes of the
fore when Moses was born, his mother Torre de la Parada series (1636-1638)7 or
Jochebed, the wife of Amram , hid the The Rest on the Flight into Egvpt (c. 1636) in
child for three months in her house. the Prado, Madrid.8 The trees in the near
When she could not hide him any longer, distance are depicted only with their
she put him in a basket and placed it twisted, heavy trunks without showing
among the reeds on the river-bank, tell­ the upper leafy crown, and only in the
ing her daughter Miriam to stay and see middle and far distance are whole trees to
what happened. W hen Pharaoh’s daugh­ be seen; light, tall and thin, they contrast
ter came to the river to bathe, she found with the few heavy dark tree-trunks in
the child and took pity on it. Miriam then the foreground.
stepped forward and asked: ‘Shall I go The introduction of details from paint­
and call thee a nurse of the Hebrew wo­ ings dating from the last years of Rubens’s
men, that she may nurse the child for career suggests a similar date for the pre­
thee?’ The princess bade her go, and the sent painting. For many years it was not
child’s mother was called (Exodus 2). to be seen, and it escaped the attention
This painting includes various motifs o f art historians until, in 1958, Burchard
that occur in compositions and studies by had an opportunity of inspecting it in
Rubens. The following should be men­ London. He decided that it was by Ru­
tioned: (1) The wicker cradle and the bens’s own hand, partly on account of
lower part o f the infant Moses are based several pentim enti. To mention only two:
on the cradle with the child Jesus in The the painter at first apparently intended
H oly Fam ily of c.1618-1619, Palazzo Pitti, the dress of the kneeling princess to be a
Florence.1 The figure of the child harks long caftan, which he then altered into a
back to Michelangelo’s Sleeping C u p id , a jacket; the edge of the caftan can still be
sculpture that was in Mantua during Ru­ seen below the jacket, passing across the
bens’s stay in Italy.2 (2) The kneeling fig­ thighs. Secondly, Miriam was at first con­
ure o f Pharaoh’s daughter is based on a ceived further left and running towards
study drawing now in the Albertina, the centre, on return from her mission to
Vienna,3 of a kneeling woman, who is al­ find the nurse; a foot of this earlier M i­
ready found in A chilles am ong the D augh­ riam is still visible near the left lower
ters o f Lycomedes (c. 1615-1617) in the Prado, edge o f the painting.
Madrid.4 There, with a fem ale compa­ By the kindness of its present owner, I
nion, she forms a group very similar to was able to see the painting for the first
that o f Pharaoh’s daughter and Miriam. time in 1986. It makes a somewrhat un­
(3) The figure of Miriam itself is, broadly favourable impression. The squat figures
speaking, a repetition in reverse of St are unconvincing anatomically and lack
Margaret in The M y stic M arriage o f St the nobility that distinguishes even Ru­
Catherine (1633) in the Toledo museum .5 bens’s most intimate scenes; the colour­
(4) Moses’ mother, at the head of the ing is unpleasant, and both the landscape
cradle, is related to the lady standing in and the architecture are executed with
the middle of The G arden o f Love (c.1630- an uncertain hand. In addition the canvas
1635) in the James A. de Rothschild Collec­ shows a good deal of wear, and has been
tion, Waddesdon Manor.6 (?) The land­ rather clumsily restored in places. A ll this

81
C A T A L O G U E N O . 20

makes it difficult to accept as a work by et il est couché sur une draperie rouge; près d’elle
est la mère de Moïse, qui se présente pour être la
Rubens’s own hand.
nourrice de cet enfant; à la tête du berceau est une
In theT .Lorid on de Ghellinck Collec­ compagne de la Princesse, qui regarde avec pitié
tion in Ghent there was, c.1790, a ‘Moïse le triste sort de cet infortuné qu ’on vient d'arra­
cher à la mort : le groupe de ces quatre figures est
tiré du N il’ (painted on a single board,
admirable, il est composé avec tout l ’art possible,
43-5 x 59-5 cm.), the subject and compo­ la carnation est belle et agréable, et le tout en­
sition o f which, according to the descrip­ semble est délicieux, il mérite de l ’admiration, et
les plus grands éloges’ (471. P ete r P a u l R u b e n s, T h e
tion, agreed completely with those of the
F in d in g o f M o ses. Painted 011 a single board, height
present painting.9 Being o f outstanding i6 inches, width 22 inches [Ghent measure]. The
quality it was listed in the catalogue as scene represents a charming landscape: to the
right [the spectator’s left] are some trees, to the
by Rubens, and it may perhaps have been
left a building; in the centre, a vista of trees. In the
the original m odello. foreground Pharaoh’s daughter, in a white upper
Mention should be made of a painting garment and a glossy purple skirt, leans over and
looks delightedly at the infant Moses, lying in a
by Cornelis de Vos which was in the
cradle and sleeping soundly; the child’s two hands
Charles Dufour collection at Herentals in are raised above his head, and underneath him is
1944 and was published by Edith Greindl is a red drapery. Next to the princess is Moses’
m other, offering her services as nurse to the child;
as ‘ La D écouverte de M o ïse’ .10 This is in fact
at the head o f the cradle, one o f the princess’s at­
a Moses A dopted by Pharaoh’s D aughter, the tendants contemplates with pity the sad fate of
composition o f which is unthinkablewith- the infant rescued from death. This group o f four
figures is admirable, composed with the greatest
out previous knowledge of a work by
skill ; the flesh tints are pleasant and beautiful and
Rubens o f the same title, now lost. More­ the whole w ork is delightful, deserving admiration
over the princess’s palace is in typical and the highest praise.) A copy o f this catalogue is
in the Rijksbureau voor Kunsthistorische Docu­
Rubensian style.
mentatie, The Hague.
10. E.Greindl, C o rn eille de V os, Brussels, 1944, pp.38,
1. K .d .K ., p.99. 118-119, pl.82.
2. C. de Tolnay, T h e Y outh o f M ich ela n g elo , i, Prince­
ton, 1943, pp.201-203, figs.167, 168.
3. B u r c h a r d -d 'H u lst, D r a w in g s, p.164, N0.99, repr. ;
M its c h , R u b en szeic h n u n g e n , p.62, N o.ib, repr. 20. Moses, Aaron and Miriam with
4. K .d .K ., p .130; D ia z P a d r ó n , C a t. P ra d o , pp.317-320, other Women Celebrate the Crossing
N o.ióói, fig.201.
of the Red Sea (Figs. 47, 48)
5. K .d .K ., p.343.
6. K .d .K ., p.349.
7. A lp e r s , T o rre, figs.71, 81, 741, 190. In the course o f time this panel painting
8. K .d .K ., p.345; D ia z P a d ró n , C a t. P r a d o , p.231,
was divided in two. The left half measures
N o.1640, fig.164.
9. C a ta lo g u e d ’ une très belle et riche collection de ta b lea u x 54.5 x 40.5 cm.; the right half, cut down
. . . q u i com p osen t le ca bin et d e M o n sie u r T .L o r id o n de on all four sides, is 47.5 x 37 cm.
G h ellin ck d em eu ra n t d a n s le Q u a etd a m à G a n d . A
Left half: Geneva, Collection o f M . Jean
G a n d [ c .i j g o ] , c h e z fa veu ve S. Som ers, a u S a la m a n ­
d r e .. .: ‘471. Pierre P a u l R u b e n s: M o ïse tiré d u N il. P. François (Fig.47); right half: G r a f, A lte
Peint sur bois d ’une seule planche, haut 16, large G alerie am Landesm useum Joanneum . Inv.
22 pouces [pouces de Gand], La scène représente
N0.86 (Fig.48).
un charmant paysage, où à la droite [droite litur­
gique] on voit quelques arbres, à la gauche un p r o v e n a n c e : ( i ) Left half: Col. T.FIud-
bâtiment; et au m ilieu est une perspective avec
son, London; sale, London (Christie’s),
des arbres; tout sur le devant, on voit la fille de
Pharaon habillée d ’un casaquin blanc, et d ’une 12 February 1954, lot 141; W.Halls-
jupe glacée de pourpre, qui se baisse, et regarde borough Ltd, London (1955); (2) Right
avec un grand ravissement le petit Moïse, qui est
half; bequeathed to the Joanneum by Mrs
couché dans un berceau et dort tranquillement, il
tient les deux mains élevées au-dessus de sa tête, Julie von Benedek in 1895.

82
 C A T A I, ( ) ( ’, I' E N O . 20
Anonymous painting, Karls­
c o p i u s ; ( i) Review of H eld, O il Sketches, in A pollo, CXV,
ruhe, Staatliche Kunsthalle, Inv. No. 1886 239, 1982, p.62 (as R ubens).
(Fig.49); panel, 57.5 x 79 cm. p r o v . Ac­
quired from the collection of Conte Luc-
chesi by the Gallery in Schloss Mannheim, At dawn, when the waters of the Red Sea
in 1803 (Cat. 1914, N o.229, as 'K opie nach closed and swallowed up Pharaoh’s army,
R ubens’ ), and taken over by Karlsruhe in Moses and the children of Israel sang
1937. u x H . Graz, Alte Galerie am Landes­ songs of praise to the Lord (Exodus 1 5 :1 -
museum Joanneum, O riginal und Kopie, 19). Miriam, the sister o f Moses and Aaron,
1967-1968, No.9a, fig.8 (as ‘zeitgenössische took a timbrel, and all the women fol­
Kopie’), l i t . Parthey, Bildersaal, II, p.416, lowed her with timbrels and with dances,
N o.5 (as R ubens); J.Lauts, Katalog A lte joining in the song of triumph (Exodus 15 ;
M eister, Staatliche K unsthalle, Karlsruhe, 20-21).
Karlsruhe, 1966, p.261, No.1886, repr. (as The painting, originally consisting of
‘ Kopie nach R u b en s’); M .Jaffé, ‘Rediscov­ the two parts now separated, shows
ered Oil Sketches by Rubens’, Burlington Moses on the left, with his arms raised
M a gazin e, CXI, 1969, p. 534, hg-9 (as R u ­ to heaven and a rod in his right hand,
bens); J.-P. D e Bruyn, ‘W erk van Erasmus accompanied by his elder brother Aaron.
II Quellinus, verkeerdelijk toegeschreven In the centre, Miriam and two other wo­
aan P. P. Rubens’, Jaarboek M useum A n t­ men are dancing with timbrels and casta­
w erpen, 1977, pp.312-315, fig. 16 (as E ras­ nets; on the right, three women make
m us II Q uellinus); H eld, O il Sketches, p.634, music for the dancers. In the background,
N0.A19, fig.489 (as not executed and de­ Pharaoh’s army drowns in the Red Sea.
signed by R ubens); (2) Anonymous paint­ Pharaoh, in a chariot drawn bv two hor­
ing, whereabouts unknown; canvas, 38x ses, raises his right hand in a desperate,
57 cm. p r o v . Sale, London (Sotheby’s), helpless gesture; beside him, one of his
8 November 1978, lot 32 (as W illem van generals attempts to flee. The threaten­
H erp). ing, stormy sky is pierced by lurid rays
and rent by flashes of lightning.
Right half : O riginal und Kopie,
e x h ib ite d ;
As Jaffé observed, the composition is
Graz, Alte Galerie am Landesmuseum
largely based on a work in the style of
Joanneum, 1967-1968, N0.9.
Raphael, Moses Instructing the Israelites in
W .Suida, D ie Landesbilder­
lite r a tu r e : the G athering o f M ann a. According toLugt,
galerie und Skulpturensam m lung in G ra ç, the young Rubens during his stay in Italy
Vienna, 1923, p.56, N o .135; J.Lauts, K ata­ made a careful copy drawing of this work,
log der A lten M eister, Staatliche Kunsthalle, which is now in the Louvre in Paris.1
K arlsruhe, Karlsruhe, 1966, p.261, No. 1886, Burchard, who knew only the left half
repr. (as ‘K opie nach R u b en s’); M .Jaffé, of the painting, believed it to be by Ru­
‘Rediscovered Oil Sketches by Rubens’, bens’s own hand— perhaps a modello for a
Burlington M a g a zin e, CXI, 1969, p. 534 n.62; life-size tapestry— and dated it c.1616.2
J.-P.De Bruyn, ‘W erk van Erasmus II Since Lauts identified the fragment at
Quellinus, verkeerdelijk toegeschreven Graz (there attributed to Erasmus Q uel­
aan P. P. Rubens’, Jaarboek M useum A n t­ linus, and published bv Suida) as the other
w erpen, 1977, pp.311-312; H eld, Oil half, Burchard’s attribution can no longer
Sketches, p.634, under N o.A 19; M.Jaffé, be maintained. The fragment at Graz is

«3
CATALOGUE N O . 21

of manifestly inferior quality, which also 2 1 , Moses: Drawing (Fig.50)

places the left half in a different light.
Contrary to Burchard and Lauts, Jaffé Made up at the upper left. Red chalk,
is o f the opinion that the painting at slightly heightened with white, on buff
Karlsruhe (Fig.49) is not a copy but is the paper; 330 x200 m m ,; below on the
original m odello by Rubens. Although it right, marks of the collection o f J.
is harshly overcleaned, he considers that Richardson Senior (L.2184) and W. Mayor
‘the best preserved passages are firm (L2799).
marks of his [Rubens’s] distinctive touch: W hereabouts unknow n.
the lute itself, and the silks of the luta-
nist in their changeant colours; the hands p r o v e n a n c e :J . Richardson Senior (Lon­
o f the flautist; the head of Moses; the don, 1665-1745); W . Mayor (London,
figure of Aaron; and the right hand of d.1874); sale, Amsterdam (F.Müller), 27-
the woman whose back is towards us’. 28 May 1913, lot 187; Bellingham-Smith
However, I cannot perceive this Ruben- sale, Am sterdam (A.W .M .Mensing), 5-
sian quality either in the work at Karls­ 6 July 1927, lot 290 (repr.), described as
ruhe or in D a v id w ith the H ead o f G oliath ‘ E tude d 'u n e fig u re d ’A p ôtre’ , and bought
M e t by the W om en o f Israel, The Kim bell by Rhodius, Am sterdam ; sale, Am ster­
Foundation, Fort W orth, Texas,3 a paint­ dam (Sotheby’s), 2 Novem ber 1987, lot 47
ing which Jaffé associates with it and (repr.).
ascribes to Rubens likewise.
e x h ib ite d : London, Dowdeswell Gal­
W ith the present painting— which ap­
leries, 1912, No.76.
pears to me o f better quality than the
Karlsruhe version— and with that at Fort M.Jaffé, ‘Rediscovered Oil
lite r a tu r e :
W orth may be grouped a D a v id Playing Sketches by Rubens— II’, Burlington M a g a ­
the H arp to C ure S aul’s M elancholy, Szép- zin e, CXI, 1969, p.534 n.62, fig .n (as Rm-
müvészeti M uzeum , Budapest,4 which bens ); H eld, O il Sketches, p.634, N0.A19,
I consider to be by the same hand: not fig.489 (as R ub en s ); M.Jaffé, Review of
Rubens but some other, as yet unidenti­ H eld, O il Sketches, in A pollo, C X V , 239,1982,
fied, Flemish painter (see also No.38). It p.62 (as R ubens).
may be noted that the dimensions of
these three paintings are almost identical.
See also N0.21. A study o f a venerable bearded and
draped man, holding a rod in his right
hand; presumably for a Moses.
This figure does not appear literally in
1. Inv. No.20.292. Pen in brown and brown wash, any work by Rubens. It m ight be ex­
heightened with oil; 2 3 5 x 4 0 1m m .; L u g t, C a t.
L o u v r e, É cole fla m a n d e , II, p.22, N0.1038, pl.XLV.
pected in a scene such as M oses Strikin g
2. This appears from a letter by Burchard to W illiam W ater out o f the R ock, but Rubens is not
Hallsborough Ltd, London, on 19 July 1955. known to have painted such a work. In
3. Panel, 57.5x78.9 cm. See M .Jaffé, 1969, op. cit.,
pp.534-537, iig.10; J.-P.De Bruyn, op. cit., p.13,
his two versions o f the Brazen Serpent
fig.17 (as E ra sm u s II Q u e llin u s ); M.Jaffé, Review o f theme, one in the Courtauld Institute of
H eld , O il S ketch es, in A p o llo , CXV, 239, 1982, p,62 (as A rt Galleries (N0.23 ; Fig.53) and the other
R u b en s).
4. Panel, 58 x79 .5 cm. See J.-P.De Bruyn, op. cit.,
in the National Gallery, London (N0.24;
pp.314-315, fig. 19 (as E ra sin u s II Q u ellin u s). Fig.55), Moses’ attitude is quite different.

84
 CATALOGUE. N O . 22

The closest resemblance to this drawing 1893), whose collection was purchased by
is in The G athering o f the M ann a, a tapestry the British Museum in 1895.
in the Eucharist series in the Convent of
the Descalzas Reales in Madrid,1 though copy: Anonymous drawing, Milan,
the pose of the arms is not the same. The Biblioteca Ambrosiana ; black, yellow and
figure of Elijah in the tapestry Elijah and white chalk, bistre wash, 423 x 630 mm.
p r o v . Padre Sebastian« Resta (Rome,
the A ng el2 in the same series also bears
some resemblance to this drawing. seventeenth century), lit. F u bin i-H eld ,
Jaffé believes that this study is con­ pp.125-127, fig.2.
nected with the figure of Moses in Moses,
e x h ib ite d : The Grosvenor Gallery',Lon­
A aron and M iriam w ith other W om en Cele­
don, W inter 1877-1878, No.927; London,
brate the C rossing o f the R ed Sea at Karls­ 1977, N o.16,
ruhe (see under No.20; Fig.49), although
it shows a different position o f the left l i t e r a t crh : J. C. Robin son, D escriptive
arm and a different tilt of the head. He Catalogue o f D raw ings by the O ld M asters,
considers that the drawing may be a re­ fo rm in g the Collection o f John M alcolm o f
vision o f the Moses figure projected in Poltalloch, London, 1869, p.203, N o.585 (as
that painting. But it is hard to see a direct R ubens); Rooses, V, p.225, No. 1424 (as R u ­
connection between the resilient, three- bens); H in d, R ubens, p.7, N0.4 (as Rubens);
dimensional figure in the drawing and M .Delacre, Le dessin dans l'œ uvre de Van
the stiff, heavy portrayal of Moses in the D yck, Brussels, 1934, pp.39-40, fig. 16 (as
painting. R ubens); U.Hoff, O ld M a ster D raw ings,
XIII, 1938, pp .14-16, p l.14 (as Rubens);
1. D e P o o rte r, E u c h a r is t , p p . 2 1)4 -10 6, f ig .r 3 2 .
2. Ibid., pp,300-303, fig.ij/.
A. E. Popham, A H andbook to the D raw ings
o f the British M useum , London, 1939, p.63
n.i (as Rubens); C.de Tolnay, The Sistine
C eiling, Princeton, 1945, p. 183 (as R ubens);
22. Men and Women Attacked
B u rch a rd -d ’H u lst, D raw ings, p.313, under
by Serpents: Drawing (Fig. 52)
N0.195 (as R ubens); Jaffé, R ubens and Italy,
p.21, fig.25 (as R ubens); f |. Rowlands], Cat.
Black chalk with pen and brown, and
Exh. London, 19 j 7, p.31, N o.16, fig.16 (as
brow'n and grey wash, heightened with
R ubens, shortly after his return from Italy).
white body-colour; part of the drawing
is on a mosaic of pieces of paper that have
been pasted on to the main sheet; 385 x
A group of eight men and women are at­
596 mm.
tacked by serpents. In front, four men are
London, British M useum .
lying on the ground and another, stand­
Inv. N o.1895-9-15-1055.
ing on the left, is still struggling with a
p roven an ce: W .Young Ottley (Lon­ serpent. In the background, an old man
don, 1771—1836); T.Lawrence (London, and two women with terrified expres­
1769-1830); W illem II, King of Holland; sions.
G. Leembruggen (Hillegom, Holland, The drawing is made up of figures de­
1801-1865), sale> Amsterdam, 5 March rived from the right-hand side of M ichel­
1866 et seq.; J.Malcolm (Poltalloch, A r­ angelo’s Brazen Serpent (cf. Numbers 21 :
gyllshire, Scotland, and London, 1805- 4-9), which decorates a corner spandrel

85
CATALOGUE N O . 22

o f the ceiling o f the Sistine Chapel in the Two paintings o f The B razen Serpent by
Vatican, Rome (Fig.51).1 The man strid­ Rubens are known. The first, in the
ing towards the spectator, and another Courtauld Institute of Art Galleries, Prin­
falling backwards, with a snake hissing ces Gate Collection, London (N0.23 ;
into his face, are easily identified therein. Fig-53), was executed in Antwerp, c.1609-
The foreshortened figure in the fore­ 1610, shortly after his return from Italy;
ground is more extended and is turned the other, in the National Gallery, Lon­
m ore to the left than in Michelangelo’s don (N0.24; Fig.55), dates from the 1630s.
work. The head of the man in the centre The drawing has nothing in common with
of the sheet corresponds to that o f the the latter as regards composition and
m an climbing in the foreground of the motifs, and its style does not admit of so
fresco. The wom an with raised arms, and late a date. In the painting in the Cour­
the two heads to the right o f her, are in tauld Institute, on the other hand, the
the background o f the fresco; the man man striding towards the spectator on the
with his head in the serpent’s jaws is in left appears in the same place, though in
the fresco on the extreme right. Rubens reverse. (In some other respects that
took over the poses of these figures, but painting is more directly connected with
rearranged them to a great extent. He Michelangelo’s fresco than with the draw­
resolved Michelangelo’s tangle of limbs, ing). Thus Rubens seems to have had the
isolating the figures by leaving more dis­ drawing in mind when he painted that
tance between them and by modelling early version of The B razen Serpent.
them with more pronounced chiar­ The head and torso o f the man falling
oscuro. backwards in the right foreground may
Men and W om en A tta cked by Serpents be compared with those o f the executio­
furnishes an example of Rubens’s tech­ ner supporting the cross, below right, in
nique o f cutting a drawing— in this case The R aising o f the Cross, painted in 1610-
a copy, apparently by another hand, of 1611 for St W alburga’s Church in A nt­
Michelangelo’s fresco— into fragments werp and now in the cathedral there,5
which he could rearrange and retouch. and also with the nude seen from behind
Later he proceeded in the same way with in the Tiger, Lion and Leopard H unt, 1616-
The Beheading o f S t Paul, a sheet also in the 1617, bought from Rubens by Duke Maxi­
British Museum.2 milian I of Bavaria and now in the Musée
Michelangelo was clearly inspired by des Beaux-Arts at Rennes.6
the figures wrestling with snakes in the
Laocoon, a Hellenistic sculptural group 1. C.de Tolnay, op. cit., pp.182-183, fig.132.
which was excavated in Rome in 15063 2. B u r c h a r d -d 'H u ls t, D r a w in g s, No. 195, repr.
and placed in the Vatican by Michelan­ 3. M.Bieber, L aocoon, T h e In flu en ce o f the G r o u p sin ce
Us R ed isco v ery , N ew York, 1942, p .i, fig.i.
gelo’s patron, Julius II. Rubens’s admira­ 4. The following drawings by Rubens after the L ao­
tion for Michelangelo’s figures in The Bra­ coon are known: T o rso o f L aocoon, Dresden, Staat­
z e n Serpent is not surprising, as he himself liche Kunstsammlungen (B u r c h a r d -d 'H u ls t, D r a w ­
in g s, pp.31-33, N o.15, repr.); Laocoon a n d kis Son s,
was interested by the Laocoon. This ap­ L aocoon, fr o m the B a ck, T h e Y ou n g er S on o f L aocoon,
pears from drawings made in Rome, in T h e Y ou n g er Son o f L aocoon, fr o m the B a ck, Milan,
which he copied the whole group or parts Biblioteca Ambrosiana ( F u b m i-H e ld , pp .125-134,
pls.1-4).
of it,4 and from the way in which he after­ 5. K .d .K ., p.36.
wards used these for his paintings. 6. B a lis, H u n tin g S cen es, pp.133-146, N0.7, fig.57.

86
 ( . A T A L O G U E N O . 23

23. The Brazen Serpent (Fig.53) N0.246, repr. (as Van D yck); O ldenbourg,
R ubens, p.63 (as Van D yck); M.W.Brock-
Oil on panel; 159 x 144 cm. well, A bridged Catalogue o f the pictures at
London, C ourtauld Institute o f A rt, Princes D oughty House, L o n d o n , 1932, p.35,No. 246 ;
G ale Collection. G liick, R ubens, Van D yck, pp.24, 26, 74, 75,
376, fig.19 (as R ub en s); M.Delacre, Le D es­
p r o v e n a n c e : Rotterdam, art dealer sin dans l ’CEuvre de Van D yck, Brussels,
Quirijn van Biesum, where it was seen by 1934, p.2iff„ repr. (as ‘ Ecole de R u b en s’);
Zacharias Conrad von Uffenbach in 1710; G.Glück, in Thiem e-Becker, XXIX, 1935,
Jaques Meyers (Rotterdam, d.1721), sale, p. 141 (as R ubens, 16 0 S -16 14 ); U.Hoff, O ld
Rotterdam, 9 September 1722, lot 74; M a ster D raw ings, XIII, 1938, pp. 15-16, fig.3
General Crewe, sale, London, 14-16 July (as R ubens); Evers, N eue Eorschungen, p.212
1810, lot 122, purchased by Lord Yar­ n.48 (as R ubens); Seilern, Flemish P a in t­
m outh; Sir Herbert Cook, Bart., Rich­ ings, p.27, N o.15, pls.XXXIV-XXXVIII (as
mond; Count Antoine Seilern (London, R ubens, c. 160 9 -16 10 ); C.Norris, 'Count
1901-1978), who bequeathed the painting Seilern’s Flemish Paintings and Draw­
to the Courtauld Institute. ings, The Paintings’, Burlington M a gazin e,
XCVI 1 , 1955, p.397 (as R ubens, c.16 10 );
copy: The inventory, dated 17 February
H. Vey, ‘De tekeningen van Anthonie van
1617, of the estate o f Frans Francken the
Dyck in het Museum Bovmans’, I, Bulle­
Elder, who died at Antwerp in 1616, in­
tin M useum Bovmans, Rotterdam , VII, 2,
cluded ‘een Serpentbijtinge, ghemaect
1956, p.45 (as R ub en s ); Id., Van D yck S tu ­
naer Rubens’ ( S .A .A ., Protocollen notaris
dien, Inaugural Dissertation, Cologne,
H . van Cantelbeeck, 16 17, under the date
[1958], pp.154, i72n .i (as R ubens); M.Jaffé,
17 February 1617, not paginated); Van
‘Rubens in Italy: Rediscovered W orks’,
den Branden, Schilderschool, pp,349-351;
Burlington M a gazin e, C, 1958, p.419 (as
D uverger, A ntw erpse kunstinventarissen, i,
R ubens, c .160 9-1610 ); H eld, D raw ings,
i,p . 39 o).
pp.94, under No.4, 119, under No.56 (as
Van D yck Tentoonstelling, Ant­
e x h ib ite d : Rubens); G erson-ter Kuile. p.80 (as R u ­
werp, 1899, N o.i; Seventeenth C entury A rt bens); H.Vey, D ie Zeichnungen A nton Van
in Europe, Royal Academy, London, 1938, D ycks, Brussels, 1962, pp.82, under N o .10,
N0.76; The Princes G ale Collection, Cour­ 112, under N0.42, 115. under N0.44 (as
tauld Institute Galleries, London, 1981, R ubens, c.16 10 ); C.Norris, ‘ Rubens’ Ado­
N0.61. ration of the Kings of 1609’, N ederlands
Kunsthistorisch Jaarboek, XIV, 1963, p. 136
l i t e r a t u r e : Z.C .von Uffenbach, M e r k ­ n.22 (as R ubens); J.M üller Hofstede, 'Bei­
w ürdige R eisen, Ulm, 1754, p.331 (as R u ­ träge zum zeichnerischen W erk von Ru­
bens); C. Phillips, ‘The Van Dyck Exhibi­ bens’, W allraf-R ichartç-Jahrbuch, XXVII,
tion at Antw erp’, The N ineteenth C entury, 1965, p.298 (as R ubens, c . 160 9-1610); Sei­
November 1899, p.742 (as Van D yck, with lern, Corrigenda and A ddenda, p.23, N0.15;
a share by one o f his p u p ils); A . Bredius, Ue M a rtin , C at. N ational G allery, p.134; J.G.
N ederlandsche Spectator, 1899^.299; K .d .K ., van Gelder, ‘Het Kabinet van de heer
Van D yck, 1909, p.23 (as Van D yck); Sir Jaques Meyers’, Rotfenhims Jaarboekje,
Herbert Cook, A Catalogue o f the Paintings 1974, p. 175 (as Rubens); Cat. Exh. The
at D oughty H ouse, R ichm ond, II, 1914, p-3o> Princes G ale Collection, Courtauld Institute

«7
CATALOGUE N O . 23

Galleries, London, 1981, pp.40-42, N0.61, On the left are four men and five women,
repr. two of whom are each clasping a child.
Moses, standing for true faith and for
liberation, points with his staff at the Bra­
The panel was rectangular from the out­ zen Serpent. The characters on the other
set (the joins o f the vertical planks can be side are in a variety o f conditions and atti­
clearly seen), but the picture was origi­ tudes: death, wrestling with the poison­
nally planned with a semicircular upper ous snakes, adoration, miraculous cure.
part (Fig.54). Rubens changed it sub­ The form o f the pole and crosspiece to
sequently into a rectangle and added two which the serpent is attached, and the
strips at either side. Differences in the gesture o f Moses touching it with his
texture o f the paint between the original staff, are an allusion to the Crucifixion,
and the added pieces m ake these altera­ recalling the soldier Longinus who pierced
tions easily discernible. The decision to Christ’s side with his spear (John 19: 34).
alter the format must have been a hasty, The heads o f the standing figures are all
last-minute one, as the composition was on the same level: this isocephaly is
clearly designed to fit the original panel : typical of altarpieces with a rounded
the effect now is not entirely satisfactory. upper part.2
The sky, and a strip alongside the pole This composition is based on Michelan­
on which the serpent is raised are largely gelo’s Brazen Serpent, which decorates a
over pain ted by an unknown hand. corner spandrel of the ceiling o f the Sistine
The episode o f the Brazen Serpent rela­ Chapel in the Vatican, Rome,3 and in
tes to one of the frequent rebellions o f which two groups, divided by the Ser­
the discontented Israelites against the pent, stand opposite each other: on the
authority of Moses and Aaron. To subdue one side Israelites wrestling with the poi­
them and as a punishment for their blas­ sonous snakes, on the other those already
phemous murmuring, Yahveh sent poi­ cured. Rubens took over this arrange­
sonous snakes among them. W hen they m ent but opposed Moses and his atten­
acknowledged their sin, Moses interceded dants to the whole group o f Israelites.
for them and was commanded by Yah­ Moses does not appear in Michelangelo’s
veh to erect a brazen serpent which would version, but Rubens makes him, by size
cure all those who looked upon it (Num ­ and position, the most important figure
bers 21: 4-9). In and after the Middle in the scene. Some o f the other figures are
Ages, the Brazen Serpent was regarded borrowed from Michelangelo, either di­
as doubly symbolic. It was identified with rectly or via M en and W om en A ttacked by
Christ triumphing over the original ser­ Serpents— ci drawing in the British M u­
pent which led mankind into original sin, seum, London, composed by Rubens with
and the brazen serpent raised on a pole figures from the fresco (N0.22; Fig.52).
prefigured Christ uplifted on the cross The foreshortened recumbent m ale figure
(cf. John 3:14).' in the foreground is closer to the corre­
The composition consists o f two groups sponding figure in the fresco than to that
of figures separated by the Brazen Ser­ in the drawing: the pose of the legs is
pent. Moses occupies nearly the whole o f certainly different, but the chin project­
the right half; behind him are two aged ing above the chest, and the arm resting
men, one o f whom is probably Aaron. on the ground, leave no doubt as to the
 CATALOGUE NO. 23
direct relationship. The woman lifting her dello for a painting on the reverse side, in
child with arms outstretched towards the the centre, of Rubens’s triptych The R a is­
Brazen Serpent does not match any fig­ ing o f the Cross, originally placed in
ure in the fresco, but in the upper left of St W alburga’s Church in Antwerp and
that work there is a child in a similar po­ now in the cathedral there.9 He based
sition which may be the basis of Rubens’s this suggestion on two arguments : (1) the
motif. Closer to Rubens’s drawing is the Brazen Serpent is a type or préfiguration
man striding forward, who appears in the of Christ on the Cross; (2) In 1733 the
same position, though in reverse, on the churchwardens of St Walburga's stated
left of the painting. The pose of his arms in a petition to the city fathers that the
is modified, however, and the m otif o f the high altar was falling into decay and that
serpent biting his head is borrowed from Rubens’s painting was in danger of being
another figure in the same drawing.4 damaged. They wished to have a new
The painting also contains reminiscen­ altar erected, and therefore sought per­
ces of Titian, such as his ceiling piece of mission to sell, inter alia, three small
D avid Slaying G oliath,5 which Rubens may paintings from the predella: Christ on the
have seen in Venice in the refectory of Cross, The M iracle o f St W alburga, and The
Santo Spirito, where it was until 1656 A bduction o f St Catherine. Permission was
(now in Santa Maria della Salute in Ve­ granted by an apostil of 9 Februar)' 1734.
nice). From that work he may have bor­ From a contract o f 22 June 1734 it appears
rowed David’s hands, uplifted in prayer, that the sculptor G.l.Kerricx was com ­
for the figure o f a naked man next to the missioned to make the new high altar
Brazen Serpent; and Titian’s placing of and that the predella was to be decorated
Goliath’s hand close to the lower edge with a bas-relief of The B razen Serpent
may have inspired him to do the same (which still exists).10 Burchard’s sugges­
with one of his own figures. In both tion is interesting, but no large painting
paintings, moreover, rhe figures stand after rhe m odelio of that title is known or
out as silhouettes against a dramatically mentioned in documents.
cloudy sky. A painting of the same subject by Ru­
The old woman with sharp features bens, with a différent composition and
and jutting chin, bending over the mother dating from the second half of the 1630s,
who lies on the ground, occurs in paint­ is in the National Gallery, London (No.24;
ings by Rubens dating from the last years Fig.55). See also No,22.
o f his stay in Italy (e.g. The Adoration o f the In the Prado in Madrid there is a Brazen
Shepherds, 1608, Fermo, Museo Civico)6 or Serpent painted by Van Dyck" in his first
from shortly after his return to Antwerp Antwerp period and based, as appears
(e.g. The R aising o f the Cross, 1610-1611, from his preliminary drawings,12 on the
Antwerp, Cathedral).7 She was evidently present work by Rubens. His composition
one of his favourite models at that time, similarly consists of two groups separated
and her presence is an additional reason, by the Brazen Serpent; one side is dom i­
apart from stylistic indications, to date nated by the figure of Moses, while on the
The B razen Serpent c.1609-1610.8 other a number of Israelites are worship­
W here the work was intended to be ping the Serpent. However, in Van D yck’s
placed is not known. Burchard wondered version Moses is on the left instead of the
if it was not originally intended as a mo- right.

89
CATALOGUE N O . 24

A catalogue of ‘a superb collection of p.201); exhibited for sale by J.B.Bulkeley

Choice Pictures now exhibiting at Mr. Hick­ Owen, at George Yates’ Gallery, London,
m an’s Gallery, 29 St James’s Street, for 1837, where acquired by the National
the purpose of Sale by private contract’ Gallery.
(no date, but between 1812 and 1837)
mentioned as lot 50: ‘P. P. Rubens, M oses c o p i e s : (i) Anonymous painting, where­
Elevating the B razen S erp en t; a sketch’, abouts unknown; panel, 61 x 85 cm.
p rov. Bought by James Stanley, 10th
1. R é a u , Iconog ra p hie, II, i, pp.208-210, Earl o f Derby, from M r Castilles (?Peter
2. See, for exam ple: Titian, T h e A ssu m p tio n o f the V ir ­
Casteels) in 1722.l i t . George Scharf, A ...
g in , Verona, Cathedral ( K .d .K ., T it ia n , 19 2 4 , p.97;
H.E.W ethey, T h e P a in tin g s o f T itia n , I, London, Catalogue o f the Collection o f Pictures at
1969, p.76, N0.15, figs.43-45). K now sley H all, London, 1875, pp.70
3. C. de Tolnay, Th e S istin e C eilin g , Princeton, 1945,
pp.97-98, fig. 132.
(No. 127), 231, 232; (2) Anonymous paint­
4. U.Hoff, loc. cit. ing, form erly in the Bildergalerie o f Sans­
5. K .d .K ., T it ia n , 1 9 2 4 , p .136; H.E.W ethey, op. cit., souci, Potsdam, Inv. N0.G.K.I.7591, lost
I, pp. 120—121, N0.84, fig.159.
since 1945; canvas, 183 x222 cm. (origi­
6. J a ffé , R u b en s a n d Ita ly , fig.340.
7. K .d .K ., p.36. nally 151 x 222 cm., enlarged later at the
8. S eilern , F lem ish P a in tin g s , p.27, under N o.15. top by a strip o f 32 cm.), p rov. In h erit­
9. K .d .K ., pp.36, 37.
10. Gilberte Gepts-Buysaert, ‘Guillielmus Ignatius
ance of J. Siebrecht, Antwerp, sale,
Kerricx, Antwerps beeldhouwer (1682-1745)’, i i June 1754; purchased by the Bilder­
G en tse B ijd ra g en tot d e K u n stg esch ied en is, XIV, 1953, galerie in 1755. l i t . M. Oesterreich, Be­
pp.293-294.
11. D ia ç P a d r ô n , C a t. P r a d o ,pp. 118-119,No.i637,fig.Bi.
schreibung der Königlichen Bildergalerie u nd
12. H. Vey, D ie Z eich n u n g en A n to n V a n D y ck s, Brussels, des Kabinets im Sans-Souci, Potsdam, 1764,
1962, pp.112, under N0.42, 113, under N0.43, 115, N0.19; Sm ith, Catalogue R aisonné, II, p .107,
under No.44.
No.353; Rooses, I, p. 140, No. 112; E.Hen-
schel-Simon, D ie Gem älde u nd Skulpturen
in d er Bildergalerie von Sanssouci, Berlin,
1930. p.34. No. 112; Bernhard, Verlorene
24. The Brazen Serpent (Figs. 55, 59)
W erke, p.56; G.Eckardt, D ie Bildergalerie
in Sanssouci, 1975, p.284,No.247; (3) Anon­
Oil on canvas; 186 x 264.5 cm.
ymous painting, Gateshead, Shipley A rt
London, N ational G allery. Inv. N0.59.
Gallery; canvas, 118 x 9 1.5 cm. l i t . The
p ro ven an ce: Lorenzo Marana (Genoa, Shipley A r t G allery, Catalogue o f the P a in t­
1735-1809), purchased from him by An­ ings etc., 1951, p.27, No.362; (4) Anony­
drew Wilson on 27 March 1805; Andrew mous painting, Sacramento, California,
Wilson, sale, London (P.Coxe), 6 May E.B.Crocker A rt Gallery; (5) Anonymous
1807, lot 36; with Buchanan, 1808 (see the painting, whereabouts unknown, p r o v .
letter from Sir Thomas Lawrence to Mr Collection Madame Xavier de Pret, A nt­
Penrice, 5 July 1808, in W .T.W hitley, A r t werp, C.1888. lit. Rooses, I, p .140, under
in England, 1800-1820, 1928, p. 132); W il­ N0.112; (6) Anonymous painting, where­
liam Champion, sale, London (Phillips), abouts unknown; canvas, 161x235 cm.
23 March 1810, lot 47; with J.Graves, p r o v . Collection L.Birtschansky, Paris,
when exhibited at the British Institution, 1946; since 1947 in Switzerland; in 1957,
London, 1815; T .B .H .O w en by 1824 (see with F.Schindbeck, Zurich; in 1972, with
W, Buchanan, M em oirs o f Painting, II, 1824, P.Gambetta, Lugano; anonymous sale,

90
 CAI A L O G I ' H NO, 24
Luzern (Fischer), 18-19 June 1971. lot 547; logues, The D utch School, i960, p.269);
(7) Anonymous painting, collection Baron (20) Engraving, in reverse, by Schelte
Thure-Gabriel Rudbeck, Stockholm, 1947 ; a Bolswert (Fig.58); inscribed: Pet. Paul
panel, 57 x 7 1 c m . p r o v . Purchased in R ubhens p in xit.. S .a. Bolsivert sculpsit,
London before 1939; (8) Anonymous G illis H endricx excud it. A nlverpiae;
painting, whereabouts unknown; panel, title: T E C TP TR G O Al O Y S T S S E R P E N -
53 x 75 cm. p rov. L.Van der Cruyssen, T E A l Æ N R V M . D P PO SV PP EV.M
Clos St François, Dijon; (9) Anonymous P R O S IG N O : Q V T.M C V AI P T R C V S S I
painting, collection Panducci, Florence, A S P IC E R E N T S A N A B A N T V R . N um eri 21 ;
1950; (10) Anonymous painting, where­ dedicated: NOBII.I A C G EN EROSO
abouts unknown; copper, 4 4 x 5 9 cm . D O M IN O D N O F R A N C IS C O G O V B A V ,
p r o v . Anonymous sale, Brussels (Giroux ), 'PO P A R C H ,li D E 'PRIESE, Al E S P E L A E R ,
4-5 May 1956, lot 108, pl.XXXIV (as T. Van E T C . D .C .Q . Æ G ID IY S H E N R IC l. l i t .
Thu lden ); (11) Anonymous painting, col­ V .S ., p-5, No.33; Rooses, I, p.140, under
lection Govers, Eindhoven, 1963; copper, N o .112, pl.31; Lugt, Cat. Louvre, Ecole
43 x 59 cm. Photograph in Rijksbureau flam ande, II, p.37, under No. 1128; A lor/in.
voor Kunsthistorische Documentatie,The C at. N ational G a lle n , p p .LH. > 3 9 n.29;
Hague; perhaps identical with the pre­ (21) Engravings, all of them in the same
vious painting; (12) Anonymous painting, direction as the painting, by A.Cobert
whereabouts unknown ; canvas, 62 x (V .S ., p.5, No.33bis), F.Ragot ( V .S ., p.5,
81 cm, p r o v . Anonymous sale, London No.34), C.Galle ( V .S ., p.5. No.35), XI. Au-
(Sotheby’s), i6M ay 1962, lo t65; (13) Anon­ bert ( V .S ., p .5, No.36), and by two anony­
ymous painting, whereabouts unknown; mous engravers (V . 5 ., p.5, Nos.37, 38).
copper,68.5 x 84.5 cm. p r o v . Anonymous l i t . Rooses, 1 , p.140, under N o .112; Lugt,

sale, London (Christie’s), 8 February Cat. Louvre, Ecole flam ande. II, p.37, under
1963, lot 81 (ascribed to T. Van T hulden ); N o.1128; M a rtin . Cat. N ational Gallery,
(14) Anonymous painting, Vienna, Aka­ p p .135, 136 nn.30-34. (22), (23), (24) (25)
demie; canvas, 52 x47 cm. lit. Rooses, I, (26)
e x h ib ite d :Catalogue of Pictures by R u ­
p .140, under N o.112; (15) Anonymous
bens, R em brandt, Vandyke, and other artists
painting, Vienna, Schottenstift; (16) Ano­
o f the Flemish and D utch schools, British In­
nymous painting, whereabouts unknown ;
stitution, London, 1815, No.7; A n E xh ib i­
canvas, 6 1 x 7 1 c m . p r o v . Anonymous
tion o f Cleaned Pictures, National Gallery,
sale, Vienna (Dorotheum), 16-19 March
London, 1947-1948, No.57.
1976, N o.1 16; (17) Anonymous painting
(in reverse), whereabouts unknown; can­ lite r a tu r e : Sm ith, Catalogue R aisonné,
vas, 86x 115 cm. p r o v . Lord Doverdale II, pp.215-216, No.769 (as R ubens ); IX
sale, London (Sotheby’s), 8 November (Supplement), p.316, No.260 (as R ubens);
1950, lot 106; (18) Anonymous painting W aagen, Treasures, I, p.349 (as R ubens, en­
(in reverse), in 1951 with Mrs de Kerchove tirely executed by himself); Rooses, I, pp. 139—
d’Oesselgem, Vosselare (near Ghent); on 140, N o.1 12 (as R ubens, c .i637); K .d .K .,
copper; (19) A reduced copy or version edn. Rosenberg, p.300 (as R ubens, i 6 j >-
appears on the wall in A Lady Teaching K .d .K ., p.315 (as R ubens, c .ió jo ) ;
a C hild to R ead by C.Netscher, Natio­ O ldenbourg, Flämische M alerei, p.51 (as R u ­
nal Gallery, London, N0.844 (see N. bens, 1630-1640); P.Hendy, A n Exhibition
MacLaren, The N ational G allery C ata­ o f Cleaned Pictures. N ational G allery, Lon-

91
CATALOGUE N O . 24

don, 1947, pp.62-63, N o.57 (as Studio o f The composition o f this painting, which
R ubens); B u rch a rd -â ’H ulst, D raw ings, p.33, contains numerous p entim enti,1 can in
under N o.15 (as R ubens, c . i 630); M a rlin , some ways be compared with that of
C at. N ational G allery, pp.133-137, No.59 Rubens’s work with the same title in The
(as w orked up by R ubens, second h a lf o f the Courtauld Institute, Princes Gate Collec­
i6 jo s ); G. Martin, ‘The Founding of the tion, London, of c.1609-1610 (see N0.23;
National Gallery in London’, C onnoisseur, Fig-53), in which Moses and his attendants
Decem ber 1974, pp.280-281, fig.4 (as R u ­ are likewise seen facing a group of tor­
bens). mented Israelites, though here they are
in reverse and not separated by the Bra­
zen Serpent. However, the format is now
The B razen Serpent recalls the episode re­ horizontal instead o f vertical, the scene is
lated in Numbers 21: 4-9 (see N0.23). m ore spaced out and all its elements are
This life-sized picture features anguish treated more pictorially.
and bewilderment, pleas for m ercy and a Martin has pointed out2 that the com­
ray of hope. The high priest stands on the position m ight be a development o f an
extrem e left and displays to the Israelites, idea expressed in the foreground o f Ru­
assailed by poisonous snakes, the Serpent bens’s oil sketch in Berlin of H enry I V S ub­
which is to heal them. Beside him, ad­ ju g a tin g the C ity o f Parish executed c.1628-
dressing the people, is Moses with a staff 1630 as a m odello for one o f the series to
in his hand; rays project from his head decorate the Henry IV Gallery in the Pa­
and surround it with a fierce light. In the lais du Luxem bourg in Paris, and that it
foreground lies a naked man, wrestling may also owe something to Agostino Ve-
painfully with a huge snake; another neziano’s print after Raphael’s G athering
naked man, already dead, lies beside him o f M a n n a .4 As regards certain individual
and is lamented by a young woman, her figures he also suggested links with other
head resting on her hand. Behind these artists. Moses might be derived from the
three figures is a kneeling wom an with apostle Peter in Raphael’s cartoon o f The
her two children in her arms, gazing D eath o f A n a n ia s;5 the Israelite in the
im ploringly towards the Serpent. A young background, bending forwards, who was
woman, naked to the loins, with her already seen in Rubens’s B razen Serpent of
arms linked above her head and a ser­ 1609-1610 (N0.23; Fig.53), is based, as
pent coiled round them, is carried by her Hoff pointed out,6 on a m otif of Michel­
aged m other; both of them beg the angelo’s; the naked Israelite lying in the
Serpent for help. Further right, another centre foreground, a figure which also
woman lifts up her child for the Serpent occurs, below left, in Rubens’s Conquest
to see, and a man in armour struggles o f T un is,7 may be derived from Michel­
to escape the cluster o f reptiles; an aged angelo’s T ity u s ,8but more probably from
man next to him, with tortured features, Tw o Fettered C aptives, a drawing in the
tries to do the same. A third, lightly Musée Pincé at Angers,9 in which Rubens
sketched, bearded man gestures towards copied a composition by Salviati ; the man
the Serpent. Towards the background in armour is based on the figure of Lao­
another group o f Israelites can be seen coon in the group o f that name, which
struggling with the snakes, which are Rubens copied several times in whole or
raining down from a heavily clouded sky. in part.10 Some motifs are connected with

92
 ( . a i’ a l o g o i ; n o . 24

ideas elaborated by Rubens himself. The cepted in B u rch a rd -d 'D u lst, D ra w in g s,'8
woman holding up a child already oc­ both authors came to the conclusion,
curred, in reverse, in his earlier Brazen shortly before Burchard’s death, that the
Serpent (N0.23; Fig.53); the pose of the painting dated from the end of the 1630s.
woman struggling with a serpent can be M artin19 considers a date in the second
compared with the Androm eda, c.1638, in half of the 1630s to be most probable, but
Berlin," and with the studies for a seated suggests that the execution may have
Dejanira on the re d o and verso o f a sketch- been spread over a num ber of years.
sheet in the Louvre ;u the woman m ourn­ No sketch for this painting can be
ing for the dead Israelite on the ground pointed to, though some sketches of the
recalls the woman second from the left same subject are mentioned in the litera­
in The G arden o f Love, c.1631, in the Prado ture: (1) Anonymous sale, Amsterdam,
in Madrid.13 13 April 1693, lot 7. i.it. Hoet, Catalogus, I,
According to Martin the model for the p.25; Rooses, I, p.tqo, under No. 11 abis;
woman in black in the centre may have M a rtin , C at. \'a liona l G allery, pp. 135-136
been Rubens’s second wife, Hélène, and n.26; (2) Anonymous sale, The Hague,
the child in front of her could be her 15 July 1749, lot i ; copper, 16 x 22 inches
eldest son, Frans, who was born in 1633. (40.6 X 55.9 cm.); described in the sale
His presence would thus be an indication catalogue as ‘ Ten extra schoon stu k' etc.,
as to the date of the painting; but the two i.e. not specifically as a sketch, l i t . H oet-
identifications are not convincing. The Terw eslen, p .53; Sm ith, Catalogue R aisonné,
head of the old woman occurs frequently II, p.216, under No.769; Rooses, 1, p. 140,
in Rubens’s work and is painted from a under No.it2bis; Marii», Cat. A'alional
living model; this is probably also the G allery, pp. 135-136 n.27; (3) Queen of
case with the head o f the old man on the Spain and anonymous sale, London (Ste­
extreme right, who already appears in w art’s), 15 April 1813. lot 86. l i t . M a rlin ,
Rubens’s earlier C hrist w ith the Penitent Cat. N ational G allery, pp. 135-136 11.28.
Sinners, c.1648, in Munich.14 A drawing in the Louvre (Inv.
Although the painting, the original pur­ No.20.313; 345 x 4 8 1m m ., black chalk,
pose of which is not known, was certainly stumped, some heightening with white
designed by Rubens and his hand can be body-colour, l i t . Sm ith, Catalogue R a i­
easily recognized in various places, it is sonné, II, p.216, under No.769 [as Rwheas];
not wholly satisfactory. The two nudes in Rooses, V, pp.146-147 [as by a R ubens p u p il
the foreground are not well integrated or the engraver J; Lugt, C at. Louvre, École
with the other figures, and neither the flam ande, II, p.37, N o.1128, pl.LVH [as
facture nor the colouring are o f the same probably S .a . Bolswert]; M a rtin , Cat. N atio­
quality throughout. Probably a studio as­ nal G allery, p.136 n.29; R enger, R ubens
sistant transferred it to large format after D ed it, I, p .153 n.98[as not Rubens]), follows
a modello by the master, who then re­ the painting more or less exactly,and was
worked it him self to a large extent. As to probably made by Schelte a Bolswert in
its date opinions vary, though all critics preparation for his engraving.
regard it as a late work. Rooses15 placed Charles-Jean-Gommaire Nelis (Ant­
it C. 1639, Rosenberg16 c . 1635- 1638. The werp, 1804-1875), canon o f Tournai Ca­
date C. 1630, proposed by Oldenbourg,17 is thedral and vicar-general to the bishop,
probably too early; although it was ac­ possessed an ivory v ase made by Lucas

93
CATALOGUE N O . 25

Faidherbe (Malines, 1617-1697) on which script Baert, No. 15765-70 (Friar Libertus, Lucas
F a id h erb e, b eeld h ou w er en bouw m eester, Antwerp,
rhe episode o f rhe Brazen Serpent was
1938, p.153). See also: E .Cachet, L ettres in éd ites de
represented in bas-relief ‘after a Rubens P . P .R u b e n s , p u b liée s d 'a p r è s ses a u tog ra p h es, Brus­
drawing engraved by Schelte a Bols- sels, 1840, p.281; C.K ram m , Levens en W e r k e n ...,
Am sterdam , II, 1858, p.479.
w ert’.20 The vase, the lid of which was
decorated with a figure of Samson slaying
the lion, has not been traced.
25. Gideon Overcoming the
1. Several p e n tim e n ti, some visible to the naked eye, Midianites (Fig. 56)
are described in M a r tin , C a t. N a tio n a l G a ller y : the
thum b o f the female Israelite in black was longer;
the child to the left first looked out of the picture Oil on panel, cut along the bottom edge
and rested its chin on its right hand, while its left and probably also along the other sides;
arm lay along the thigh o f the woman in front of
it; the outline of the old w om an’s hand was higher;
59.5 X 73.5 cm. Inscribed at the bottom
the face o f an old man has been painted out just on the ieft, I V D I C V M — C A P V I I
beneath the baby held aloft by the woman, who Raleigh, N orth C arolina M useum o f A rt.
was first depicted in white head-dress.
2. M a r tin , C a t. N a tio n a l G a ller y , p .134. By courtesy of
Inv. N0.52.9.207.
the heirs o f the late Ludwig Burchard and of the
City o f Antw erp, Martin was permitted to study
p ro ven an ce; IPetrus Johannes Snyers
the Burchard papers on pictures by Rubens (stated (Antwerp, 1696-1757), sale, Antwerp,
by Martin in the foreword to his catalogue). 23 May 1758, lot 4 (as Een schets, pijn de de
3. K .d .K ., p.318. For the discussion o f the commission
for the Henri IV Gallery, see I.Jost, ‘Bemerkungen
Battaille van Josua tegens de Philisteinen, op
zur Heinrichsgalerie des P.E .Rubens’, N ed erla n d s paneel, door P .P .R u b b e n s, hoog 23, breet
K u n sth isto risch J a a rb o ek , X V , 1964, pp.175-219, fig.4, 28 duim en); A .De Heuvel Gallery, Brus­
and J.Kelch, P e te r P a u l R u b en s. K ritisch er K a ta log
d er G em ä ld e im B e sitç d er G em ä ldeg a lerie B erlin , Ber­
sels (1950) ; Hal M. O ’Nians, fine art dealer,
lin-Dahlem, 1978, pp.7i-73, fig.55. London (1954); D .M .Koetser Gallery,
4. B a rtsch , XIV,io.8; T h e Illu stra ted B a rtsch , 26, New London (1954).
York, 1978, fig.17.
5. London, Victoria and Albert Museum. See L. c o p y : Anonymous painting, whereabouts
Dussler, R a p h a el, London-New York, 1971, p.102,
unknown; panel, 62x78 cm. p rov,
fig. 177.
6. U .H off, O ld M a s te r D r a w in g s , XIII, 1938, p.14. F. Kleinberger, Paris (1936).
7. K .d .K ., p.401.
8. A.E. Popham and J.Wilde, T h e Ita lia n D r a w in g s o f lite r a tu r e : P.Terwesten, Catalogus o f
the X V a n d X V I C e n tu r ies . . . a t W in d so r C a stle , N aam lijst van S ch ild e rijen ..., The Hague,
London, [1949], pp.252-253, No.429, pi.21.
1770, p.200, No.4 (as ‘J o çu a tegen de P h ilis­
9. B u r c h a r d -d ’H u ls t, D r a w in g s, pp. 155-156, N0.93,
repr. teinen’ ) ; Sm ith, Catalogue R a iso n n é, II, p.173,
10. B u r c h a r d -d ’ H u lst, Drawings,pp.31-33,No. 15, repr.; N0.607 (as Joshua O vercom ing the A m aleki-
F u b in i-H e ld , p p .125-134, pis. 1—4.
tes); W .R.Valentiner, Catalogue o f P a in t­
h . K .d .K ., p.430; J.Kelch, op. cit., pp.29-36, fig.23,
p l.i. ings Including Three Sets o f Tapestries. N orth
12. B u r c h a r d -d ’ H u ls t, D r a w in g s, pp. 293-295, N o. 189, Carolina M u seum o f A r t, Raleigh, North
fig s .i8 9 r , 189V.
Carolina, 1956, pp.20, 66, N o.134 (as R u ­
13. K .d .K ., p.348; D ia ç P a d r ó n , C a t. P ra d o , pp.280-282,
fig,i84. bens, c .16 16 -16 18 ); M .D .H ill, ‘Represen­
14. K .d .K ,, p .176; Cat. A lte P in a ko th ek M ü n c h e n , 1983, tations from the O ld Testament in the
pp.445-446, N0.329, repr.
Museum's Collections o f Paintings’, N orth
15. R o o ses, V , p.312, N0.112.
16. K .d .K ., ed n . R o sen b erg , p.390. Carolina M u seum o f A r t Bulletin, I, 2 (Sum­
17. K .d .K ., p.315. mer, 1957), pp.9-15, repr.; B u rcha rd -
18. B u r c h a r d -d ’ H u lst, D r a w in g s, p.33, under No. 15.
d ’H u lst, D raw ings, p.92, under No.53 (as
19. M a r tin , C a t. N a tio n a l G a ller y , p .134, under No.59.
20. A rch iv e s g én éra les d u R o y a u m e, Brussels, Manu­ R ubens, c.16 16 ); J.M üller Hofstede, Re-

94
 ( . a i a i. o t; r ii n o . 25

view of B u rch a rd -d 'H u lst, Drawings, in try desperately to escape. In the middle
M a ster D raw ings, 4, 1966, p.445, under of a blaze with flashes of lightning, an
No.53 (as R ubens ); C.W . Stanford, M a ster­ object resembling a cake of barley-bread
pieces in the N orth C arolina M useum o f A rt, comes flying out of the dark sky; it falls
Raleigh, 1966, pp.36-37, repr. (as Rubens, in the Midianite camp, where it over­
C .1616); H eld, O il Sketches, pp.634-635, turns a tent. This motil recalls a dream
No.Aio, pi.48 (as not R ubens). related by a Midianite watchman to his
companion and overheard by Gideon just
before the attack: God had told him to
To punish the Israelites for their evil- go down to the enem y’s camp, where he
doing, Yahveh abandoned them for seven would be strengthened by what he heard
years to the plundering Midianites, after (Judges 7: 9-15). Two figures in front of
which he appointed Gideon to deliver the entrance to a tent, one wearing a
them (Judges 6: 14). The painting depicts crown and the other a turban, gaze anxi­
Gideon’s victory over the Midianites, who ously at the light from heaven and the
were allied with the Am alekites and other Take’ that seems to be aimed at them;
peoples of the East. At God’s command perhaps these are Oreb and Zeeb, who
he reduced his army to three hundred were later taken prisoner.
men and divided it into three companies; At the bottom of the picture is a dark
each man was then given a trumpet and parapet which was originally decorated
a pitcher with a torch inside. In the m id­ with a white stone cartouche in relief,
dle watch o f the night, when Gideon gave consisting of a head (of which only the
the signal, the men broke their pitchers hair is now visible) and two wings of
and rushed upon the enemy from three which only the upper edges have sur­
directions. Confused by the lights and the vived. These fragments (?a cherub) may
blast of trumpets shattering the stillness have formed part of a painted frame for
of the night, the enemy troops attacked the whole composition.
one another and then turned to flight. In In 1954, after a thorough cleaning, the
the pursuit two Midianite princes, Oreb painting was attributed to Rubens by
and Zeeb, were taken prisoner and slain Burchard,1 who pointed out 'the vigour
(Judges 7: 16-25). of the design, the brilliance of the vivid
Gideon and some of his men stand on colours, the concentration of movement
a hillock on the right, blowing trumpets comparable in several details to the paint­
and horns. One of them, contrary to the er’s Defeat o f Sennacherib, c. 1612-1614, in
biblical text (Judges 7: 20) holds the Munich (N0.47; Fig. 103), and again to his
trum pet in his left hand and the pitcher D ecius M u s R elating his D ream , c. 1617,
in his right. On the ground are fragments (Fig.57) in the Prince of Liechtenstein Col­
of broken pitchers. On the left, opposite lection, Vaduz’.2 Burchard also identified
the static group o f Israelites, are their the painting with an oil sketch sold in
confused and panic-stricken enemies. Antwerp on 23 May 1758, as R ubens, from
Three horses, one o f which has thrown the collection of Petrus Johannes Snyers.3
his rider, run in terror in different direc­ He proposed to date the work c.1616.
tions; two naked men, and one in armour, Held does not accept this attribution of
have been cast to the ground ; a standard- the painting to Rubens, even if it should
bearer and a man in a jerkin beside him be identical with that owned by Snyers.

95
 CATALOGUE N O . 26

As a first argument to the contrary he like painting was once shown to me. I missed the
transparency o f shadows, which one would expect
mentions the less than faithful rendering
at least in places. The picture seemed to me a com ­
o f the subject: ‘it is certainly odd that the pilation by a contemporary of Rubens’.
tum bling loaf of bread, seen in a dream
before the battle, should be included
here as an actual missile accompanied by 26. Samson Breaking the Jaws
lightning’. He also argues that the left of a Lion (Fig. 60)
h alf of the painting largely agrees with
the left half o f Rubens’s D efeat o f Senna­ Oil on canvas; 226 x 265 cm.
cherib (Fig,io3), and that the warrior seen M a d rid , D u q ue de H ernani (1977J.
from behind, wrapped in an animal’s
p r o v e n a n c e : Royal Palace, salón nuevo,
skin, more or less reproduces one of the
Madrid; Marqués de Leganés (Madrid,
listening officers in D ecius M u s R elating
C . 1 5 8 4 - 1 6 5 5 ) ; Infante don Sebastian de
his D ream (Fig.57). Whereas Burchard re­
Borbón y Braganza ; Infanta Maria Cristina
garded these correspondences as evidence
de Borbón, sale, Madrid, 1902, lot 21,
of the painting’s authenticity, Held con­
repr.
siders them ‘too far-reaching’ and main­
tains that there is no original composition c o p ie s : (i ) Anonymous painting, where­
by Rubens that repeats his earlier work abouts unknown; canvas, 145x215 cm.
to such an extent. He also thinks that the p r o v. ?Plach sale, Vienna (Wawra), 9 D e­

author o f the painting has not achieved cember 1885, lot 177 (canvas, 145x210
an organic link between its two halves. cm.); ? Dr Herrmann Krauspe (Berlin)
These arguments seem plausible, as sale, Berlin, 28-29 October 1895, lot 78
does Held’s adverse opinion o f the exe­ (canvas, 144 x200 cm.); O.Stoesser, Lahr
cution; he describes the work as ‘coarsely (Baden); D r Alfred Wolff, Munich (1924);
painted, conspicuously lacking the subtle (2) Anonymous painting, whereabouts un­
and vibrant brushwork characteristic of known; canvas laid down on panel, 31.5
Rubens’s authentic sketches’. The conclu­ x 37.5 cm. p r o v . Verm eer Gallery, Lon­
sion must be that the painting is a com ­ don-New York, 1946; Los Angeles, Coun­
pilation by an unknown hand.4 ty Museum (Cat. 1954, p .19, N o.14), sale,
Los Angeles (Sotheby, Parke-Bernet) 21-
1. This attribution can be found in a certificate of
28 May 1954 addressed to the David Koetser Gal­
23 June 1982, lot i i . l i t . V alentiner, R u ­
lery, London. bens in A m erica, p.167, N o.122 (as R ubens);
2. K .d .K ., p .142; [R.Baumstark], Cat. Exh. L iech ten ­ Los Angeles County Museum, Catalogue
stein . T h e P rin cely C o llectio n s, Metropolitan Museum
o f Art, New York, 1985-1986, pp.341-343, No.210,
o f Flem ish, G erm an, D u tch and E n glishP a int-
repr. ings, X V th -X V IIth C en tury, 1954, p. 19,
3. P.Terwcsten, C a ta lo g u s o f N a a m lijst v a n S ch ild e­ N0.14, repr. (as R ubens); A lp ers, Torre,
r ije n ..., The Hague, 1772, p.200: S ch ild ery en , n ag e­
laten doo r w y len d ’ H eer P .J .S n y e r s , in ç ijn leven L ie f­
p.277 (as by a hand other than R ubens) ; H eld,
h ebber d e r çelv en K u n st. V e r k o g t . . . d en 23 AIey 175& , O il Sketches, p.430 (as a copy o f a lost oil-
A n tw e r p e n , lot 4: E en S ch ets, ç ijn d e D e B a ita ille van sketch, probably o f later date) ; (3) Anony­
Jo su a tegens de P h ilistein en , op p a n eel, doo r d en çelv en
[ P .P .R iib b e n s ] ; hoog 23, breet 26 d u im en [ f 9 . 9 6 x
mous drawing, London, British Museum;
73 cm .]. black and red chalk, and brown wash,
4. In a letter o f 28 March 1950 to F.Baudouin, who 299 x413 m m. l i t . H in d, R ubens, p.7,
had asked for advice when the painting was offered
N0.5 (as R ubens); J.M üller Hofstede, ‘Bei­
to him for sale by the De Heuvel Gallery in Brus­
sels, Burchard wrote (in German): 'The Rubens- träge zum zeichnerischen W erk von Ru-

96
 < A I A I. O C U E N O . 26

bens’, W allraf-R icharlç-Jahrbuch, XXVII, C en tu ry fro m the Collection o f Frits Lugt,

1965, pp.352-353, fig.251 (as R ubens); H eld, London-Paris-Bern-Brussels, 1972, pp. 108
O il Sketches, p.430 (as a copy); (4) Anony­ to 110, under N o.82; H. Harris, ‘Cassiano
mous drawing (Samson’s Figure), Copen­ dal Pozzo on Diego Velazquez’, Burlington
hagen, Printroom of the Statens Museum M a g a zin e, CXII, 1970, p.372 nn.36, 37;
for Kunst, ‘Rubens Cantoor’, N0.I7Ó; [Diaz Padrón], Cat. Hxh. Pedro Pablo R u ­
black chalk, heightened with white, bens: Exposición Homenaje, Palacio de Ve­
reinforced with point o f the brush in lazquez, Madrid, 1977-1978, pp.92-93,
brown ink, fragment, 285 x 283 mm. No.79, repr. on the cover (as R ubens, c.
lit. B ur char d - d ’H u lst, D raw ings, p.82, un­ 1 6 1 5 -1 6 1 ]) ; S.N.Orso, In the Presence o f the
der N0.48; J.M üller Hofstede, op. cit., "P la n e t K in g ’ ’ . Studies in A rt and D ecora­
p.353 n.212 (as copy); (5) Anonymous tion at the C ou rt o f P hilip I V o f Spain, (D iss.
drawing (Samson’s Head), Copenhagen, Ph.D.), Princeton, 1978, pp.57,62,127, 260
Printroom o f the Statens Museum for (as R ubens); M .Crawford Volk, ‘Rubens
Kunst, ‘Rubens Cantoor’, N0.I77; black in Madrid and the Decoration of the Salón
and brown chalk, 205 x 1 7 4 mm. l i t . Nuevo in the Palace’, Burlington M a gazin e,
J.M üller Hofstede, op. cit., p.353 n.212 CXXII, 1980, p .176, fig.28 (as R ubens);
(as copy); (6) Anonymous drawing (Lion), W. A dler ,Ja n W ild ens, D er Landschaftsm it­
Copenhagen, Printroom of the Statens arbeiter des R ubens, Fridingen, 1980, pp.
Museum for Kunst, ‘Rubens Cantoor’, 101-102, N0.G.36, fig.53 (as R ubens, w ith
N0.I78; red, black and brown chalk, 249 landscape by W ild en s ); H eld, O il Sketches,
x 355 m m. lit. J.M üller Hofstede, op. pp.429-430, under N o.331 (as R ubens,
cit., p.353 n.212 (as copy); (7) Lithograph C .161S -162 0 ); [M.Diaz Padrón], Cat. Exh.
by Johann W ilhelm Nahl (Kassel, 1803- Luister van Spanje en de Belgische steden,
1880); 305 x 375 mm., signed ‘J.W .Nahl f. 15 0 0 -1 700, Europalia, Brussels, 1985, pp.
Juli 1850’. 595-596, N0.C86, repr. (as R ubens, c .1 6 1 5 -
1 6 1 7).
e x h i b i t e d : Pedro Pablo R ubens: Exposi-
cion Homenaje, Palacio de Velazquez, Ma­
drid, 1977-1978, No.79; Luister van Spanje
The unarmed Samson encounters a roar­
en der Belgische steden, ïjo o - iy o o , Europa-
ing young lion in the countryside, and
lia, Brussels, 1985, N0.C86.
kills him by breaking his jaws. This dra­
lite r a tu r e : F.Pacheco, A rte de la Pin- matic scene illustrates the first of the
tura (1638), ed. F.J.Sanchez Canton, Ma­ twelve exploits of the legendary Israelite
drid, 1956, I, p.153; C ru ça d a Villaam il, hero, the personification of his people’s
pp.306, 380; Rooses, I, p.143, N o.114; Bur- struggle against the Philistines (Judges 14 :
ch a r d -d ’ H u lst, D raw ings, p.82, under 5-6). There is a classical parallel in the
N0.48; J.M üller Hofstede, ‘Beiträge zum story o f Hercules and the Nemean lion,
zeichnerischen W erk von Rubens’, W all- which Rubens painted several times and
raf-R ichartç-Jahrbuch, XXVII, 1965, pp.353 with which the present theme is some­
to 354, fig.252 (as R ubens, c .1 6 1 5 - 1 6 17); Id., times confused.
Review of B u rcha rd -d 'H u lst, D raw ings, in The frequency of the subject is due to
M a ster D raw ings, 4, 1966, p.443, under its significance in Christian symbolism.
N0.48 (as R ubens); [C.van Hasselt], Cat. Medieval theologians constantly repre­
Exh. Flem ish D raw ings o f the Seventeenth sented Samson slaying a lion as a prefigu­

97
CATALOGUE NO. 20

ration o f Christ in Limbo, conquering the the studio. Rubens was eventually paid in
devil: ‘Samson significat Christum. Sam­ the course of 1630.5
son leonem occidit et Christus diabolum As appears from the palace inventory
vincit’.1 The theme occurs repeatedly in of 1636,6 Samson Breaking the Jaw s o f a Lion
Romanesque sculpture and enamel paint­ was hung in the Salón Nuevo as a pen­
ing of the twelfth century, especially in dant to a D avid Strangling a Bear (N0.35),
France and Germany, but becomes rarer another o f the eight paintings delivered
thereafter. Although the Christological to Madrid in 1628. The compositions seem
symbolism of the fight was certainly not to form a pair, inasmuch as Samson with
forgotten in the seventeenth century, it the lion faces left, and David right. The
was by then also regarded as a model of works were admirably suited to a décor
heroic courage and virtue. devoted to the Hapsburg rulers, their vir­
The present painting, with seven tues and ideals, and to the interest taken
others, was commissioned by Philip IV in contests between heroes and villains or
of Spain, through his aunt the Archduchess beasts. The paintings do not appear in
Isabella, to decorate the Royal Palace in later inventories o f the palace. They are
Madrid, where they were placed in in the Marqués de Leganés’s inventory of
the Salón Nuevo.2 Rubens brought the 1655, and as they are not in his earlier in­
paintings with him, or had them for­ ventory of 1642 he must have acquired
warded, when he went to Spain in 1628.3 them between those dates, most prob­
It was some time before they were paid ably as a gift from the King.7 Subsequently
for. On 22 December 1629 the Financial Sam son Breaking the Jaw s o f a Lion was in
Council of the Netherlands asked Isabella the possession of the Infante Don Sebas­
whether Rubens’s bill of£7,5oo should be tian de Borbón y Braganza, and later in
paid. The document spoke of paintings that of the Infanta Maria Cristina de Bor­
that Rubens ‘ a tfa ic t et fa ic t fa ire par ordre bón, whose collection was sold in Madrid
de Vostre Altèze pour le service de Sa in 1902. D avid Strangling a Bear was after­
Majesté’ (has made or caused to be made wards owned by Conde Altam ira ; it was
at Your Highness’s command for His Ma­ sold from his collection in London in
jesty’s service), which seems to indicate 1827, and has since disappeared.
that Rubens did not paint them all him ­ M üller Hofstede8 dates Sam son Break­
self but had assistance from the studio.4 ing the Jaw s o f a Lion c. 1615-1617, while
The Archduchess replied, by an apostil in Held9 assigns a date of 1618-1620 to Ru­
her own hand, that the price mentioned bens’s oil sketch for it, now lost. This
had been agreed with Rubens before­ means that in these authors’ opinion both
hand, that the paintings were in Spain the Samson painting, and by implication
and that the King was very pleased with D avid Strangling a Bear, were in Rubens’s
them. The apostil is o f importance for studio for many years before being taken
the dating of the pictures, as it says: or sent to Spain. I believe, on the con­
‘Estas pynturas se concertaron con Ru­ trary, that both works were painted
bens por este precyo antes que la sy cy ese.. shortly before 1628.10 In the first place the
(The price o f these works was agreed with Samson Breaking the Jaw s o f a Lion bears
Rubens before he painted th em ...), which the marks of Rubens’s style of the 1620s,
shows that at least some o f them were and secondly it cannot be accidental that
painted to order and were not already in it forms a compositional ensemble with

98
 ( . a i a m k ; ci ; n o . 26a

D avid Strangling a Bear ; that the two works bcrg, Inventaire général des Trésors d ’A r l .,,
are iconographically related, and that principalem ent de m aîtres é t r a n g e r s en Suède,
their symbolic significance makes them III, 1913, p.76, No.264; O ldenbourg, R ubens,
appropriate for the decoration of a room p.202 n.j (as copv); Gai. Stockholm , S a tio -
intended to glorify the Hapsburg rulers. nalm useum . A ldere Utlà’nska M aln ingar oc h
A preparatory oil sketch for the paint­ S kulpturer, 1958, p .175. N 0.606 (as copv)',
ing is known only from copies (see M.Jaffé, ‘Rubens and Giulio Romano at
No.26a). M antua’, Art Bulletin, XL, 1938, p.327 n.20
Sm ith, Catalogue R aisonné (II, p. 168, (as not R ubens); J.M uller Hotstede, ‘Bei­
N o.580) mentions a D avid Slaying a Lion träge zum zeichnerischen W erk von Ru­
(panel, 68.6 x 78.7 cm.), sold at Am ster­ bens’, W a llra f-R icharif-Jahrbu ch, XXVII,
dam in 1732 from an anonymous collec­ 1965, pp.353 n.212 (as R ubens); M.Jaffé,
tion for 300 florins. ‘Rubens as a Draughtsman’. Burlington
M a gazin e, CVll, 1963, p.380 (as Rubens);
1. lié a u , Iconog ra p hie, It, i, pp.230-2.57, 240.
2. B a lis, H u n tin g Scenes', p. 180.
J.M üller Hofstede, Review of B urchard-
3. KPacheco, loc. cii.; C r ii{ u d it V illa iim il, p.380; d 'H u lst, D raw ings, in M aster D raw ings, 4,
C.Justi, D ieg o V eliizi]u e ç . I, lion», 1022, pp.255-256, 1966, p.443 under No.48 (as R ubens); Car.
p.257 n .i; F.,Harris, loc. cii.
Exh. R ubens i Sverige, Stockholm, Natio­
4. B a hs, H u n tin g Scenes, p.183 'i-8. W. Adler, loc. cii.,
attributes the landscape o f Sa m so n B rea kin g the nalmuseum, 1977-78, p.2, N0.7 (as R u ­
Ja w s o f a Lion to Jan Wildens; but he knows the bens's w orkshop); G.Cavalli-Björkman,
painting only iront a photograph (see also B itlis,
‘Mälningarav Rubens iNaiionalm useum ’,
H u n tin g S cen es, pp.42-43 11.34).
5. L .P .G a c lw d , H istoire politii/ue et itipla im itu jiie ile R ubens i Sverige, Stockholm, 1977, pp.39-
P ie rre-P a u l R u iten s, Brussels, 1877, p p .183-184; 40, fig.25 (as follow er o f the eighteenth cen­
R ooses, I, pp. 120-130, under N o .108; R ooses, Life,
tury); H eld, O il Sketches, pp.429-430, un­
II, p.454; B a lis, H u n tin g Scenes, p. 180.
0. S.O rso, op. cit., p p .57, 260. der N0.311, fig.438 (as copv); (2) Anony­
7. J.Lopcz-Navio, 'La gran colección de pint liras del mous painting, Munich, Wittelsbacher
Marqués de Lega nés’. A n a lecta C a la sa n etia n a , 1062,
Ausgleichsfonds; panel, 33.3x42 cm.
p.60, N os.1198. 1199; A .Balis, B lem ish A r t in the
C ollection o f the M a r q u és ile Legaties (not published). pr o vEnglish aristocratic family, sale,
.
8. J.Müller Hofstede, Beitrügt'..., 1963, p.333 0.212. London (Christie’s), 22 February 1935,
9. H eh l, O il S ketch es, pp.429-430.
lot 80; Prince Paul o f Yugoslavia; Kron­
10. B a lis, H u n tin g Scenes (p.4211.34) also dates the paint­
ing shortly before 1028. prinz Rupprecht von Bayern (acquired
from Böhler, Munich, in 1937). l i t . H eld,
O il Sketches, pp.429-430, under N0.311,
fig - 4 5 9 (as copy); (3) Anonymous painting,
26a. Samson Breaking the Jaws
Besançon, Musée d ’Art et d ‘Archéologie,
of a Lion: O il Sketch
Inv. N0.896.1.126; panel, 23.4 x 22.8 cm.
(only a fragment, containing essentially
Oil on panel or canvas.
the figure of Samson and the hind part of
W hereabouts unknow n; presum ably lost.
the lion), lit . C at. M usée de Besançon, Be­
c o p i e s : ( i ) Anonymous painting, Stock­ sançon, 1929, p.48, N o.231 ; J.M üller Hof­
holm, Nationalmuseum, N0.606 (Fig.61); stede/Beiträge zum zeichnerischen W erk
panel,35 x 46cm. p r o v.GustavusIH, King von Rubens’, W allral-Richart^-Jahrbuch,
o f Sweden, l i t . Rooses, f pp.142-143, XXVlf, 1965, P - 3 5 3 n -iia (as copy); Held,
N o.113 (as R ub en s); K .d .K ., edn. R osen­ O il Sketches, pp.429-430, under No.311 (as
berg, p.268 (as R ubens, c.1625); O.Gran- copv); (4) Anonymous painting. Am ster­

99
CATALOGUE N O . 26 a

dam, D.Hoogendijk (1947); panel, 23.8 one side is the portrait of Philip IV in
x 27.5 cm. p r o v . London, F.A.D rey armour, and on the other Samson and
(1939). l i t . J.M üller Hofstede, loc. cit. (as the lion with the inscription D V L C I A
copy); H eld, O il Sketches, p.430, under S IC M E R V IT — an allusion to Judges 14: 8,
No.311 (as copy); (5) Drawing by G.Hoet which relates how Samson found a swarm
(1648-1733), Leiden, Kunsthistorisch In­ of bees and honey in the lion’s carcass
stituut der Rijksuniversiteit; black and (Fig.63). The King of Spain is thus por­
white chalk on blue paper, 322 x 418 m m . ; trayed as a second Samson, seizing the
(6) Etching by Franciscus van den Wijn- honeycomb o f Brazil, rich in sugar, out of
gaerde, in reverse (Fig.62); inscribed: Pet. the jaws o f the Dutch lion.4A preparatory
Paul. R ubenius p in x it., Fransiscus vanden drawing for Philip IV is in the Rijkspren­
W yngaerde fe c it et excudit. The action is tenkabinet in Am sterdam .5 Two tondo
depicted similarly but the print is higher drawings, neither by Rubens, m ay be con­
than wide. lit. V .S ., p.6, No.39; Rooses, I, nected with the depiction of Samson; both
p. 142, under N0.113; IV, repr. p . 110 ; H eld, are in the Fondation Custodia (Frits Lugt
O il Sketches, p.430, under N0.311. Collection), Paris. The first (Fig.64)6shows
the Samson type as it appeared in the oil
sketch, and was probably copied from it
It is practically certain that Rubens’s for the purpose of the medal. Later it
painting of this subject, which in 1977 was was indented for transfer for the print
in the possession of the Duque de Her- by F.van den Wijngaerde. The other
nani in Madrid (N0.26; Fig.6o), was pre­ (Fig.65), inscribed, like the medal, D V L ­
ceded by an oil sketch, as various copies C IA S IC M E R V IT , reflects an earlier con­
o f it have survived. The original oil sketch, ception o f the Samson m otif by Rubens,
however, has never come to light and is and is probably an alternative design for
probably lost.' the medal (see N0.27). The drawings, as
A ll these copies differ in the same way a pair, were formerly in the collection of
from the painting in Madrid: (1) Sam­ Sir Thomas Lawrence and later in that
son’s back is seen from the side, whereas of C. S.Bale.
in the finished painting his shoulder on The theme o f Samson finding a honey­
the far side is partly visible, thus accentu­ comb in the lion’s carcase was again por­
ating the three-dimensional effect of the trayed by Rubens in a title-page for Maf-
torso ; (2) his head is seen more frontally feo Barberini’s Poem ata, published by
than in the painting, and his hair is curly Moretus in Antwerp in 1634. A drawing
rather than smooth.2 in the Plantin Moretus Museum in A nt­
The characteristics of the Samson fig­ werp (Inv. N o.390), was believed by Bur­
ure as they appear in the copies of the oil chard (followed by all other authors) to
sketch are also found in a medal struck be Rubens’s authentic design for that
by Adriaen Waterloos3 in 1631 or shortly work, until Logan7 expressed doubts as
afterwards. This medal to which Evers to whether it was by his own hand. Her
first drew attention, commemorated doubts are shared by J u d so n -V a n de V e ld e :
a naval battle off the coast o f Brazil in these authors rightly regard the drawing
that year, in which the Spaniards were as a copy after Rubens’s original design,
victorious and blew up the flagship with now lost, which was executed by the en­
the Dutch Admiral Pater on board. On graver CornelisGalle or an assistant of his.8

100
 C V I A I. O G HE NO. 27

As to the dating o f the lost oil sketch, London, in 1977. 1 i t . S m ith , C a ta lo g u e R a iso n n é, II,
p .168, under N o.580.
see N0.26.
7. Review o f M its c h , R u b e n s^ e u h n u n g en , in M a ste r
Sm ith, Catalogue R aisonné (II, p. 168, D r a w in g s , 15, 1977, p.4t5.
N0.579) mentions a ‘Samson slaying 8. See J u d s o n -V a n de V eld e, pp.283-287, Nos.68, b8a,
68b, tig.228.
a Lion. He is represented tearing the
animal’s jaws asunder. A finished study’.
This small panel (33 x 40.6 cm.) was sold
27. Samson Breaking the Jaws
from an anonymous collection in 1732 for
of a Lion: Painting, Oil Sketch
300 florins, probably in Amsterdam, and
or Drawing
later became part of Thomas Emerson’s
collection, whence it was sold at auction
W hereabouts unknow n ; presum ably lost.
in 1829, probably in London, for 27 J gui­
neas. Its dimensions are closest to those c o p ie s : (i) Anonymous drawing, Fon­
o f the copy in Munich. dation Custodia (Frits Lugt Collection),
Paris, Inv. N0.1017 (Fig.os); pen and
1. Rooses, who only knew the example in Stockholm, brown ink over a sketch in black chalk,
listed it as an original, and it was accepted as such
by M üller Hofstede and Jaffé. Oldenbourg, how­
the circle described in pen and brown
ever, attributed it to a weak imitator, an opinion ink, indented for transfer, 130 x 128 mm. ;
which was repeated in the 1958 catalogue o f the in black chalk within the circle is in­
Stockholm m useum , and with which Held agreed.
2. It is clear, on account o f these features, that the
scribed: D V L C I A S IC M T R V I T (Thus he
copy form erly in the County Museum, Los Angeles obtained sweetness); m ark of the collec­
(see N0.26) was not made after the lost oil sketch tion o f Sir Thomas Lawrence (L.2445);
but after the finished painting, or possibly after an­
other study for it.
v erso : m ark o f the collection of C.S.Bale
3. V . T o u rn e u r, 'R echerches sur les W a terlo o s, m é- (L.640). PROV. Sir Thomas Lawrence
dailleurs B ru xello is’, R ev u e belge de n u m ism a tiq u e, (London, 1769-1830); C.S.Bale (London,
1922, p p .59-74. A gold e x a m p le o f the m ed al is in
1791-1880), sale, London (Christie’s), 9-
th e C a b in et o f Coins and M edals in the Royal L i­
brary, Brussels. 14 June 1881, lot 2448; Karl of Mayo
4. G .van Loon, B esch rijv in g e d er N ed erla n d sch e H isto ­ (1914); P. and D.Colnaghi, London; ac­
riep en n in g en , 2, The Hague, 1726, pp. 195-196; Neu­
quired by F.Lugt in 1023. l i t . Sm ith, C a ­
ville, H isto rie va n H o lla n d , r, p.359; H.G. Evers,
‘Rubens und der Löwe’, F estsch rift D r .h .c . E d u a rd talogue Raisonné, II, p. 168, under N0.580;
T r a u tsch o ld t, Hamburg, 1965, pp . 127-131, Iig.72; A.J.J.Delen, ‘Unpublished Drawings by
[C.van Hasselt], Cat. Exh. F lem ish D ra w in g s o f the
R u ben s...’, O ld M a ster D raw ings, VII,
Seven teen th C e n tu r y fr o m the C ollection o f F rits L u g t,
London-Paris-Bern-Brussels, 1972, p . 109 , under 1932, p.32 (as probably by Theodoor van
N0.82. T hu lden ); M eld, D raw ings, I, p. 155, under
5. Inv. N o.A .1386; red chalk, reinforced with pen in
N o.1 54 (as R u b en s ); W. Laureyssens, Theo­
brown ink and heightened with white; diameter
106 m m . PROv. P.J.Mariette, sale, Paris, 1775- door van T hulden, fijn leven en fijn w erk
1776, N0.1018; Jacob de Vos Jbzn, sale, Am sterdam , (thesis for the University of Ghent), i960,
22-24 May 1883, lot 453.
p.97, No. 19 (as Theodoor van T hu lden );
6. Inv. N0.1977-T59. Sheet, cut out in a round shape
(diameter 120 mm.) and stuck on a rectangular J.M üller Hofstede, ‘Beiträge zum zeich­
support; black chalk reinforced with pen in brown nerischen W erk von Rubens’, W allraf-
ink, 119X 120 m m .; indented for transfer; m ark
R ichartf-Jahrbuch, XXVII. 1965, pp.349-
o f the collection o f Sir Thomas Lawrence (L2445);
v e r s o : m ark o f the collection o f C .S. Bale (L.640). 356, fig.248 (as R ubens, r. 1 6 ?>) ; H. G. Evers,
PROV. Sir Thomas Lawrence (London, 1769-1830); ‘Rubens und der Löwe’, Test schrift D r.
C.S.Bale (London, 1791-1880), sale, London (Chris­
h .c. E duard Trautscholdt, Hamburg, 1965,
tie’s), 9-14 June 1881, from lot 2448; J.W .Zwicky,
Arlesheim by Basel (1933); bought from A.Stein, p.128, fig.71 (as R ubens); D.Rosand, ‘Ru-

101
C A T A L O G U E NO. 2 J

bens’s Munich Lion Hunt : Its Sources and Thulden. W e believe it to be by an un­
Significance’, A r t Bulletin, LI, 1969, p.30, known hand, probably an alternative de­
fig. 10 (as R ubens ); [C.van Hasselt], Cat. sign for a medal struck in 1631 by Adriaen
Exh. Flem ish D raw ings o f the Seventeenth Waterloos (see No.26a). Subsequently it
C en tury fro m the Collection o f F rits Lugt, was indented for transfer and used for the
London-Paris-Bern-Brussels, 1972, pp. etching by E. Quellinus.
108-no, pl.48 (as R ubens); R .-A .d’Hulst, M üller Hofstede1 rightly pointed out
'Flemish Drawings from the Age of Ru­ that the m otif o f Samson overcoming the
bens’, A pollo, CIV, Novem ber 1976, lion, as it appears in the drawing, recurs
pp.375, 378 (as has been doubted); H.Vlie- almost identically, below left, in the Tiger,
ghe, ‘Erasmus Quellinus and Rubens’s Lion and Leopard H u n t now in the M u­
Studio Practice’, Burlington M a gazin e, seum at Rennes (Fig.67),2 one of four
CXIX, 1977, p.639 (as R ubens, after 1631); hunting scenes painted by Rubens c.1616-
Balis, H untin g Scenes, pp.141, 145 n.42, 1617 for Maximilian of Bavaria.3 It may
fig.62 (as not universally accepted as Ru­ thus be inferred that the author of the
bens); (2) Etching by Erasmus Quellinus drawing in Paris made use o f a m otif that
(Fig.66). Samson and the lion are in re­ Rubens had designed some fifteen years
verse, compared to the preceding draw­ earlier. W e may suppose that this m otif
ing, and are placed in a landscape. In­ was intended by Rubens from the be­
scribed: R ubens inventor, E. Q uellinus fe cit ginning for a representation of Samson
in aqua fo r ti, R .v .d . Velde exc. lit. Rooses, and the lion, and was only used after­
I, p .143, under N0.114; W u rçb a ch , II, wards for the Tiger, Lion and Leopard H u nt,
p.371, N o .i; V an den W ijngaert, Prent­ for which the biblical Samson, for icono-
kunst, p.85, No.558bis; J.M üller Hof­ graphical reasons, was naturally unsuit­
stede, op. cit., p.353 n.212; [C.van Has­ able. W hether Rubens first formulated
selt], op. cit., p. 109, under No.82; H.Vlie- the m otif as a painting, an oil sketch or a
ghe, loc. cit.; J.-P.De Bruyn, ‘W erk van drawing is unknown.
Erasmus II Quellinus verkeerdelijk toe­
geschreven aan P. P. Rubens’,Jaarboek M u ­
seum A ntw erpen, 1977, p.310, fig.12; (3)
Tapestry, whereabouts unknown; 338x
264 cm. P R O V . Major E.H.T.Boileau,
Ketteringham Park, W ymondham, Nor­
folk, sale, London (Sotheby’s), 10 October
1. O p . cit., pp.350-351. fig-249-
1947, lot 120. Samson and the lion are 2. D.Rosand, op. cit., p.29, fig.7; B a lis, H u n tin g Scenes,
turned to the left, against a background PP.133-146, N0.7, fig. 57-
o f trees and mountains. Corresponds 3. These four paintings were in Schloss Schleissheim
near Munich until 1800, when they were removed
broadly with Quellinus’s etching. to Paris by Napoleon’s agents (see B a lis, H u n tin g
Scenes, p p .m -112 ). Only one, H ip p o p o ta m u s a n d
C ro co d ile H u n t, was recovered in 1815 (see D .R o­
sand, op. cit., p.29, fig.3; B a lis, H u n tin g Scenes, pp.
The drawing in the Fondation Custodia 118-123, No.5, fig.46). The other three found their
in Paris has hitherto been attributed to way to the museums at (1) Marseilles (B oa r H u n t;
Rubens, though not always with much see D.Rosand, op. cit., p.29, fig.2; B a lis, H u n tin g
S cen es, pp.112-118, N0.4, fig.40); (2) Bordeaux (Lion
conviction; Delen and Laureyssens, ex­ H u n t, destroyed by fire in 1870; see B a lis, H u n tin g
ceptionally, ascribed it to Theodoor van S cenes, p p .123-130, N0.6); and (3) Rennes.

102
 (.a i a i .o c , r i ; n o . 28

28. Samson Breaking the Jaws the right, the head and w ithers of a bull
of a Lion: Drawing (Fig.69) are drawn in simple outline.
The m otif of kneeling on a subjugated
Black chalk, heightened with white; 257 animal is frequently found in antiquity:
x 348 m m.— V erso: a retreating lioness, it occurs no fewer than three times, for
seen from the rear (Fig. 149). example, on the sarcophagus o f The La­
A m sterdam , R ijksprentenkabinet. Inv. No. bours o f H ercules in the Villa Borghese in
A. 1388. Rom e,1 which Rubens must have seen. In
the Renaissance it is chiefly encountered
p roven an ce; Jacob de Vos Jbzn (Am ­
in bronze groups of Hercules breaking
sterdam, 1803-1882), sale, Amsterdam,
the lion’s jaw. However, as Jaffé sug­
22-24 May 1883.
(1), (2), (3), (4), (5) gested,2 the immediate inspiration of Ru­
Am sterdam , 1933, N0.66; Het
e x h ib ite d :
bens’s drawing at Amsterdam may have
beste bew aard. Een Am sterdam se verzam e­ been a small Roman bronze such as V ic­
ling en het ontstaan van de Vereniging Rem- toria S a crifcin g a Bull, V ictoria and Albert
brandt, Rijksprentenkabinet, Amsterdam, Museum, London; some support is given
1983, N0.83. to this by the presence o f a bull in the
lite r a tu r e :E.W.Moes, Teekeningen in drawing in addition to Samson and the
het R ijksprentenkabinet, Amsterdam, No. lion.
68; O ldenbourg, R ubens, p.202, hg. 123 (as Neither the date nor the purpose of
‘späteren Z eit des Meisters’) ; G lü ck-H aber- this drawing are known for certain.
d itz j, p.48, N o.144 (as R ubens, c.16 2 0 - Oldenbourg thought it to be a design,
1625); A. Scharf, ‘The Rubens Exhibition ‘from the master’s later period’, for a
in Am sterdam ’, A pollo, XVIII, 1933, pp. sculpture. Gliick-Haberditzl also thought
232-237; M .Jaffé, ‘Rubens en de leeuwen­ it to be a design for a sculpture, but dated
kuil', Bulletin, R ijksm useum , A m sterdam , it 1620-1625; Evers regarded it as a study
1955, pp.59-63,67, hg. i (as R ubens, c. 1 613) ; for a medal bearing the date 1631 (see
J.M üller Hofstede, ‘Beiträge zum zeich­ No.26a), while Jaffé saw it as a design for
nerischen W erk von Rubens’, W allraf- a painting and dated it 1615 or somewhat
R ichartz-Jahrbuch, XXVII, 1965, P-3 5 ^ (as earlier (his dating was also accepted by
R ubens, c.ió tj); H .G .Evers, ‘ Rubens und M üller Hofstede). Jaffé's opinion as to the
der Löw e’, Festschrift D r h.c. E .T ra u t- date was based on the drawing of a lioness
scholdt, Hamburg, 1965, pp. 127—131, hgs. on the verso, which he believed could not
68, 69 (as R ubens, c.1631); [C. van HasseltJ, be later than 1615.3 Evers, however,
Cat. Exh. Flem ish D raw ings o f the Seven­ rightly pointed out that the lioness’s head
teenth C en tu ry fro m the Collection o f Frits is partly cut off, indicating that it was
Lugt, London-Paris-Bern-Brussels, 1972, drawn before the scene ot Samson and
pp.109-110, under No.82 (as R ubens). the lion. In view' of its style, the latter
very probably belongs to the 1620s.
In his monograph on the Vlalines sculp­
The sheet represents, in right and in left tor Lucas Faydherbe (1017-1697), who
profile, Sam son Breaking the Jaw s o f a Lion. worked in Rubens’s studio from 1636 to
Samson, with his weight on his left leg, 1640, Friar Libertus4 mentions a work,
presses h is right knee into the lion’s neck now lo s t, o f w h ich he found the following
and so forces it to the ground. Below on description in the M anuscript Baertd

103
C A T A L O G U E NO. 29

‘Monsieur l’Abbé de Nelis, chanoine de which shows Samson pressing his knee
la Cathédrale de Tournay, grand vicaire (the left one, not the right as here) into
de M .l’Évêque, député ordinaire et pré­ the lion’s body as he breaks its jaw
sident ... possède un ouvrage admirable (Fig.68). It is not known who added the
exécuté par Faydherbe: c’est un vase inscription R ubens, 1797 or on what evi­
d ’ivoire autour duquel est représenté dence it is based. It is unlikely that Ru­
l ’histoire du serpent d’airain, dont les bens would have designed such a com­
figures sont de demi-bosse: cette com ­ position before his departure for Italy:
position a été sculptée d’après le dessin de stylistically it is more likely to date from
Rubens et a été gravée par L.A. [S. a] Bols- the 1620s. The attribution to Rubens
w ert; le couvercle du vase est surmonté him self is also unconvincing; it appears
d’une figure de Samson, déchirant un rather to be a copy by an unknown
lion’ (M. l’Abbé de Nelis, canon of Tour­ hand.
nai Cathedral, vicar-general of the lord
Bishop, ... possesses an admirable work 1. C.Robert, D ie a n tik en S a rkop h a g reliefs ( D eu tsch es
A rchä o lo g isch es In stitu t), III, Berlin, 1897, N0.127,
by Faydherbe, an ivory vase around which pp .147-148, pl.XXXVIII. See J.M iiller Hofstede, loc.
the history o f the Brazen Serpent is de­ cit.; H .G.Evers, op. cit., p.128, fig.74.
picted in m edium relief. This composi­ 2. M.Jaffe, op. cit., p.62, fig.3.
3. Jaffe’s view that the lioness could not be later than
tion was carved to Rubens’s design and 161 s was based on the fact that a lioness occurs in
engraved by L .A . [S.a] Bolswert; the lid the same pose in Jan Brueghel's T h e A n im a ls E n te r ­
o f the vase is surmounted by a figure o f in g N o a h ’s A r k in the W ellington Museum, London,
a painting which bears the date 1 6 1 5. However, an­
Samson tearing a lion to pieces). See N0.24. other version of the painting has since come to light
Although no direct connection can be (cf. K.Ertz, J a n B ru eg h el, Cologne, 1977, p.603, No.
established between this finial and the 273) which includes the same lioness and is dated
1613, which is thus now to be taken as the term in u s
present drawing, it suggests that the lat­
a n te quem for Rubens’s drawing.
ter m ay possibly have been a design for 4. Lu ca s F a y d h erbe, beeld h ou w er en b ou w m eester, A nt­
a sculpture. werp, 1938, pp .153-154. Friar Libertus points out
that this lost w ork by Faydherbe is also mentioned
On 13 December 1973 there was sold
by E.Gachet (L ettres in éd ites d e P . P . R u b e n s, p u b liées
at Sotheby’s, London (lot 90, as S ir Peter d 'a p r è s ses a utog ra p h es, Brussels, 1840, p.281), and
P a ul R ubens) a drawing of ‘ Sam son and the C.Kram m (L even s en W e r k e n ..., Am sterdam , II,
1858, p.479).
Lion’ which had belonged successively to 5. M a n u s c r ip t B a ert, Rijksarchief, Brussels, N0.15765-
P.J.M ariette (Paris, 1694-1774; L.1852) 70, Varia, fol.48.
and Sir Robert Ludwig Mond (London,
1867-1938; L.28i3a; T.Borenius and R.
W ittkower, Catalogue o f the Collection o f 29. Samson Slaying a Philistine:
D ra w in gs by the O ld M asters fo rm ed by S ir Drawing (Fig. 70)
R ob ert M o n d , London, N0.370, p.97,
pl.LXVII). The drawing is in pen and Pen and brush and brown ink over pre­
wash and brown ink over black chalk liminary work in black and red chalk;
(135 x 95 mm.), inscribed in black ink: 267 x 184 m m . Below on the left, mark
R ubens, and on the old mount, in brown of the collection of T. Hudson (L.2432);
ink: R ubens, 1597. It shows Samson and below on the right, m ark o f the collec­
the lion more or less from behind, and is, tion o f J. Richardson Senior (1 .2184),—
so far as is known, the only drawing by Verso: below on the right, P .P .R . in­
Rubens, other than the present one, scribed in chalk by an unknown hand.

104
 C A I A I. O G I F . N O . 29
A m sterdam , G em eente-M usea, Fodor Collec­ H eld, D raw ings, 1986, pp.84-85, Nos.45,49,
tion. repr. (as Rubens, 1605-1609).

p roven an ce: J. Richardson Senior

(London, 1665-1745); Thomas Hudson A rough sketch o f Samson slaying a Phi­
(London, i70i-i779);H enry Oppenheimer
listine with the jawbone of an ass. Sam­
(London, 1859-1932), sale, London (Chris­ son’s exploit in slaying a thousand Philis­
tie’s), 10-14 July 1936, lot 238B (as Van tines (Judges 15: 15) ranks with that of
D yck, C ain Slaying A bel), purchased by the young David felling Goliath with a
I.Q .van Regteren Altena on behalf of the stone from his sling. The Bibles moralisées
Fodor Museum.
represent Samson’s feat as prefiguring the
(1), (2)
Resurrection of Christ, rising from the
C rte çi M a jstora iç kolekcije
e x h ib ite d :
grave in triumph and putting Jews and
Fodor u A m sterdam , Narodni Muzej, Bel­
the devil to flight by the power of the
grade, i960, No.75; M a ster D raw ings from
Cross.1
the Fodor Collection, A m sterdam , Bezalel
Rubens’s figures are inspired by Italian
National Museum, Jerusalem, i960,
sculpture; the composition of the group
N0.75; A n tw erp , 1977, No. 126; D essins de
recalls ?H ercules and Cacus, a free-stand-
m aîtres des Pays-Bas m éridionaux et septen­
ing pyramidal work by Michelangelo,
triona ux nés avant 1600, Musée des Beaux-
Arts, Lyon, 1980, No.57. known only from a clay model in the
Casa Buonarroti in Florence.2 On his first
lite r a tu r e : J.S.Held, ‘Comments on visit to Spain in 1603 Rubens very prob­
Rubens’ Beginnings’, in M iscellanea D r ably saw Giovanni Bologna’s Samson S lav­
D . Roggen, Antwerp, 1957, p. 134, fig. 5 (as ing a Philistine 3 in Valladolid, a marble
R ubens, c . 1 6 0 3 - 1 6 0 4 ); Field, D raw ings, pp. group which is also pyramidal in struc­
97-98, under N o.10 (as R ubens, c . 1 6 0 3 - ture, and from which some motifs can be
1605); B u rch a rd -d 'H u lst, D raw ings, pp.Si- recognized in Rubens’s two figures.
83, No.48, fig.48r (as R ubens); J.M üller No painting based on this sketch is
Hofstede, Review of B u rcha rd -d 'H u lst, known. In 1636 a Samson K illing the P h ilis­
D raw ings, in M a ster D raw ings, 4, 1966, tines w ith a Jaw bone was in the Alcazar,
p.443, N0.48 (as R ubens); Seilern, A ddenda, Salon de los F.spejos, Madrid, and Cru-
pp.8-10, under N0.298 (as R ubens, c.16 0 8 - zada Villaamil4 supposed that it was one
1609); M.Schapelhouman, Tekeningen van o f the eight paintings brought by Rubens
N oord- en Zuidnederlandse kunstenaars ge­ to Madrid in 1628. But since no artist is
boren voor 1600 (i.d . Gemeentem usea van named in the brief description of it in
A m sterdam ), Amsterdam, 1979, pp.99-100, the 1636 inventory, it is by no means cer­
N0.62, repr. (as R ubens, C ain Slaying A bel, tain that it was a work by Rubens.5
C.16 10 ); H eld, O il Sketches, p.427, under The subject of this drawing of c.1609-
N0.427 (as R ubens, several years later than 1610 is not certain: it has also been inter­
0 .1603-1603); B.Heisner, ‘A Note on Ru­ preted as Cain Slaying his Brother A b el.6
bens’ “ Slain A bel” in the Bob Jones Uni­ I hold the view, however, that Samson
versity Museum, Greenville’, Southeastern Slaying a Philistin e is the correct title; the
College A r t Conference Review , IX, 5, 1980, sketch on the verso (No.30; Fig.71) also
pp.211-215; M .Jaffé, Review o f Held, O il appears to me to show Samson’s battle
Sketches in A pollo, CXV, 239, 1982, p.62; with the Philistines. Moreover, there is

105
C A T A L O G U E NO. 30

not the least indication, either on the recto 5. S.N.Orso, In the P resen ce o f the 'P la n e t R in g ’ . S tu d ies
in A r t a n d D ecoration a t the C o u r t o f P h ilip I V o f S p a in ,
or the verso, of A bel’s sacrificial altar. (Diss. Ph.D.), Princeton, 1978, p.56, No.iô.
The head and lower part of Samson’s 6. By J. S.Held (H eld , D r a w in g s, pp.97-98, N o.io; H eld ,
body were used by Rubens for the large O il S ketch es, p.427, under No.308) and by J. Müller
Hofstede (Review o f B u r c h a r d -d ’ H u ls t, D ra w in g s , in
painting of Sam son Breaking the Jaw s o f a
Master D r a w in g s, 4, 1966, p.443, N0.48), who m ore­
Lion, in the collection of the Duque de over considers it possible that this drawing repre­
Hernani, Madrid (No.26; Fig,6o).7 The sents a preliminary stage for the painting in the
Courtauld Institute of Art, Princes Gate Collection,
body of the Philistine, so far as the trunk
London (N0.4; Fig.8).
and raised arm are concerned, is in many 7. Copies after Rubens's Samson-figure are in the
respects similar to the figure of Abel in Printroom of the Statens Museum for Kunst, Co­
penhagen: 'Rubens Cantoor’ , Nos.1.75 ,1.76 and I.77.
the painting C ain Slaying his Brother A bel,
8. Panel, 31.5x23.8 cm. See O .G ötz, G.Swarzenski,
Courtauld Institute of Art, Princes Gate A.W olters, Cat. o f the exhibition, 1926, p.63,
Collection, London (N0.4; Fig.8). N o,180, fig.LXX; B u r c h a r d -d ’ H u lst, D r a w in g s, p.83,
under N0.48; J.M üller Hofstede, Review o f Btir-
In this drawing, as well as in Ju d ith Be­
c h a r d -d 'H u ls t, D r a w in g s, in M a s te r D r a w in g s, 4,
heading H olofernes, a drawing at the Stä- 1966, p.443, N0.48 (he considers it possible that the
delsches Kunstinstitut, Frankfurt am Fodor drawing, and the oil sketch formerly in the
L.Jay Collection, represent preliminary stages for
Main (No.50a; Fig. 110), the victim is held
the painting C a in S la y in g his B roth er A b e l, Courtauld
by the hair; in the painting o f C ain Slaying Institute, London); H eld , Oil Sketches, p.427,
his Brother A bel, on the other hand, and No.308, fig.308.

also in the painted version o f Ju dith Be­

heading H olofernes, a lost composition best
known through a copy formerly in a pri­ 30. Samson Overcoming two
vate collection, Brussels (see No.50), the Philistines: Drawing (Fig.71)
victim is held by the neck and by the jaw (V erso of N0.29)
respectively.
An oil-sketch (panel, 31.8 x 22.9 cm.) Pen and brush and brown ink over pre­
formerly in the Duval Collection, Ge­ liminary work in black chalk; 267x
neva, was sold at Phillips’s, London, 12- 184 m m. A small strip of paper added at
13 May 1846 (lot 31), under the title Sam ­ the bottom; on it on the right, P .P .R . in­
son Slaying a Philistine. An oil-sketch, scribed in chalk by an unknown hand.
lightly coloured and a copy (possibly the A m sterdam , Gem eente-M usea, Fodor Collec­
same as the preceding) was formerly in tion.
the collection o f Louis Jay, Frankfurt am p roven an ce: See N0.29,
Main, and was exhibited in the A u sstel­ (1)
e x h ib ite d : See N0.29.
lung von M eisterw erken alter M alerei aus
Privatbesit ç, Frankfurt am Main, 1925, as lite r a tu r e : J.S.Fleld, ‘Comments on
C ain and A b el.8 Rubens’ Beginnings’, M iscellanea D r. D .
Verso: a sketch for Samson O vercom ing R oggen, Antwerp, 1957, p. 134 n.15 (as
two Philistines (see N0.30; Fig.71). R u b en s ; may refer to the m urder o f A bel by
C ain, but equally w ell to Sam son slaying the
1. R é a u , Iconog ra p hie, II, i, p.243.
2. J.Wilde, 'Zw ei M odelle Michelangelos für das
P hilistines ); H eld, D ra w in gs, pp.97-98,
Julius-Grabmal’, W iener Jahrbuch, N.F., II, Vienna, No.10, p i.15 (as R ubens, ?Cain Slaying A bel,
1928, pp. 119-205, figs.269, 271, pls.Xl, XII. c .160 3-160 5); B u rch a rd -d ’H u lst, D raw ings,
3. J.Pope-Hennessy, Samson and a Philistine by Giovanni
Bologna, London, 1954, pp .1-18, tigs.9, 10, pis.1-14.
pp.81-83, N0.48, fig.48v (as R ubens, Sam ­
4. C r u ç a d a V illa a n til, p p .306-380. son O vercom ing Tw o Philistin es ); M.Scha-
106
 (. A T \ L O C I ' i; N O . 3 1

pelhouman, Tekeningen van Noord- en lin, the Boymans-van Beuningen M u­

Zuidnederlandse kunstenaars geboren voor seum, Rotterdam, and elsewhere.4
1600 (i.d . Gemeentem usea van A m sterdam ), See also the drawing Samson Slaying a
Amsterdam, 1979, pp.99-100, No.62, repr. Philistine (No.29; Fig.70).
(as R ubens, Cain Slaving A bel, 1610); 1 .J.Wilde, ’Zwei Modelle Michelangelos für das
B.Heisner, ‘A Note on Rubens’ “ Slain Julius-Cïrab'. W iener /ii/irlniili, N.F. !!, Vienna, 1428,
A bel” in the Bob Jones University M u­ pp. 202-103 11.7.
2. C a t. .M aiintslim s, / lie K o va l Ciibmcl rf'huntings, T h e
seum, Greenville’, Southeastern College A rt H a g u e , K)77, p . i o i . N o . 200, r e p r . See C .d e T o in a y ,
Conference R eview , IX, 5, 1980, pp.211-215; Michelangelo, P r in c e to n , 107s. p p .224-221;. N o . 14.

H eld, D raw in gs, 1 9X6, pp.84-85, Nos.45, I'ruk Collection.

3. J .P o p e -H e n n e s s y , .SVii/pnor 111 (lie
Sculpture, Italian, N e w Y o r k . 10-0. p p . 180-105, re p r,
46, repr. (as R ubens, 1608-1609). (as Samson and tw oPJiilisiiiie.o. See C . d e T o in a y , o p .
c it., t ig .408.

A rough sketch, c. 1609-1610, for Samson 4. A list o f th ese s m a ll h ro n / e s is 10 b e fo u n d in

II.T h o d e , Knlischc t ’n frr.u a Innigen, 11, p .207.
Slaying a Philistine in two different poses,
or (as I believe) for Samson Overcom ing two
Philistines (Judges 15: 15). The hero has
31. Samson Asleep in Delilah’s Lap
forced one enemy to his knees and is
about to strike him down with the ass’s (Fig-7 2 )
jawbone; a second Philistine already lies
Oil on panel; 185 x 205 cm. Below on the
prostrate at his feet. A head is visible to
left, inventory number iS .
the right of Samson. No painting based
London, N ational Gallery.
on this sketch is known.
An early example of the theme of Sam­ p r o v k n a n c k : Nicolaas Rockox (Ant­
son slaying two Philistines is found in the werp, 1560-1640): listed in the inventory
work of Michelangelo. Vasari mentions o f 19-20 December 1040, drawn up after
that Michelangelo at a certain moment his death; ?Guillelmo Potteau. Antwerp:
(c.1528-1529) chose Samson w ith two P hilis­ listed in the inventory of 2 August 1692,
tines at his Feet as the subject for a statue drawn up after his death, as ‘ Item, noch
to be erected before the entrance to the een schoustuck. verbeidende Sampson
Palazzo Vecchio in Florence as a pendant ende Dalida, svnde eene copye naer Ru­
to his statue of D avid. War conditions pre­ bens’ (Item, another chimney piece, re­
vented its execution. A group which is presenting Samson and Delilah, being a
undoubtedly Michelangelesque in origin copy after Rubens); ‘ ?Raadsheer Segers,
and which corresponds to Vasari’s de­ wonende op de Meir te Antw erpen’
scription is known through a number of (’ Councillor Segers, living on the Meir at
bronze copies and drawings which direct­ Antwerp); Johann Adam Andreas, Prince
ly or indirectly derive from the lost ori­ o f Liechtenstein (1657-1712), acquired by
ginal.1 The group was renowned as an him on 30 May 1700 from the Antwerp
atelier model, as can be seen in A lexa nd er dealers Forchondt. It had been the sub­
the G reat V isitin g the Studio o f A pelles, a ject of correspondence between Marcus
painting by W illem van Haecht (Ant­ Forchondt, in Vienna, acting on instruc­
werp, 1593-1637) in the Mauritshuis, The tions of the Prince of Liechtenstein, and
Hague.2 A bronze of the same group is Guillermo Forchondt (Marcus’ father) in
in the Frick Collection, New York,3 the Antwerp, in 1698-1690. It arrived in Vien­
Louvre, Paris, the Gemäldegalerie, Ber­ na before 17 June 1699; after some doubts

107
CATALOGUE NO. 3I

which were quickly dispelled, it was Galerie d’A rt du Bourgmestre Rockox’,

shown to the Prince by 5 September, and A pollo, C hronique des B eau x-A rts, 15, 1942,
negotiations for its purchase began. Listed p p .n -i5 ;Id ., ‘Sam sonetD a lila d e Pierre-
in the catalogues o f the Liechtenstein Col­ Paul Rubens’, ibid., 17, 1942, pp.5-9,
lection o f 1767, 1780 and 1873 as Jan van repr. (as R ubens); Id., ‘Simson und Delila
den Hoecke; sold by Johann II, Prince o f von Rubens in der Sammlung August
Liechtenstein, in Paris in 1880; discov­ Neuerburg in Ham burg’, Pantheon, XXXI,
ered by Ludwig Burchard in Paris in 1929 ; 1943, pp.65-68, repr.; Evers, N eue F or­
acquired by August Neuerburg, H am ­ schungen, p.151 et seq., figs.54, 64, 65 (as
burg, from Van Diemen and Benedict, R ubens ); D. Rosen and J. S. Held, ‘A Ru­
22 January 1930; Mrs Heinz Köser, Ham- bens Discovery in Chicago’, Jou rn al o f the
burg-Hochkamp; sold London (Chris­ W alters A r t G allery, XIII-XIV, 1950-1951,
tie’s), i i July 1980, as 'The Property o f a pp.89-90, % . 14 (as R ubens, shortly after his
Family’, and purchased there by the Na­ return fro m Italy); H averkam p Begemann,
tional Gallery, London. O lieverfscheisen, p.38, under N0.6 (as R u ­
copy: Engraving by Jacob Matham
bens, c. 160 9-1610); B u rch a rd -d ’ H u lst, Teke­
(Fig.73) ; below on the left, C um p riv il Sa. ningen, pp.46-47, under N0.32 (as R ubens,
Caes. M .; below on the right, Pet. Paulo C.1610); H eld, D ra w in gs, p. 103, under
R ubens p in x it j Ja. M atham sculp, et excu d .; N0.24 (as R ubens) ; Burchar d - d ’H u lst, D ra w ­
titled : Qui genus hum anum superavit robore ings, pp.79-80, under N0.46 (as R ubens,
c.1610); M .W arnke, Kom m entare ç u R u ­
Sam pson / Fem ineis tandem vincitur insidijs /
Sic et fem in ea vis H erculis arte d oloq u ej O cci­ bens, Berlin, 1965, p,29 (as R ubens); J.R.
dit. 0 sum m is sexus inique v iris!; dedica­ Martin, The Farnese G allery, Princeton,
tion: N ob. et A m pliss. V .D .N ico la e o R o- 1965, pp.154-155 (as R ubens ); M.Kahr,
‘Delilah’, A r t Bulletin, LIV, 1972, pp.296-
coxio j E quiti, p lu ries A ntw erpiae C onsuli,
297, fig.20 (as R ubens, c.1610); Pigler, Ba­
elegantiarum om nium / A p p rim e studioso,
Iconem hanc in aes a se incesa, cultus et ob / rockthem en, 1974, I, p .130 (as R ubens);
servantiae causa, tu quod archetypum tabula F. Baudouin, N icolaas R ockox ‘v rien d t ende
artefice Pet. P a u li / R ubenij m anu depicta patroon ’ van Peter P a ul R ubens, Antwerp,
apud ipsu(m ) c(um ) adm iratione spectantur, ! 9 7 7 . PP-I7 - I 9 (as R ubens, c .160 9 -16 10 );
T.Buddensieg, ‘Simson und Dalila
M a th a fm ) L .M .D .D . l i t . V .S ., p.6, No.41;
V an den W ijn gaert, P ren tku nst, p.73, von Peter Paul Rubens’, Festschrift f ü r
N0.437; Bodart, p.16, No.5, repr.
O tto von Sim son, Berlin, 1977, pp.328-345,
(2), (3) fig.i (as R ubens, c.1610 ); H .Vlieghe, D e
e x h ib ite d : A n tw erp , 1977, N0.20. schilder R ubens, Utrecht-Antwerp, 1977,
lite r a tu r e : R ooses, I, pp.143-144, No. PP-5 3 . 7 3 - 7 5 , fig-38 (as R ubens, 160 9 -16 10 );
115 (as R ubens, c .160 9 -16 10 ); O ldenbourg, G. Martin, ‘The Imaginative Vision of
R ubens, pp.85-86,197 (as R ubens ); D enucé, Rubens’, A pollo, CVI, 187, 1977, p.240;
K unstuitvoer, p.243; D enucé, K onstkam ers, Sam son and D elilah by Sir Peter P aul R u ­
pp.86, 166, 369 (for the inventories o f bens, sale catalogue, London (Christie’s),
Rockox, Wildens and Potteau) (as R u ­ i i July 1980 (as R ubens, c.16 10 ); H eld, O il
bens); L. Burchard in G lück, R ubens, V an Sketches, pp.430-433 (under N0.312) (as
D yck), p.382, note to p.74 (as R u b en s ); R ubens, fir s t h a lf o f 1609); H.Vlieghe, ‘Ru­
H .G.Evers, ‘ “ Frierende Venus” von Ru­ bens und seine Antwerpener Auftrag­
bens’ , Pantheon, XXIX, 1942, p.83ff. ; Id., ‘La geber’, in Peter P aul R ubens. W erk und

108
 ( A I Al.OGl'li N O . 31

N achruhm , Munich, 1981, p.144, repr.; shoulder. The hero, after revealing the
C. Brown, R ubens, Samson and D elilah, Na­ fateful secret, has fallen into a deep sleep,
tional Gallery, London, 1983 (as R ubens, his head in Delilah’s lap. A barber, as­
i6 oÿ ). sisted by an old woman, is busy cutting
off Samson’s hair. Five Philistine soldiers
can be seen in a doorway, waiting to burst
The painting illustrates an episode in the into the room. A statuette of Venus and
life of Samson, the famous hero and judge Cupid in a niche (the Venus F elix in the
o f Israel who freed his people from the Vatican)3 shows that Rubens regarded
Philistine yoke but was seduced by the Delilah as a woman of easy virtue, and
beauty of Delilah, a Philistine woman the old woman as a procuress;4 on a shelf,
(Judges 13-16). After three times putting glass jars and a towel, appropriate to a
her off with false answers when she sought harlot’s bedroom, are to be seen. The
to know the secret of his miraculous Bible does not describe her as a prosti­
strength, during a passage of love he fi­ tute, but she is so referred to in Flavius
nally confided to her that it lay in his Josephus’s Antiquities o f the Jew s, and pre­
long hair, the symbol of his dedication to sumably Rubens was guided by this state­
God. She betrayed the secret to the Phi­ ment.
listine leaders and received a reward for Despite the four sources of light in the
her treachery. Then, while Samson slept picture— the pan of burning coals beside
with his head in her lap, she ordered a Delilah, the candle in the procuress's hand,
barber to cut off the seven locks of his the lamp beneath the statue of Venus
hair, so that the hero, now powerless, and Cupid, and the torch illuminating
was taken prisoner by the Philistines the warriors— the action takes place in
(Judges 16: 16-19). semi-darkness, accentuating its dramatic
In the field o f typology from the Middle character. Three successive phases are in
Ages onwards, the events of Samson’s fact portrayed or suggested simultane­
life were generally regarded as prefigur­ ously: (1) the bout of love which has
ing the Life o f Christ; in this context, left Samson exhausted and sound asleep;
Samson’s love for Delilah represents (2) the cutting of his hair; and (3) his cap­
Christ’s love for the church.1 The history ture by the waiting soldiers.
of Samson and Delilah, a tale of the weak­ Oldenbourg, who only knew the paint­
ness of man enslaved to women, and of ing from M atham ’s print, was the first to
treachery for the sake of money, was very point out its resemblance to Tintoretto’s
popular in the seventeenth century, when Sam son A sleep in D elilah 's Lap, in the pos­
it was also treated as a moralistic warn­ session of the Duke of Devonshire.5 The
ing against succumbing to the tem pta­ general arrangement of Rubens’s compo­
tions of the flesh. At the same time, Deli­ sition is indeed close enough to that o f the
lah’s betrayal of Samson, to be blinded Italian master to suggest that the latter
by the Philistines, was regarded as a pré­ was known to him, which is not surpri­
figuration o f the betrayal of Christ by sing, given his familiarity with the Vene­
Judas and his crucifixion by the Jews.2 tian school.6 The painting contains other
Rubens shows Delilah lying on a low reminiscences of Rubens’s stay in Italy.
bed, her torso upright and her bosom The muscularity of Samson’s back and
naked, with a hand resting on Samson’s arm bear witness to the artist’s study of

109
 CATALOGUE N O . 31

antique sculpture such as the Farnese and the pity of a woman for her doomed
Hercules and the Belvedere Torso, both lover’.'2
o f which he copied in drawings during Buddensieg'3 drew attention to certain
his stay in Rome.7 The same type o f mus­ analogies between the characters and
culature is found in Michelangelo’s heroic those in The A doration o f the M a gi, now in
figures, which Rubens also studied inten­ the Prado, Madrid (and more especially
sively.8 Delilah’s pose is also borrowed with the sketch for it, now at Gronin­
from Michelangelo : the curve of her body gen),14 which Rubens painted in 1609,
is derived from that of Leda in Leda and shortly after his return from Italy, as a
the Sw an, a painting much admired by commission from Rockox for the m uni­
contemporaries, now known only from cipal council-hall in Antwerp.15 The faces
copies and engravings.9 In reverse, Deli­ o f Delilah and the Virgin are almost iden­
lah’s pose also resembles that o f N igh t in tical; Samson’s torso, and his powerful
Michelangelo’s tomb of Giuliano de’Me- left arm, can be compared with that of
dici at San Lorenzo in Florence, o f which one of the bearers, and Delilah’s recum­
Rubens also made a drawing.10Moreover, bent pose with that o f the infant Jesus.
Sam son A sleep in D elilah’s Lap was clearly These resemblances suggest that Samson
influenced by the work of Elsheimer, the A sleep in D elila h ’s Lap was also painted in
German artist who settled in Rome, 1609, especially as it is close to some
where he m et Rubens and was admired works executed by Rubens at the end of
by him.11 This is shown, for instance, by his stay in Italy, for instance The A doration
Rubens’s use of several sources of light, o f the Shepherds at Fermo.16 The same in­
which, as with Elsheimer, throw a strong terest in light effects can be seen in that
emphasis on the protagonists in a dark painting, as well as an old wom an’s head
room and thus create a dramatic atmos­ for which Rubens may have used the same
phere. model as for the procuress in Sam son.’ 7
Although it is not difficult to point out There is a further argument for assigning
Rubens’s debt to all these artists, his a similar date to Samson A sleep in D elila h ’s
painting is far from being a mere im ita­ Lap and The A doration o f the M a g i in the
tion. Starting from a profound under­ Prado. An oil sketch by Rubens in the Art
standing of their work, he interprets fea­ Institute, Chicago (No.32; Fig.77) shows
tures of it in a wholly independent and the next stage o f Samson’s story after his
original way. Composing his picture with hair is cut off: his capture by the Philis­
rhetorical talent, he accentuates its sen­ tines, who are on the point of putting out
sual character by means of sharply con­ his eyes. X-rays of this small panel have
trasting colours and a broad application revealed that beneath this scene of Sam ­
of paint, adding a specially erotic note son Taken by the Philistines is an early
with the baring of Delilah’s breasts. Still sketch for The A doration o f the M a g i in
more striking is the psychological expres­ Madrid. Rubens had begun to design this
sion he gives his characters, in particular A doration but had abandoned it for the
Delilah, o f whom Brown writes : ‘Her face time being, and instead had painted on a
is the key to the whole scene. It is a con­ second panel (the one now in Groningen)
ventional mask of beauty, and yet Rubens the coloured oil sketch which he sub­
has managed to convey both the triumph mitted to the city council for their ap­
of a woman who has humiliated the hero, proval.18

110
 (, \ I A I, O C U K N O . j l

The present painting was the property Finally, in The Live Sen ses— a work by
of Nicolaas Rockox (1560-1640), an influ­ Frans Francken II in the Alte Pinakothek
ential man who played an important part in Munich (Fig.74),23 which, with some
in the government of Antwerp, of which freedom, represents some of Rockox’s
he was nine times mayor. After Rubens artistic possessions— Samson Asleep in D e­
returned from Italy at the end of 1608, lilah’s Lap is seen as a show-piece in the
Rockox was one of his first customers. place of honour. The large parlour with
Rubens calls him ‘my friend and patron’ the fireplace, over which it was hung,
in a letter of 11 May 1611,19 and their can still be seen in the Rockox House in
close relationship continued until the the Keizerstraat. Although there is no
painter’s death. Besides Samson Asleep in strict proof, as no documents are extant,
D elilah's Lap and The Adoration o f the M a gi, it cannot be doubted that the work was
Rubens owed other commissions to commissioned bv Rockox. Its dimensions
Rockox: for instance, in 1611 Rockox was correspond in every respect to the space
instrumental in securing for him the available over the fireplace, and Rubens
commission for the great Descent from the took account of the fact that it would be
Cross triptych for the altar of the Guild hung at a height of about 180 cm.: for
of Arquebusiers in Antwerp Cathedral. this reason the bed and the doorway, as
Before the triptych was completed in 1614 well as the shelves and the niches on the
Rockox, on his own account this time, far wall, are represented di sotto in su.
commissioned from Rubens a small trip­ Two preparatory compositions are
tych o f D oubting Thom as, to be placed known: a drawing in the possession of
above his tomb and that of his wife Adri­ Mrs I.Q.van Regieren Altena, Am ster­
ana Perez in the Church of the Recollects. dam (N o .jia; Fig.75), and an oil sketch
In 1620 he commissioned from Rubens in the Cincinnati Art Museum, Cincin­
two further paintings, the 'C o u p de lance’ nati, Ohio (N0.31b ; Fig.76).
and The R eturn from the Flight into Egypt, M atham 's engraving, his only one after
for the same Church of the Recollects, Rubens, was not done from the painting
which was a particular object of his gen­ but from the oil sketch in Cincinnati or
erosity.20 a drawing based on it. As in that sketch,
In the inventory of Rockox’s estate the young Philistine is beardless and there
drawn up by the notary David van der are three soldiers, not five, in the door­
Soppen on 19-20 December 1640 Samson way; also the still life on the wall beside
A sleep in D elilah's Lap is listed as follows: the door is arranged in the same way.24
‘In de groote Saleth: Kene schilderije, Besides the dedication to Rockox, the en­
olieverwe op panneel in syne lyste be- graving bears a legend comparing Sam­
teeckenende Sampson ende Dalida, van son’s fat'e to that of Hercules. The head
dmaecxsel van den heer Rubens’ (In the o f Delilah’s bed, in the engraving, is de­
large parlour: a painting, oil on panel corated w'ith two heads of animals, a don­
and in its frame, of Samson and Delilah, key and a panther; in the painting, only
made by Mr Rubens).21 An engraving by the form er is visible. Buddensieg25 pointed
Jacob Matham (Haarlem, 1571-1631) after out that a similar ass’s head is to be seen
the painting (Fig.73) includes a dedication on the couch in Giulio Romano’s Tw o
to Rockox which states expressly that the Lovers Upon a Couch from the formerCon-
original can be admired in his home.22 zaga possessions, now in the Hermitage

111
CATALOGUE N O . 31

in Leningrad,26 and that it may suggest to's "Samson and Delilah’” , B u rlin g ton M a g a z in e ,
LII, 1928, p.21, figs.A, B; H eld , O il S ketch es,
the infatuation that brought Samson to
P-43 1)-
his doom. Rubens would certainly have 6. Rubens’s closeness to Tintoretto is disputed by
seen Giulio Romano’s picture during his Kahr (op. cit., p.29611.54) and Buddensieg (op. cit.,
PP-331- 332).
stay in Mantua. Buddensieg also connects 7. For the Farnese Hercules, see a.o.: L.Burchard in
the panther, added by Rubens, with A b ­ L o n d o n , 19 5 0 , pp.10 -11, Ko.9; S eilern , F lem ish P a in t­
stin u it Venere, et Baccho, a poem in Reus- in g s, p.85, N o.53, pls.CIV, C V ; H e ld , D r a w in g s,
p p .113—114, under N0.48; B u r c h a r d -d ’ H u lst, D r a w ­
ner’s Em blem ata (1581) which relates that, in g s, pp.292-293, under N o.188; F u b in i-H e ld , p .134,
just as the fierce panther submits with­ fig.5. For the Belvedere Torso, see B u r c h a r d -
out resistance when he is drunk with d ’ H u lst, T ek en in g en , pp.33-34, N o.12,
8. G liic k - H a b e r d itç l, N os.12-21; L u g t, C a t, L ou v re,
wine, so the once invincible Samson É cole fla m a n d e , II, p.21, N o.1035, pl.XXXII; pp.22-
is ruined by his love for a shameless 23, N0S.1040-1048, pls.XXXV-XXXIX; B u r c h a r d -
woman. d 'H u ls t, T ek en in g en , p.45, No.30; H eld , D r a w in g s,
pp.52, 156 (N0.158, p i.171); B u r c h a r d -d ’ H u ls t,
Rubens’s treatment of the theme of D r a w in g s, pp.36-37 (No.18, repr.), 37-39 (N0.19,
Samson and Delilah was much imitated repr.), 39-40 (No.20, repr.), 211-212 (No.134, repr.);
by other artists : for instance by Van Dyck J a ffé , R u b en s a n d Ita ly , pp. 19I—22.I.
9. C.Brow n, op, cit., p .12, fig.6.
in one o f his earliest paintings, now at 10. G llic k -H a b e r d itç l, N0.22; B u r c h a r d -d 'H u ls t, D r a w ­
Dulwich.27 Two preparatory drawings for in g s, pp.35-36, N0.17, repr.; (C.van Hasselt] Cat.
this work28 reflect his attem pt gradually Exh., F lem ish D r a w in g s o f the Seven teen th C en tu r y
fr o m the C ollection o f F rits L u g t, Institut Néerlan­
to free him self from Rubens’s composi­
dais, Paris, 1972, pp.99-101, pi.38.
tion. A painting by Pieter Claesz. Sout- it . In a drawing now in the British Museum, London
man in the York A rt Gallery, dated (K.Andrews, A d a m E lsh eim er, Oxford, 1977, p .145,
under No. 15, fig.118), Rubens copied a group o f
1642,19 combines elements of Rubens’s figures from Elsheimer’s S to n in g o f S t S tep h en , a
work and also of Van D yck’s. Christiaen painting now in the National Gallery o f Scotland,
van Couwenbergh adapted Rubens’s Edinburgh (K.Andrews, op. cit., p.14?, N o.15,
fig.46). Rubens him self owned two pictures which
composition at Utrecht in the 1630s, and
are listed as by Elsheimer in the inventory o f his
at about the same time an unknown estate: J u d ith B eh eadin g H o lofern es, now in the W el­
sculptor modelled the figures of Samson lington Museum, Apsley House, London, which is
indeed Elsheimer’s w ork (K.Andrews, op. cit.,
and Delilah in terracotta, now in the
p .144, N o.12, fig. 36), and T h e M o ck in g o f C er es, now
Staatliche Museen Preussischer Kultur­ in the Prado, Madrid, which however appears to
besitz, Berlin.30 be only a copy (K.Andrews, op, cit., p .152, No,23,
fig.82).
1. As late as the 17th century J.J.Courvoisier wrote 12. C.Brown, op. cit., p .13.
(in Le L ys d iv in e t le S a m so n m y stiq u e, published at 13. O p . cit., pp.333-335.
Brussels in 1638) that Samson’s love for Delilah 14. H a v erka m p B eg em a n n, O lie v e r f sch etsen , pp. 36-37,
could be compared w ith Christ’s love for His N0.4, fig.6.
church. 15. K .d .K ., p.26. This painting did not remain long in
2. R é a u , Ico n og ra p h ie, II, i, pp.245-246. Antwerp. In 1612 it was presented by the City of
3. H .H .Brum m er, T h e S ta tu e C o u r t in the V a tica n Bel­ Antwerp to Rodrigo Calderon, who was in Flan­
vedere, Stockholm, 1970, p.i23ff. ders as an Ambassador Extraordinary from the
4. A similar old woman is the type o f procuress as King o f Spain, Philip III. After Calderon’s execu­
depicted already in the 16th century in Nether­ tion nine years later, Philip IV purchased the paint­
landish moralistic paintings, symbolizing the abuse ing and it was in the royal collection when Rubens
o f sexual intercourse for gain. was in Madrid in 1628 and 1629. During his stay he
5. O ld en b o u r g , R u b e n s , p.82ff,, figs.43, 119 (however, enlarged and retouched it, so that it is 110 longer
he states w rongly that Tintoretto’s painting is in in its original form.
the possession o f the Duke o f Westminster). An­ i b . J a ffé , Rubens a n d Ita ly , pp.93r-94r, fig.340.
other Sa m son A sle e p in D e lila h ’s L a p by Tintoretto 17. The head o f this old woman also occurs in a draw­
is in the John and Mabie Ringling Museum o f Art, ing now in the Fodor M useum in Am sterdam , a
Sarasota (cf. Detlev Baron von Hadeln, 'Tintoret­ study for the painting T h e A d o ra tio n o f the S h ep h erd s

112
 c a i a i. oc; ij i; n o . 31a

in St Paul’s, Antwerp (ß u r c lia r d -it'H u ls i, Drawings, Am sterdam , 1933, N0.67; A n t­

e x h ib ite d :
pp.73-74, N oq r, repr.).
18. J.S.Held, 'A Rubens Discovery in Chicago’, Th e
w erp, 1956, N0.32; Kabinet van Tekeningen.
J o u rn a l o f the W a lte rs A r t G a lle ry , XIII—XV, 1950- 16de en lj d e H ollandse en Vlaam se tekenin­
195 c p p.77-91; H eld , O il S ketch es, pp.433-4.il. gen u it een Am sterdam se verzam eling, Rot-
No.313, fig.310.
10. R o o s c s -liiie le n s, pp.35-38, Nn.CXXVIlI; Alugiini,
terdam-Paris-Brussels, 1976-1977, No.
L etters, p.55, N o.12. 107; A ntw erp, 1977, No. 129.
20. F.Baudouin, op. cit., p p .15-20,
21. D en u cé, K o n stk a m ers, pp.85-80. A letter of 3 Sep­
tember 1098 from the a n dealer Marcus For- lite r a tu r e : Cat. Hxh. Am sterdam , 1933,
chondt in Vienna to his brother GuilJelmo in A n t­ N0.67, repr. (as R ubens, c . 1 6 1 0) ; A.Scharf,
werp reads in part as follows: ‘ Versoecke ecus te
‘Little-Known Drawings by Rubens’, The
informeren oft den Raetsheer Segers die op de
Meer gewoont heeft die 2 stucken schilderij te C onnoisseur, XC 1 I, 1933, p.249 (as R ubens,
weten: een Samson en Dalida van Rubbens, nacht- im m ediately after his return from Italy);
sttick op pineel, en cen contrafetsel Spaniaert van
H.G. Bvers, ‘ “ Frierende Venus” von Ru­
\’an Dyck noch heeft, en oft hij die beide \oor
guld. 2000 soude willen gheven’ (Please enquire bens’, Pantheon, XXIX, 1942, pp.83-86, fig.4
whether Councillor Segers, who has lived on the (as R ubens); Evers, .Vette Forschungen, pp.
Meir [Antwerp], still has in his possession the
painting o f Samson and Delilah by Rubens, a
151, 162, fig.51 (as R ubens); B u rcha rd -
night-piece on panel, and a portrait o f a Spaniard d ’H u lst, Tekeningen, pp.46-47, N0.32 (as
by Van Dyck, and whether he would sell the two R ubens, c . 1 6 1 0 ); H eld, D raw ings, p .103,
of them for 2,000 guilders) (D en u cé, K u n stu itv o er,
loc. cit.). If, as is probable, the Rubens painting
N o.24, pi.21 (as R ubens, c . 1 6 1 0) ; B u rch a rd -
mentioned in this letter is identical with the one d’Hulst, Drawings, pp.79-80, No.46, repr.
owned by Rockox, then the latter might still have (us R ubens, c . 1 61 0); M.Kahr, ‘ Delilah’, A rt
been in Antwerp in 1098.
B ulletin, L 1V, 1972, p.295, fig.18 (as R ubens,
22. S m ith , C a ta log u e R a iso n n é, II. p.291, No.ioog; Y .S .,
p.6, N0.41. c . 1 6 1 0) ; J.I.Kuznetsov, Rubens D raw ings
23. Peers, Neue F o rsch u n g en , Iig.02. (in Russian), Moscow, 1974, No.27, repr.
24. H eld , O il Sketch es, p.432.
(as R ubens, c. 1 61 0); Cat. Hxh. A ntw erp,
25. T.Buddensieg, op. cit., p.331 11.3, tig.4.
2b. l'.Hartt, G iu lio R o m a n o , I, New Haven, 1958, 1977, p.295, No. 129, repr. (as R ubens,
pp.217-218; II, iig.407. c . 1 6 1 0 ); T.Buddensieg, ‘Simson und Da-
27. K .d .K ., Vuil D y ck , p. 13.
lila von Peter Paul Rubens’, Festschrift fu r
28. H.Vey, D ie Z eich n u n g en A n to n van D v c k s, Brussels,
j 002, pp.73-76, Nos.2, 3, repr. O tto von Sim son, Berlin, 1977, pp.328-345
29. Y ork Art G a llery C a ta lo g u e, I, 1901, p.03, and C a ta ­ (as R ubens, c . 1 6 1 0 ); H eld, O il Sketches,
logue S u p p lem en t, 1974, p.11; J.Hughes, in City o f
pp.431-432, under No.312 (as R ubens,
Y ork Art G a llery B u lletin , XXXI, May 1977, pp. 1027-
1031, repr. C.1609); C.Brown, R ubens, Samson and D e­
30. C.Brow n, op. cit., p .17, fig .14. lilah, National Gallery, London, 1983, p.8,
fig.4 (as R ubens, 1 6 0 9): H eld, D raw ings,
1986, pp.89-90, N0.51, lig. 5 3 -
31a. Samson Asleep in Delilah’s Lap:
Drawing (Fig.75)

Pen and brush and brown ink; 164x As far as is known, this drawing repre­
162 m m. Below on the left, inscribed sents the first stage of Rubens’s prepara­
with the pen: V .D .— V erse: Indistinct tory work for the painting in the Natio­
sketches in pen. nal Gallery in London (No.31; Fig.72); it
Am sterdam , Collection o f M rs l.Q .v a n Reg- is followed by an oil sketch in the Cincin­
teren A liena. nati Art Museum, Cincinnati, Ohio
p it o V E N a N c ii : Unknown. (No.3ib; Fig.76).

113
CATALOGUE NO. 3l b

In this rapid drawing Rubens was above K onstkam ers,

p.334); anonymous sale,
all concerned with the characters. Apart London (Christie’s), 25 November 1966,
from the doorway, in which two Philis­ lot 66.
tines are visible, nothing is yet seen of the
rich décor that appears in the oil sketch lite r a tu r e : C hristie’s R eview o f the Year,
and the final painting. 19 6 6 -19 6 7, p.21, repr.; J.M üller Hofstede,
The drawing and the oil sketch present ‘Vier Modelli von Rubens’, Pantheon,
different psychological aspects of the dra­ XXV, 1967, p.431 (as R ubens, c .1 6 1 0 );
matic event.1 In the drawing, the faces of M.Kahr, ‘Delilah’, A r t Bulletin, LIV, 1972,
the two women show fear and excite­ pp.295-296, fig.19 (as R ubens, c .1 6 1 0 );
m ent as to the success o f the plot. Deli­ P.R. Adams, ‘Peter Paul Rubens, Samson
lah, leaning on her right hand and touch­ and Delilah’, The C incinnati A r t M u seum
ing the floor with her bent right leg, Bulletin, X, 1, 1973, pp.3-7, repr. (as R u ­
seems about to start backwards; the old bens, C.1609); A.-M .Logan, Review of J.I.
procuress wears a cautious and reticent Kuznetsov, R ubens D raw ings (in Russian),
expression. The young Philistine comes in M a ster D raw ings, 14, 1976, p.301 (as
no nearer to Samson than is necessary in R ubens); T.Buddensieg, ‘Simson und Da-
order to cut off his hair. In the sketch, on lila von Peter Paul Rubens’, Festschrift f ü r
the other hand, and in the final painting, O tto von Simson, Berlin, 1977, pp.329-330,
these three figures seem to have no doubt fig.3 (as R ubens, c.16 10 ); H eld, O il Sketches,
of the success of their plan, and therefore pp.430-433, No.312, fig.309 (as R ubens,
appear relaxed: Delilah, with her legs fir st h a lf o f 1609); C. Brown, R ubens, Sam ­
crossed, wears a self-confident air, and son and D elilah, National Gallery, London,
the Philistine, eagerly assisted by the old 1983, pp.io-11, fig.5 (as R ubens, 1609).
woman, stands fearlessly close to his vic­
tim.

i. T.Buddensieg, op. cit., pp.329-330.

Rubens made this oil sketch for the paint­
ing in the National Gallery, London
(N0.31; Fig.72) after he had formulated
the general conception of his composi­
tion in the drawing now in the collection
31b. Samson Asleep in Delilah’s Lap;
o f Mrs I.Q .van Regteren Altena in Am s­
O il Sketch (Fig.76)
terdam (No.31a; Fig.75). The oil sketch is
much more elaborate than the drawing
Oil on panel; 51.8x50.6 cm. Below on and differs from it in several respects.
the right, inscribed P .P .R . Most striking is probably the way in
C incinnati, Ohio, C incinnati A r t M useum . which Rubens, as well as varying the
Inv. No. 1972-459. psychology o f his characters (see No.3ia),
now lays more stress on the two protago­
p roven an ce: ?Johannes Philippus Hap­ nists, above all by reducing the im por­
part, Antwerp, and listed in the inven­ tance o f the Philistine cutting off Sam­
tory o f 1686, drawn up after his death, as son’s hair: he is placed closer to Samson,
‘Item, eene schetse van myn Heer Ru­ so that less is seen of him. Also, whereas
bens, van Sampson ende Dalida’ (D enucé, in the drawing this man is linked with

114
 CATALOGUE N O . 32

Samson and Delilah by being partially 32. Samson Taken by the Philistines:
naked like them, in the sketch he is fully Oil Sketch (Fig.77)
dressed, as is the procuress, and is thus
reduced to her status, that of a subordi­ Oil on panel; 50.3 x 65:5 cm.
nate figure. Samson has become younger, Chicago, The A rt Institute o f Chicago, Robert
and now wears a luxuriant head of hair; A . W aller M em orial Collection.
the pose o f his head is slightly altered.
p roven an ce: ?Johannes PhilippusHap-
Delilah too has undergone some change.
part, Antwerp, and listed in the inven­
Her right arm, which was almost com­
tory of 1686, drawn up after his death, as
pletely bare, is now for the most part
‘Item, eene schetse van mijn Heer Ru­
covered; a narrow linen band above her
naked breasts accentuates their sexuality; bens, van Sampson ende Dalida’ (D enucé,
her right leg, which in the drawing was Konstkam ers, p.334); Albert Besnard, Pa­
bent so as to support Samson’s shoulder, ris; Frank T.Sabin, London (1914); Robert
A.W aller (192.4).
performs the same function in the sketch,
(1) (2)
but it is now crossed over her left leg.
Exhibition o f Paintings by A n ­
e x h ib ite d :
The procuress is not essentially changed, thony Van D yck, The Detroit Institute of
but she stretches her arm further for­
Arts, Detroit, 1929, N o.10; A C entury o f
ward to give the barber a better light for
Progress. Exhibition o f Painting and S cu lp ­
his work. ture, Chicago, 1933, No.77; D etroit, 1936,
The detailed surroundings are here
No.37; N icolas Poussin (an d) Peter Paul
seen for the first time. In the background R ubens, Cincinnati, 1948, No.i ; N ew York,
is a niche with a statuette of Venus and
1951, No,3; Rotterdam , 1933-34, No.6;
Cupid, also jars and a towel. The bed is C am bridge-N ew York, 1936, No.28.
now covered with a rich carpet on which
Samson and Delilah rest, while a bed- Arundel Club, London, XI,
lite r a tu r e :
curtain hangs over them like a sort of 1914, N0.14, repr.; R.M.F., in Bulletin o f
canopy; on the left is an elaborate candle- the A r t Institute o f Chicago, XVIII, 1924,
holder. Three soldiers now appear in the pp.35—37 (as Vmi Dvck) ; L.Burchard,
doorway, instead o f two as in the draw­ 'Skizzen des jungen Rubens’, K un st­
ing. geschichtliche G esellschaft, Berlin, 8 October
W hile the final painting is appreciably 1926, pp.3-4, No.20 (as Rubens); E.Tietze-
wider than it is high, the sketch is practi­ Conrat, ‘Van Dyck’s Samson and Deli­
cally square; it is possible, however, that lah’, Burlington M a gazin e, LXI, 1932, p.246,
it was originally wider and was in course repr. (as R ubens); L.Burchard in G lück,
o f time cut down slightly at the side. It R ubens, V an D yck, p.395 (as Rubens);
already contains all the essential elements H.Tietze, M eisterw erke Europäischer M a le­
of the picture, and was probably intended rei in A m erika, 1935, p.355, p l.154; Evers,
as a m odello. The final painting differs N eue Forschungen, pp .162-163, fig.66 (as
from it only in some details: Rubens gave Rubens); Valentiner, R ubens in Am erica,
the Philistine barber a beard and slightly p.156, N o.18 (as R ubens, c.1610 ); G o ris-
altered the pose of his head ; he added an H eld, p.31, No,38, pis.43, 44 (as R ubens,
ornate ewer to the jars and towel, and c .16 10 -16 11); D.Rosen and J.S.Held, ‘A
placed five soldiers in the doorway in­ Rubens Discovery in Chicago’, Journ al o f
stead of three. the W alters A rt G allerv, XIII—XIV, 1950-

115
CATALOGUE N O . 32

1951, pp.77-91, repr. (as R ubens, c.16 0 9 - W arrior, now in the Louvre in Paris.2 D e­
1610); Haverkam p Begemann, O lieverfschel- lilah, seen in profile with her right leg
sen, pp.37-39, N0.6, fig.5 (as R ubens, 1609 drawn up, closely resembles the same
or 1610); H eld, D raw ings, I, pp.68,104, un­ figure in Sam son A sleep in D elilah’s Lap—
der N0.26 (as R u b en s,c . 1610); M a rtin , C eil­ not, however, as in the painting or the oil
ing Paintings, p. 154 (as R ubens, c.16 0 9 - sketch, but as in the drawing (No.3ia;
/610); M.Kahr, ‘Delilah', A rt Bulletin, LIV, Fig-7 5 )-
1972, pp.294-295, fig. 16 (as R ubens, 0,1609- Rubens painted this sketch over an­
1610); T.Buddensieg, ‘Simson und Dalila other oil sketch after turning the panel
von Peter Paul Rubens’, F estsch riftfiir O tto upside down. X-ray examination shows
von Sim son, Berlin, 1977, pp.332-333, fig.5 that he first began to sketch an A doration
(as Rubens); H eld, O il Sketches, I, pp.433- o f the M a gi in preparation for the large
434, N0.313, fig.310 (as R ubens, c.16 0 9 - painting commissioned by the Antwerp
1610); J. S. Held, Flem ish and Germ an Paint- city councillors in 1609 to decorate the
ings o f the îy th C entury, The Collections o f council-hall.3 For unknown reasons he
the D etroit Institute o f A rts, Detroit, 1982, left the sketch unfinished after executing
p.85. the left-hand group with the Virgin, in­
cluding the eldest of the kings and some
background figures; he redesigned the
After Samson had betrayed his secret to composition ab initio and sketched it on
Delilah— as depicted in Samson A sleep in another panel, now in the Groningen
D elilah’s Lap, National Gallery, London Museum.4 In Sam son Taken by the P h ilis­
(No.31 ; Fig.72)— the seven locks were cut tines parts of the underlying sketch show
off his head and he was thus rendered through in various places, as if Rubens
helpless, so that the Philistines were able did not take much trouble to conceal it
to capture him unawares (Judges 16: 20). wholly-—or even as if he wished to use it
The capture is here depicted as a fierce as far as possible for the new sketch that
light, contrasting sharply with the peace­ he was painting over it.5
fulness o f Samson A sleep in D elilah’s Lap. Close resemblances as regards the fig­
S ix warriors launch a violent attack on ures, use of light and manner o f execu­
Samson, whom Delilah pushes away with tion indicate that the present sketch was
her hand; he has not had tim e to leave made at the same time as the one for The
her bed and is thus attacked from behind, A doration o f the M a g i at Groningen. The
but resists furiously. As in the London latter must have been executed in 1609
painting, the action takes place in semi­ or the beginning of 1610, since the final
darkness, which enhances its dramatic painting to which it related was already
character. in the Antwerp town hall on 21 April
For two of the figures Rubens made 1610.6
use of models from antique sculpture No painting based on the present sketch
that he had seen during his stay in Italy. is known. Some years later, towards 1620,
Samson derives from the figure of Lao­ its composition was repeated in a large
coon in the group o f Laocoon and his Sons, painting o f the same title, probably the
which Rubens studied and copied so assi­ work of Rubens’s studio and now in the
duously in Rome,1 while the Philistine on Pinakothek in Munich.7 The figure of
the right recalls the so-called Borghese Samson, the group of soldiers and the old

116
 (, \ I A I . O C l ' l ! \ o . 33

woman who appear in it broadly resem­ p roven an ce: ?Johannes Philippus Hap­
ble the corresponding figures in the part, Antwerp, and listed in the inven­
sketch. Only Delilah is basically changed : tory of 1686, drawn up after his death, as
whereas in the sketch she is in profile, in ‘Item, eene schetse van mijn Heer Ru­
the painting she faces towards the spec­ bens, van Sampson ende Dalida’ (D enucé,
tator and away from the turmoil of Sam­ K onslkam ers, p.334); ?Durlacher Brothers,
son’s capture. London ; Baron Robert von Hirsch (Frank­
Van Dyck’s Sam son Taken by the Philis­ furt am Main, Basle, 1883-1977), sale,
tines o f about 1630 in the Kunsthistorisches London (Sotheby’s), 21 June 1978, lot 125,
Museum in Vienna,8 while characteristic
copy: Anonymous drawing, Paris, Cabi­
o f his style, is unimaginable without pre­
vious knowledge o f Rubens’s composition net des Dessins du Musée du Louvre,

as formulated in the Chicago sketch. No. 19.929 (as after Van D vck); pen and
brown ink and brown wash, 246 x
1. F u b in i-H e ld , pp.123-141, pis.[-4.
366 mm., inscribed below on the left:
2. M .Bieber, T h e S cu lp tu re o f the H ellen istic A g e, New
York, 1955, p.ib2, figs.688, 689. Van D yck. F., and on the right, 2y m .d.
3. The painting is now in the Prado in Madrid ( K .d .K ., l i t . M.Delacre, Le dessin dans l'œ uvre de
p.26; D la ç P a d ró n , C a t. P ra d o , pp.226-229, N0.1638,
Van D yck, Brussels, 1934, pp. 196-197, fig.95
pi. 163). In 1628 Rubens enlarged it at the top and
on the right, and overpainted it to a great extent. (as V an D y ck ); H.G.Bvers, ‘Simson und
4. H a v erka m p B egem an n, O liev erfsch etsen , pp.36-37, Delila von Rubens in der Sammlung A u­
N0.4, fig.6; H eld , O il Sketch es, pp.450-453, No.325,
gust Neuerburg in Ham burg’, Pantheon,
flg.322.
5. D.Rosen and J.S.Held, op. cit., p.83. XXXI, 1943, p.66; Evers, N eue Forschungen,
6. R o oses, I, p.205 n.2. pp. 163-165, fig.67 (as R ubens); Lugt, C al.
7. Inv. N0.348; canvas, 118 x 13 2 cm. (R o o ses, I,
Louvre, École flam ande. I, p.56, N0.603,
pp.144-145, pi.33; K .d .K ., p.235; L.Burchard, in
G litch , R u b e n s, V a n D y ck , p.395; H a v erka m p Bege­ pl.LXI (as after Van D vck); Haverkam p
m a nn , O lieverfsch etsen , p.38, under N0.6; brers, N eue Begemann, Olieverfschetsen, p.38, under
F o rsch u n g en , p.i66, fig.70; H eld , O il S ketch es, p.434).
N0.6 (as after R ubens); O.Benesch, Re­
Another version, less good (canvas, 130 x 165 cm.),
o f the Munich painting was with the firm o f Ernst view of Lugt, Cat. Louvre, Ecole flam ande,
Plagemann in Berlin in 1966. Another, smaller one, in K unstchronik, VII, Julv 1954, P -2 o o (as
was formerly in the Museum Ferdinandeum at
Rubens); M.Kahr, ‘Delilah’. A rt Bulletin,
Innsbruck (Inv. N0.703; panel, 3 1 x 4 2 c m .) and
was sold in London (Sotheby’s) on 2 July 1980 as lot LIV, 1972, p.292 11.38, fig. 14 (as after R u ­
140. It shows fewer soldiers, is o f a sketch-like cha­ bens); H eld, O il Sketches, I, pp.434-435, un­
racter and is by a follower o f Rubens (K a ta log d er
der No.314 (as after Rubens).
G em ä ld esa m m lu n g , F erd in a n d eu m , Innsbruck, 1928,
(1), (2), (3), (4), (5), (6), (7)
p.82, repr.; E v er s, N e u e F o rsch u n g en , pp .105-160).
8. K .d .K ., V a n D y ck , p.262; E v e rs, N eu e F o rsch un g en ,
e x h ib ite d : M eisterw erke alter M a lerei aus
p.165; H .Vey, D ie Z eich n u n g en A n to n van D y ck s, P riva tbesitz,Städelsches Kunstinstitut,
Brussels, 1972, pp.204-205, under No. 137. Frankfurt am Main, 1925, No.60 (as Van
Dyck); A ntw erp, 1930, p.259.

O .C ötz, C.Swarzenski and

lite r a tu r e :

33. Th e Blinding of Samson: A.Wolters, A usstellu ng von M eisterw erken

O il Sketch (Fig.78) alter M alerei aus P riv a tiv sitz ■■■V O M X X V ,
Frankfurt am Main, 1926, No.60, pl.
Oil on panel; 37 x 58.5 cm. LXXII; W .R.Valentiner, in Cat. Loan E x ­
Lugano, S w itzerlan d , Collection o f Baron hibition o f F ifty Paintings bv Van D vck,
Thyssen-Bornem isça. Detroit, 1929, under No. 10 (as Van D vck);

1 17
CATALOGUE N O . 33

E. Tietze-Conrat, ‘Van D yck’s Samson and sketch, in shades of grey and brown
Delilah’, Burlington M a gazin e, LXI, 1932, heightened with white and some sub­
p.246, repr. (as R ubens); Trésor de l’art dued touches of colour, Rubens was al­
flam an d d u moyen-âge au X V IIIe siècle (M é ­ most exclusively concerned with the char­
m orial de l’exposition d ’art flam an d ancien acters and the dramatic event; little or
à A nvers, 1 9 p ) , Paris, 1932,1 , p .131 ; G oris- nothing is seen of the bed, the canopy or
H eld, p.31, under No.38; Lugt, C at. Louvre, the background. Some figures occur in
École flam ande, I, p.56, under N0.603 (as almost the same poses, or with the same
V an D yck); H averkam p Begem ann, O lieverf- gestures, as in the Chicago sketch: for
schetsen, p.38, under N0.6 (as R ubens ); instance three of the soldiers attacking
H. Vey, ‘Anton van Dycks Ölskizzen’, Bul­ Samson, the hero him self (his legs at any
letin M usées ro ya u x des B eaux-A rts, B ru x­ rate), and the old woman trying to shield
elles, V, 1956, p.202 n.5 (as not V an D yck); Delilah. Only Delilah herself is radically
P.Wescher, La Prim a Idea. D ie E n tw ick­ different: instead of being in profile, she
lung der Ô lsk iççe von Tinoretto bis Picasso, is seen from the back in a contrapposto at­
Munich, i960, p.36, fig.17 (as R ubens); titude derived, as Evers pointed out, from
M .Kahr, ‘Delilah’, A r t Bulletin, LIV, 1972, the figure of Jupiter in Perino del Vaga’s
pp.292-294, fig.15 (as R ubens, soon after his fu p ite r and C allisto .' No painting based on
return fro m Italy); T.Buddensieg, ‘Simson this sketch is known to exist.
und Dalila von Peter Paul Rubens’, Fest­ O f the three compositions executed by
schrift f ü r O tto von Sim son, Berlin, 1977, Rubens at about the same time in the
pp.332-333, fig.6 (as R u b e n s ,c .1 6 10); H eld, form of a drawing or an oil sketch, and
O il Sketches, I, pp.434-435, No.314, fig.311 representing successive stages of the be­
(as R ubens, c .160 9 -16 10 ). trayal o f Samson— Sam son A sleep in D eli­
lah’s Lap, Samson T aken by the Philistines
and The Blinding o f Samson1— only the first
Samson, rendered powerless by the loss is known to have been developed into a
o f his hair, was captured by the Philisti­ large painting (No.31; Fig.72). This fact
nes, who im mediately put his eyes out has led Kahr3 to the conclusion that not
(Judges 16: 21), as shown so dramatically only the drawing owned by Mrs I.Q.van
in the present sketch. Regteren Altena (No.3ia; Fig.75) and the
Compared to the oil sketch of Samson oil sketch at Cincinnati (No.31b; Fig.76),
Taken by the Philistin es in The Art Institute but also the present oil sketch and the
o f Chicago (N0.32; Fig.77), the present one at Chicago (N0.32; Fig.77) are part of
work can be seen to have been more the genesis o f the same painting. She be­
rapidly executed; moreover it depicts a lieves that, possibly at the patron’s re­
different stage o f Samson’s capture. In the quest, Rubens experimented with three
Chicago sketch the hero, taken by sur­ different scenes from the story of Samson
prise when asleep, springs up in a rage and Delilah before finally choosing Sam­
to defend him self against his attackers; son asleep in Delilah’s Lap as his subject.
in the Lugano sketch he is already van­ This view is rejected on stylistic grounds
quished and lies on his back, while one by Held,4 who believes that the painting
o f the Philistines lifts a dagger to put out is o f earlier date than the oil sketches at
his eyes. Chicago and Lugano. He considers that
In this almost completely monochrome the studies for the painting belong to the

118
 C A T A L O G UE NO. 34

first half of 1609, while he dates the Chi­ 34. David Strangling a Bear (Fig.79)
cago and Lugano sketches c.1609-1610. In
his opinion these two sketches relate to Oil on canvas; 100 x 150 cm. Inventory
the same project, although no painting numbers in white paint: below left, 1 9 ;
based on them is known to exist. below right, 162 and S i (or S j).
A t first sight there is something to be N ew York, Spencer A .S am uels G allery.
said for both these views. However, con­
proven an ce: Family estate of the Prin­
sidering the shortness of the period, 1609
ces of Reuss, Trebchen Castle, sale, Ber­
to 1610, in which the large painting, the
lin (Leo Griinpeter), 23-24 April 1928,
three oil sketches and the drawing were
lot 143 (as Rubens-w orkshop), not sold;
executed, a chronological arrangement on
sale, Berlin (Leo Griinpeter), 18 March
grounds of style, as proposed by Held,
1929, lot 36; Dr Axel L.Wenner-Gren,
does not seem very convincing. On the
Häringe Castle, Sweden, sale, Zürich (Pe­
other hand it is a fact that the London
ter Ineichen), 20 March 1981, lot 831, repr.
painting presents a different phase o f the
in colour (as R ubens and Snijders).
story than do the Chicago and Lugano
sketches; and it is not quite impossible co p ie s : (i) Anonymous painting, where­
that the latter should have been made in abouts unknown; canvas, io 6 x 156 cm.
preparation for another painting which pRov. Count H.de Meeiis d ’Argenteuil,
was never executed or has since been lost. Brussels, sale, Antwerp (Leys), 7-8 May
In support of this last supposition Held J9 7 9 1 (2) Anonymous painting, Mrs
gives the two sketches the same title, Y.Dufrasne, Ghent (1979); canvas, 71 x
Samson Taken by the Philistines, although 102 cm. ; (3) Anonymous painting, H. Leo­
it is dear that the subject of the Lugano nard, Jupille, Belgium (1979); canvas (cut
sketch is a different one, The B linding o f off on the left and at the top), 107 x
Samson— and Held himself previously 132 cm. ; (4) Anonymous drawing (David),
gave it this title.1 In fact the Chicago and probably after a preparatory drawing by
Lugano sketches should each have been Rubens, Printroom o f the Statens M u­
the basis of a different painting, but there seum for Kunst, Copenhagen, ‘Rubens
is no evidence that such paintings ever Cantoor’, N0.V.40; black chalk, height­
existed. In these circumstances, Kahr’s ened with white chalk, 465-471 x 261-
theory cannot be rejected out o f hand. 264 m m .; inscribed with the pen : D e houte
grooter ende het schouw erblat al meer
w tspaert ende meer grandes ran omtreck ge-
lyckt het cleyn dat ick geleekent hebbe naer
rubbens (Fig.81); (5) Anonymous drawing
(Head and forepaws of a lion), Printroom
t, E vers, N ette F o rsch u n g en , p.103, fig.52. Evers also
of the Statens Museum for Kunst, Copen­
pointed out (p.151) that Rubens was inspired by
the same figure by Perino del Vaga for the Jupiter hagen, ‘Rubens Cantoor’, N0.VI.90; black
in his J u p ite r a n d C a llisto o f 1613 at Kassel ( K .d .K ., and red chalk, 180-183 x 280mm .(Fig.82);
p.62).
(6) Engraving, in reverse, by W illem Pan-
2. J.S.Held (H eld , O il Sketch es, pp.434-435, No.314)
now entitles this composition Sam son 'Faken by the neels (Fig.80); below in the centre, P .P .
P h ilistin es, but in 1447 (G o r is - H e ld , p.31, under R ubens invent; below on the right, G. Pan-
No.38) he saw it as 'J'he b lin d in g o f Sam son.
neels fecit, l i t . V .S ., p.6, N0.45; Rooses, I,
3. Op. cit., pp.292-246.
4. H eld , O il S ketch es, p.432, under N0.312. p. 146, under No. 118; Rooses, Life, II,

119
CATALOGUE N O . 34

p.455; O ldenbourg, R ubens, p.41, fig.20; suppose that Rubens had in mind the
J.M üller Hofstede, ‘Beiträge zum zeich­ D avid Strangling a Bear painted in 1533-
nerischen W erk von Rubens’, W allra f- 1534 by Luca da Faenza after a sketch by
R ichartç-Jahrbuch,X X V II, 1965, p.353 n.212. Giulio Romano in a lunette o f the Loggia
(7), (8) in the Palazzo del Te in Mantua.2 As in
Rooses, I, pp.145-146, No.
lit e r a t u r e : the Mantua painting, the composition is
118; G. Glück, in Thiem e-Becker, XXIX, pyramidal. However, the poses o f David
p .141 (as R ubens); J.M üller Hofstede, op. and the bear are closer, in reverse, to
cit., p.353 n.212 (as a replica ); T.Budden­ those o f the two figures in D avid and the
sieg, ‘Simson und Dalila von Peter Paul Lion, a scene depicted in another lunette
Rubens’, Festschrift fi ir O tto von Simson, of the Loggia and also painted by Luca
Berlin, 1977, pp.336, 344 n.17, fig.io (as da Faenza after a sketch by Giulio Ro­
R ubens). mano.3
In 1928 Burchard4 believed that he re­
cognized the hand o f Rubens in the figure
David described this heroic deed to King of David in the present painting, and that
Saul, who treated him as a child when he of Snyders in the animals. He then dated
offered to fight the Philistine giant Go­ the work c.1610-1612. As his notes show,
liath : ‘ Thy servant kept his father’s sheep, he later changed his mind and regarded
and there came a lion, and a bear, and it as only a copy o f a lost painting. This
took a lam b out o f the flock. And I went does not seem tenable, however: the fig­
out after him, and smote him, and de­ ure o f David bears all the marks o f Ru­
livered it out of his mouth; and when he bens’s own hand, though it is clear from
arose against m e I caught him by his the flock o f sheep alone that the studio
beard, and smote him, and slew him ’ (I had some part in the work, painted very
Samuel 17: 3 4 - 3 5 ) . soon after Rubens’s return from Italy.5
David’s fight with the lion and the bear The engraving by W.Panneels (Fig.8o)
was interpreted by the Church fathers as differs in several respects from the paint­
a symbol of Christ rejecting the tem pta­ ing. David is shown as younger, his head
tions o f the devil, or o f his descent into is represented more frontally and he looks
the nether regions in order to rescue the towards the spectator, which is not the
just from the clutches of Satan.1 Rubens’s case in the painting; the draping of his
Catholic contemporaries were certainly loincloth is slightly different, and the dead
familiar with this symbolism, though no sheep lies between his feet instead o f be­
doubt they saw a scene o f this kind pri­ side him. It is also noticeable that the en­
marily as an example of courage and graving is incomplete : it shows only Da­
virtue. vid and the animals, not the landscape.
Rubens depicts the athletic youth with Possibly it was not made after the paint­
only a cloth about his loins ; he is grasping ing itself but after a preparatory drawing
a bear round the neck with both his or oil sketch, now lost.
arms and doing his best to strangle it. See also N0.35.
Beside him is a bloodstained sheep that
he has rescued from the wild animal. The 1. Réau, Iconographie, II, i, pp.258-259.
2. F.Hartt, G iu lio R o m a n o, New Haven, 195S, p.150
flock is seen on the left, and on the right
n.5 5 , fig-33 0 .
is a lion already killed by David. W e may 3. Id., p.150 n.55, fig-331-

120
 CATALOGUE N O . 315

4. In a certificate addressed to Leo Gnm petcr and p roven an ce: Royal Palace, salón nuevo
dated 4 October 192H Burchard wrote: 'Das mir
(later called ‘de los espejos’), Madrid;
vorgelegte Gemälde auf Leinwand (115 x 150 ent.),
darstellend den jugendlichen David, wie er den Marqués o f Legancs (Madrid, c.1584-
Bären w ürgt (I.Buch Sanuielis, cap. 17. vers.34-37), 1655); Count Altamira, Madrid, sale,
halte ich für ein W erk von Peter Paul Rubens aus
London (Stanley), 1 June 1827, sold for
der Zeit um 1610 bis 1612. Seine Entstehung denke
ich mich folgendermassen : Rubens hat eine Skizze 170 gns.
dieser Komposition (31 x 43 ent.) - sie ist tins durch
eine Radierung von Guill. Panneeis bekannt - ge­ lite r a tu r e : F.Pacheco, A rte de la Pin-
malt in der Absicht, das endgiltige grosse Bild in
tura, ed. F.J.Sanchez Canton, Madrid,
Zusammenarbeit m it einem Tierm aler auszufüh­
ren. Diese grosse Ausführung erblicke ich in der 1956,1 , p .153 (as R ubens ); Sm ith, Catalogue
vorliegenden Leinwand, bei der meines Erachtens Raisonné, II, p.266, N0.900 (as R ubens, the
die Figur Davids durch Rubens, die Tiere durch
landscape by W ildens, the anim als by S nij­
frans Snijders ausgeführt sind. Das Bild galt bisher
als verschollen. Als solches ist es in dem Haupt­ ders); Van H asselt, R ubens, p.228, No.20
w erk über Rubens, von Max Rooses, under n°t 18 (as R ubens); C ru ça d a V illaam il, pp.306,
beschrieben und von Rudolf Oldenbourg in der
380; Rooses, I, p p .145-146, N o.118; Rooses,
Sammlung seiner Aufsätze über Rubens (1922,
Seite 41) besprochen und auch (Abb. 20, nach dem Life, II, pp.454-455 (as Rubens) ; O ldenbourg,
Stich von Panneeis) reproduziert' (The painting on R ubens, p.41 (as 'in die M antuaner Z e it’);
canvas shown to me (115 x150 cm.), representing
J.M üller Hofstede, ‘Beiträge zum zeich­
the young David strangling a bear (I Samuel 17:
34-37) is in my opinion a work by Peter Paul Ru­ nerischen W erk von Rubens’, W allraf-
bens from the period 1610-1612. I imagine its ori­ Richart^-Jahrbuch, XXVII, 1965, p-353 n.212
gin as follows: Rubens painted a sketch o f this com ­
(as R ubens); E.Harris, ‘Cassiano dal Pozzo
position (31 X 43 cm,; known to us from an etching
by Guill. Panneels), intending to execute the final on Diego Velasquez’, Burlington M aga­
large picture with the assistance o f an animal zin e, CXII, 1970, p.372.nn.36,37; S.N.Orso,
painter. 1 believe that that picture is in fact the pre­
In the Presence o f the "Pla net K ing” . Studies
sent canvas, in which Rubens painted the figure o f
David and Frans Snyders the animals. The picture in Art and Decoration at the C ourt o f P h i­
was previously thought to be lost. It is described lip I V o f Spain, (Diss. Ph.D.), Princeton,
accordingly in the standard work on Rubens by
1978, pp.57, 62, 127, 200; M. Crawford
Max Rooses (as no. 118) and by Oldenbourg in the
collection o f his essays on Rubens (1022, p.41), Volk, ‘Rubens in Madrid and the Deco­
where it is also reproduced as 111. 20, after Panneels’s ration of the Salón Nuevo in the Palace’,
engraving).
Burlington M a gazin e, CXXII, 1980, p .176.
5. Certificates for the painting were also written by
Glück (16 February 1933), who thought it to be a
work by Rubens's own hand, o f 1609-1610, and by
Müller Hofstede (19 May 1986), who called it ‘a
composition by Rubens, very probably o f 1626- This painting, an illustration of I Samuel
1627’. In a letter of 18 February 1987 to Mrs Margrit 17: 34-35 (see No.34), was ordered, to­
Bernard, Bad Aachen, Germany, Held wrote: 'I am
gether with seven others, by Philip IV of
glad to confirm that the painting o f David Strang­
ling a Bear which I have seen in Zurich on 20 Janu­ Spain, through his aunt the Archduchess
ary 1987, is an original painting by Peter Paul Ru­ Isabella, to decorate the royal palace in
bens (canvas, 115X 150 cm.). It was painted most
Madrid. Rubens took the eight pictures
likely in the years after his return from Italy, but
not later than r.1615.' with him, or forwarded them separately,
when he visited Spain in 1628. They were
hung in the Salón Nuevo of the palace,
35. David Strangling a Bear with D avid Strangling a Bear as a pendant
to Samson Breaking the Jaw s oj a Lion
Oil on canvas; 223.5 x 264 cm. (N0.26; Fig.60). Later these two works
W hereabouts unknow n; presum ably lost. were owned by the Marqués o f Leganés,

121
CATALOGUE N O . 36

as appears from the inventory of his the P.Dubaut and F.Koenings Collections
estate in 1655. Later still, at an unknown (L. S u p p l.2 io } b and 1023a).
date, they were separated. D avid Strang­ R otterdam , Boym ans-van Beuningen
ling a Bear became the property o f Count M useum . Inv. N0.V.41.
Akam ira, was sold from his collection in
London in 18271 and has since disap­ p roven an ce: Pierre Dubaut, Paris;
peared ; Samson Breaking the Jaw s o f a Lion F.Koenings (Haarlem, 1881-1941), who

entered the collection of Count Hernani purchased the sheet in 1927. Presented in
in Madrid. W e may suppose that the two 1940 by D .G .van Beuningen to the M u­

works were painted at the same period, seum Boymans Foundation.

shortly before 1628 (see No.26).
e x h ib ite d :A m sterdam , 1933, N0.68;
An earlier painting of the same subject
M eesterw erken u it vier eeuw en, 1400-1800,
by Rubens is in the Spencer A. Samuels
Museum Boymans, Rotterdam, 1938,
Gallery, New York (No.34; Fig.79).
N0.338; Brussels, 1938-39, N o.10; C h oix de
On 5 September 1821 a sale took place
dessins. Exposition organisée à l’occasion du
at Oudenarde o f paintings from the estate
X V lie Congrès International d ’H istoire de
o f Albert Fonson, who had been recorder
l’A rt, Museum Boymans, Rotterdam,
o f mortgages in that town. Lot 8 in the
1952, No.66; A n tw erp , 1936, N0.39; Paris,
catalogue2 is thus described: ‘P.P.Rubens
19 ]4 , N0.94.
— Le jeune berger David, après avoir ter­
rassé le lion, vient à étouffer également Cat. Exh. A m sterdam , 1933,
lite r a tu r e :
Fours. Empâté, ton chaud... H.31, L.43 N0.68 (as R ubens ); C. Norris, ‘The Rubens
‘pouces de France’ (84 x 116 cm.). Bois’ Exhibition at Am sterdam ’, Burlington
(The young shepherd David, having slain M a gazin e, LXIII, 1933, p.230 (as R ubens,
the lion, now strangles the bear. Impasto, early A n tw erp period) ; Cat. Exh. Brussels,
warm colouring... Height 31, width 43 1938-39, N o.10, repr. (as R ubens); B u r­
[French inches]. Panel). Such a painting ch a rd -d ’H ulst, Tekeningen, p.51, No.39;
on panel has so far not been traced. A. Millier, The D raw ings o f R ubens, Los
Angeles-London, 1957, p.32, repr. (as
1. J.Smith (Smith, Catalogue R a iso n n é, II, p.î66,No.9oo), R ubens); H eld, D raw ings, p.103, N0.25,
who mentions this sale, describes the painting as
pi.27 (as R ubens, c. 16 10 -16 12 ); B u rcha rd -
follows: ‘The composition and drawing o f this pro­
duction are full o f energy and characteristic expres­ d ’H ulst, D raw ings, pp. 115-116, N0.69,
sion, and the colouring is fresh and brilliant. It is repr. (as R ubens); J.M üller Hofstede, Re­
not improbable but [sic] that the artist borrowed
view of Burchard - d ' Hulst, D raw ings in
the idea o f the design from an antique gem . The
landscape is by the hand o f Wildens, and the ani­ M a ster D raw ings, 4, 1966, p.446, Nos.69,
mals by Snyders; 17ft. 4m. by 8ft. 8in.; C .’. 70 (as R ubens); Cat. Exh. Paris, 19 ]4 , pp.
2. L u g t, R ép erto ire, I, N0.10107. An excerpt from the
126-127, N0.94, pi.74 (as R ubens, c .16 10 -
catalogue is in the Rubenianum, Antwerp.
1615); J. Kuznetsov, R ubens D raw ings (in
Russian), Moscow, 1974, No.39, repr. (as
R ubens, c. 16 10 -16 12 ); Bernhard, p. 314, repr.
36. David Slaying Goliath: Drawing (as R ubens, before 1620).
(Fig. 83)

Pen and brown ink; 219 x164 m m .— After the Israelites had prepared to de­
Verso: below on the left, the marks of fend themselves against the Philistines, a

1 22
 C A T A L O G I E NO. 36

giant named Goliath stepped forward out the same format2 and probably date
o f the enemy ranks, defying them to from c. 1609-1610. They seem to be the
choose a single champion to fight against earliest formulations of the David and
him : the outcome of the duel was to de­ Goliath theme in Rubens’s work (see also
cide which side was victorious. David, N0.38).
after seeking permission from King Saul, The drawing in Rotterdam recalls the
accepted the challenge. He drew near to semicircular fresco in the Loggia of the
Goliath and, with a stone from the sling Palazzo del Te in Mantua, representing
that was his only weapon, smote the the same subject and executed bv an as­
heavily armed giant in the forehead so sistant, probably Rinaldo Mnntovano
that he fell to the earth. Then he threw (1528—r .i 564) after a project by Giulio
himself on Goliath, drew the other’s Romano (1499-1540).3 The drawing and
sword out o f its sheath and slew him with the fresco show Goliath lying on the
it. The Philistines, seeing their champion ground with his head towards the spec­
overcome, turned to flight, pursued by tator and resting on his right hand, while
the Israelites (I Samuel 17: 1-52). David kneels on his body with one knee.
O f all the Old Testament heroes, Da­ However, in the fresco David’s sword is
vid is the one most celebrated in Chris­ still raised and Goliath is protecting his
tian art. To begin with, he lived in Chris­ head, w'hich is not the casein the drawing.
tian m em ory as a psalmist and prophet; As Held has pointed out,4 David’s san­
then, in the late Middle Ages and espe­ guinary action in cutting off Goliath’s
cially during and after the Renaissance, head is reminiscent of Rubens’s painting
he was famous above all as a warrior. In o f c.1609-1610 in which Judith decapi­
typology, from early Christian times his tates Holophernes with the sword (No.50;
victory over Goliath was seen as prefig­ cf. Fig. 109).
uring Christ’s triumph over Satan. In the David’s pose is very similar to that of
late M iddle Ages he was one of the Nine Samson in Rubens’s Samson Taken bv the
Worthies, revered as a model of heroic Philistines, an oil sketch of c.1609-1610 in
chivalry. In more modern times his story The Art Institute o f Chicago (No.32;
gradually lost its moralizing and sym ­ Fig.77), except for the head and arms.
bolic character and was treated increa­ The pose of his legs was used again by
singly just as a theme of Old Testament Rubens for the figure of Samson Breaking
history.1 theJaw s o f a Lion in the Printroom, Am ster­
The drawing shows Goliath, with his dam (N0.28; Fig.69). The rather strained
head towards the spectator, lying pros­ position of the head in relation to the
trate under the pressure of David’s knee. shoulders occurs later in Rubens’s E n­
Holding him by the hair w'ith his left tom bm ent, a drawing ofc. 1615, also in the
hand, David cuts off his head with the Printroom, Am sterdam .5 Goliath’s head
sword in his right. In the background, is reproduced, in a foreshortened pose, as
rapidly drawn, the Israelites pursue the that of St Christopher in a sheet of studies
fleeing Philistines. o f C.1613-1614 in the British Museum,
This sheet is related to one in the M u­ London.6
sée Atger at M ontpellier (No.37; Fig.84),
i. R ea llex ik o n , III, cols.ioH.i-i 1 1 9 ; R éa n , Ico n og ra p hie,
depicting David raising his sword to slay II, i, pp.254-202; L exikon tier ch ristlich en Ik o n o g ra ­
Goliath. The two drawings are of about p h ie, I, cols.477-440.

123
CATALOGUE N O . 37

2. J.M üller Hofstede (review o f B u r c lm r d -d ’t liils t , B u rch a rd -d ’H u lst, D raw ings, pp. 116-117,
Drawings, in Master D r a w in g s, 4, i960, p.466) is of
the opinion that the drawings at Rotterdam and
N0.70, repr. (as R ubens); J.M üller Hof­
M ontpellier were originally part o f a single sheet. stede, Review o f B u rch a rd -d ’H u lst, D ra w ­
This is possible, but not proved. ings, in M a ster D raw in gs, 4, 1966, p.446,
3. K H artt, G iu lio R o m a n o, New Haven, 1958, pp.150-
N0S.69, 70 (as R ubens); J.Kuznetsov, R u ­
151, fig.329.
4. He/d, D r a w in g s, p.103, under N0.25. bens D ra w in gs (in Russian), Moscow, 1974,
5. H e ld , D r a w in g s, pp.109-110, N o.37, pi.35; B u r c h a r d - N0.40, repr. (as R ubens, c .i6 io - i6 t 2 ) ; B e r n -
d ’ H u ls t, D r a w in g s , pp.68-70, No.38, repr.
6. H e ld , D r a w in g s, p .106, No.30, pi.26 (as R u b e n s,
hard, p.315, repr. (as R ubens, before 1620).
0 .1 6 1 1 - 1 6 1 3 ) ; B u r c h a r d -d ’ H u lst, D r a w in g s, pp.75-76',
N0.43, repr. (as R u b e n s, c . 1 6 1 3 -1 6 1 4 ) .

In the battle between the Israelites and

the Philistines, David fought man-to-man
against the giant Goliath; he slew him
37. David Slaying Goliath: Drawing
with a stone from his sling, and then cut
(Fig.84)
off his head (I Samuel 17: 48-51; see also
N0.36).
Pen and brown ink and brown wash;
Goliath, with his head towards the spec­
216 x 157 m m. Below in the centre, m ark
tator, lies prostrate under the pressure
of the Atger Museum, Montpellier(L.38),
o f David’s right knee. David lifts his
and D avid et G oliath inscribed with the
sword with both hands over his right
pen by a later hand ; inscribed in chalk by
shoulder to strike off the head o f his
a later hand i \ , below on the left, and
vanquished opponent. Above on the
P. P . R ubens fe cit, below on the right.—
right, the figure o f David is repeated with
Verso: Susanna and the Elders; below, m ark
a different attitude for the upper part o f
of the Atger Museum, M ontpellier (L.38),
the body and with the sword lifted high
and, inscribed with the pen by a later
above the head.
hand, R ubens fe cit, S uza n n e au bain and
In this drawing, which was first recog­
P .P .R u b ... (Fig.154).
nized by I.Q .V an Regteren Altena as a
M ontpellier, M u sée A tg er, Faculté de M é d e ­
w ork by Rubens,’ David’s pose, except for
cine.
the arms, is very similar to that o f Sam­
p roven an ce: Xavier Atger (1758-1833). son in Sam son Taken by the Philistin es in the
Bequeathed by him between 1813 and A rt Institute o f Chicago (N0.32; Fig.77),
1829 to the Faculty o f Medicine of M ont­ an oil sketch executed by Rubens c.1609-
pellier, his native town. 1610. The swing of the arms as indicated
in the pose on the right was previously
e x h ib ite d : A n tw erp , 1956, No.38.
used by Rubens in his Massacre o f the Inno­
lite r a tu r e : Dr Kiihnholtz, N otice des cents in the Brussels Museum, a work
dessins sous verre, tableaux, esquisses, re­ painted before his departure for Italy.2
cueils de dessins et estam pes réunis à la Biblio­ Much later the same m ovem ent is seen
thèque de la fa cu lté de médecine de M o n tp el­ in his H ercules and the H ydra, an oil sketch
lier, Montpellier, 1830, p.79, No.247; Cat. for the Torre de la Parada, form erly in
Exh. A m sterdam , 1933, under N0.68 (as R u ­ the collection o f Count Antoine Seilern in
bens); B u rch a rd -d ’H u lst, Tekeningen, p.50, London and now in the Courtauld Insti­
No.38, pl. XIV; H eld, D raw ings, pp.103- tute of Art, Princes Gate Collection.3 It is
104, N0.26, pl.28 (as R u b e n s,c . 16 10 -16 12 ); noteworthy that in this H ercules and the

124
 ( A' l ' A I . O G l ' I - NO. 37

H ydra, Hercules' companion resembles David: the influence of the Laocoon is

David in the drawing D avid Slaying G o­ especially noticeable in the drawing on
liath in the Boymans-van Beuningen M u­ the right of the sheet.
seum in Rotterdam (N0.36; Fig.83). Like the drawing in the Boymans-van
The m otif of Goliath lying prone on Beuningen Museum in Rotterdam (No.36;
the ground, vanquished but attempting Fig.83), this one dates from c.1609-1610.
to raise him self on one hand, recurs later They seem to be the earliest formulations
in Rubens’s work: see, for instance, Tan- o f the theme of Da\id and Goliath in
chelm in the oil sketch S t N orbert O ver­ Rubens’s work. An early painting o f the
coming Tanchelm , C.1024, in the collection same subject belonged to the collection
o f Dr George Baer, Atlanta, Georgia.4 o f the Duke ol Leuchtenberg in Munich
The prototype of the composition is and is now owned by The Norton Simon
Michelangelo’s D avid Slaying Goliath in Foundation, Pasadena. California (No.38;
the ceiling o f the Sistine Chapel.5 Rubens’s Fig.80). Rubens treated the subject again
drawing, however, echoes the fresco in in one of the ceiling pieces that he de­
the Loggia o f the Palazzo del Te at Man­ signed in 1620 for the Jesuit Church in
tua, representing the same subject and Antw'erp. These paintings were destroyed
executed by an assistant, probably Rinaldo by fire in 1718, bur the composition of
Mantovano, after a project by Giulio Ro­ D avid Slaying Goliath has survived in a
mano.6 In that fresco Goliath lies on the preparatory oil sketch, formerly in the
ground, his head turned towards the collection of Count Antoine Seilern in
spectator and resting on his right hand, London and now in the Courtauld Insti­
while David kneels on him with one knee tute of Art, Princes Gate Collection,13 as
and raises his sword— motifs also found w ell as in several copies.14 In this ceiling
in Rubens’s drawing. It is also probable piece David is seen from below in dra­
that Rubens incorporated in the drawing matic foreshortening, with one foot on
other elements that he had assimilated Goliath’s back; as in the drawing on the
during his stay in Italy. For instance, he right o f the present sheet, he holds the
probably recalled D avid Slaying G oliath sword uplifted with both hands above
by Perino del Vaga, after a project by his head, about to deal the fatal blow.
Raphael, in the Vatican Loggie,7 where This pose was probablv suggested by the
Goliath is not only in the same pose as figure of Cain in Titian’s great ceiling
in the drawing but also carries a shield painting of Cain and A bel, executed for
in his left hand; or other paintings of San Spirito in Isola, Venice, and now in
this subject, such as that, mentioned by Santa Maria della Salute there.15 From
Held,8 by Daniele da Volterra in the the copies of Rubens's ceiling piece it ap­
château of Fontainebleau,9 or Pordenone’s pears that it showed in the background
painting in the Santo Stefano monastery the fleeing Philistines being pursued by
in Venice.10 the Israelites— a battle episode which
Rubens also made use of the know­ may have been inspired by Perino del
ledge o f antique sculpture that he had ac­ Vaga’s above-mentioned fresco of D avid
quired in Italy. He must have had in mind Slaying Goliath.
the Belvedere Torso11 and the Laocoon
1. Cat. Exh. Amsterdam, under \ o . 68.
group,12 both o f which he had copied in 2 . G.G lück, ‘Cue composition de Rubens peu con­
drawings, when designing the figure of nue’, Annuaire des. Musées rovuu.v des Üemu-Arts de

125
 CATALOGUE N O . 38

B e lg iq u e ,!, 19.38, pp. 151-156, pl. VI ; J. S. Held, 'C o m ­ 1945, lot 45, sold to Vicente Caledonio
m ents 011 Rubens’ Beginnings', M iscella n ea D r
D .R o g g e n , Antwerp, 1957, pp.129-130, fig. 1.
Pereda, Buenos Aires.
,3. H e ld , D r a w in g s, p.104, under N0.26; S eilern , C o r r i­
g en d a a n d A d d e n d a , pp.6o-6r, No.325, pl.XL; A l- c o p ie s : ( i) Anonymous drawing from
p e r s , T o r r e, p.220. No.30a, lig.i2o. the m iddle o f the seventeenth century,
4. This sketch is for one of three statues made for
whereabouts unknown; black chalk.
the high altar o f St Michael’s Abbey, Antwerp.
They stood above T h e A d o r a tio n o f the M a g i which P R o v . sale, London (Christie’s), 20 June
Rubens painted in 1624 and which is now in the 1951, lot 54a (not in the catalogue); (2)
Antwerp M useum (Cat. Exh. C a m b r id g e -N e w
Etching by J.N.M uxel (Fig.85); below
Y o r k , 1 9 5 6 , pp.31-32, No.35, pl.XXIV; H eld , O il
S ketch es, pp.577-578, N0.420, pi.408). on the left: N .M u x e l a . f ; title: R ubens,
5. K .d .K ., M ich ela n g elo , 19 0 7, p.64; C.Tolnay, M ic h e l­ Peter Paul. l i t . V .S ., p.7, N0.47; (3) En­
a n g elo, Princeton-London, 1975, p.31, fig.79.
graving (’ French eighteenth century),
6. F.Hartt, G iu lio R o m a n o , New Haven, 1958, p p .150-
151, fig.329. Staatliche Bildstelle, Berlin, N0.9820 (as
7 . K .d .K ., R a ffa e l, 19 2 2 , p. 195; N. Dacos, L e L ogge Egid. Sadeler); title: C ucurrit, & stetit super
d i R a fa e llo , Rome, 1977, pp.195-196, No.XI, 2,
Philisthaeum , & tu lit gladium ejus, & ed u x it
pi.XLIIIa and b. The attribution o f D a v id S la y in g
G o lia th to Perino del Vaga is not universally ac­ cum de vagina sua; & in terfecit eum , prae-
cepted: see L.Dussler, R a p h a el, London-New York, ciditque ca put eius. 1 R e g .iy .f i.
1971, pp.90-91. We may suppose that Rubens was
also familiar with Marcantonio’s engraving after
Richmond, Virginia M u­
e x h ib ite d :
Raphael (H. Delaborde, M a r c-A n to in e R a im o n d i, Pa­
ris, s.d., p.89, N0.5; Cat. Exh. R a p h a el in d er A lb e r ­
seum of Fine Arts, 1972 (on loan); Selec­
tin a , Vienna, 1983, p p .132-135, repr.). tions fro m the N orton Sim on Foundation and
8. H e ld , D r a w in g s, p.104, under No.26.
the N orton Sim on Inc. M u seu m , County
9. P. Barolsky, D a n iele da V o lte rra , New York-Lon-
don, 1979, pp.9i - 93, N o.17, hg.67.
Museum o f Art, Los Angeles, 1972.
10. G.Fiocco, G io v a n n i A n to n io P o rd en o n e, Udine, 1939,
p.91, tig. 176 (this illustration is not o f the painting LiTERATURE:J.N.Muxel, G em älde Sam m ­
itself but of an engraving after it by Jacopo Piccini, lung in M ünchen .. . d e s Dom A ug usto , H er­
which Rubens may have seen).
11. Cat. Exh. A m ster d a m , 193.LN0.93, repr.; B u r ch a r d -
zogs von Leuchtenberg u n d Santa C r u ç ,
d 'H u ls t , T ek en in g en , pp.33-34, N0.11; W.Stechowy Fürsten von Eichstädt, E c.E c., Munich, s.d.,
R u b e n s a n d the C la ssica l T r a d itio n , Cambridge, p-3, N0.94, repr. in line etching by
Mass., 1968, pp.25-27, figs.11, 12.
M uxel (as R ubens ); N .M uxel, Catalogue
12. F u b in i-H e ld , p.125, fig.9, pl.t.
13. S eilern , Flem ish P a in tin g s, p .51, No.25, pl.LIX. des T ab leau x de la G alerie de fe u Son A ltesse
14. M a r lin , C e ilin g P a in tin g s, pp,69-70, Nos.5, 5a, 5b, R oyale M onseigneur Le Prince Eugène, duc
figs.3 i - 36 .
de Leuchtenberg à M u n ich , Munich, 1825,
15. H.E.W ethey, T h e P a in tin g s o f T itia n , I. T h e R e li­
g io u s P a in tin g s, London, 1969, pp.120-121, fig.r 57. 2nd room, N0.94; Sm ith, Catalogue R a i­
sonné, IX, p.247, No. 17 (as R u b en s ); Ver-
çeichniss der Bildergalerie . . . des P rin zen
Eugen, H erzogs von Leuchtenberg in M u en -
38. David Slaying Goliath (Fig. 86)
chen, Munich, 1843, p.48, N o.129 (as R u ­
bens); J. D .Passavant, G alerie Leuchtenberg.
Oil on canvas; 122 x 99 cm.
Gem älde-Sam m lung . . . des H erzog s von
Pasadena, C alifornia, The N orton Sim on
Leuchtenberg in M ü nchen , Frankfurt am
Foundation.
Main, 1851, p.22, N0.110 (as R ub en s ); G.F.
p roven an ce: H .R.H. Prince Eugène, Waagen, D ie G em äldesam m lung der E rm i­
Duke o f Leuchtenberg, Munich; Mrs tage f u St. Petersburg & andere dortige
Hester M ullett, Buffalo, New York; sale, K unstsam m lungen, Munich, 1864, p.383,
Parke-Bernet, New York, 15 November N o.129 (as V an D yck); Rooses, I, p.146; V,

126
 l ' A l. O G l ' l i N O . 38

p.312; Renard de Liphard-Rathshofï, with his head turned towards the spec­
Leugtenbergska Tavel-Sam lingen, Stock­ tator and resting 011 his right hand, re­
holm, 1917, p.48, N0.45, repr. (as Rubens); sembles the same figure in the semicir­
O ldenbourg, R ubens, p.101, fig.58 (as R u ­ cular fresco in the Loggia of the Palazzo
bens); V alentiner, R ubens in A m erica, p.159, del Te at Mantua, executed by an assis­
No. 52 (as R ubens, executed w ith the help o f tant after a project by Giulio Romano
pu p ils, c . 161 f) ; B u rch a rd -d ’H ulst, Tekenin­ (see No.36), The battle scene in the back­
gen, p.50, under No.38 (as R ubens, early ground with the Israelites pursuing the
A n tw erp p eriod ); H eld, D raw ings, p. 104, Philistines was repeated by Rubens in
under No.26 (as R ubens, c.16 11); B u rcha rd - 1620 in his ceiling painting o f D avid Slay­
d ’H ulst, D raw in gs, pp. 116-117, under ing G oliath for the Jesuit Church in A nt­
No,70 (as R ubens, early A n tw erp period); werp;3 it may have been inspired by
J.D.Morse, O ld M a ster Paintings in N orth Perino del Vaga’s D avid Slaying G oliath,
A m erica, New York, 1979, p.242 (as R u ­ after a design by Raphael, in the Vatican
bens); Selected Paintings at the Norton Simon Loggie (see No.37).
M useum , Pasadena, C alifornia, New York, Like Oldenbourg,4 burchard5 believed
1980, p.46, repr. (as R ubens, c.lójo); H eld, this painting to be entirely by Rubens’s
O il Sketches, p.43, under No. 11 (as R ubens, hand. However, neither had actually seen
c .16 11). it, and their judgem ent was based solely
on the engravings made after it. Later
authors accepted their view. Valentiner,6
In single combat with Goliath, David has who had an opportunity of seeing the
felled the Philistine giant with a stone work after it appeared in New York in
from his sling and then cut off his head 1945, thought it was ‘executed with the
(I Samuel 17: 48-51; see also N o.36). help of pupils’. It does in fact appear to
The vanquished Goliath lies on the be by Rubens’s hand, but has suffered
ground, his eyes fixed on the spectator. greatly. The edges were damaged and
David, kneeling, places one foot on the the impasto lessened during a previous
giant’s head and raises the sword with lining; the background has been abraded
both hands to deal the final blow. In the by overcleaning and inpainted exten­
foreground are David’s sling and Goliath’s sively.
spear and helm et. The background shows Valentiner, here followed by Held,
the Israelites pursuing the fleeing Philis­ dated the work c.1615. Perhaps this is
tines. somewhat too late; the correct date may
The view of David di sotto in su indi­ be around 1610-1612, which is generally
cates that Rubens had in mind the figure accepted for the drawings of the same
o f Cain in Titian’s C ain Slaying A b el, a subject at Rotterdam (No.36; Fig.83) and
soffito painted for Santo Spirito in Isola, M ontpellier (N0.37; Fig.84). In view' of
Venice, and now in Santa Maria della the fact that no preparatory drawing or
Salute in that city,1 On the other hand, oil sketch can at present be directly con­
the figure o f David also closely resembles nected w'ith the picture, and also that no
the executioner to the left of Christ in final work based on the two drawings at
C h rist Scourged, a painting by Rubens in Rotterdam and Montpellier has been
St Paul’s Church in Antwerp, generally identified, it may be wondered whether
dated c. t6i4.2Goliath, lying on the ground the latter are not variants with w’hich

127
CATALOGUE N O . 39

Rubens experimented before determ in­ 9. M.Jaiïé, ‘Rediscovered Oil Sketches by Rubens-II’,
B u rlin g to n M a g a z in e , CXI, 1969, pp.534-537,
ing on the pose of his protagonists as they
fig. 10.
appear in the painting belonging to the 10. D .M .R obb, K im b ell A r t M u s e u m . C a ta lo g u e o f the
Norton Simon Foundation. C o lle ctio n , 1972, pp.49-52, repr.
11. H e ld , O il S ketch es, p.635, No.A2t, fig.490. J.-P. De
Other paintings o f scenes connected
Bruyn attributed the work to Erasmus Quellinus
with the combat between David and Go­ II: see ‘W erk van Erasmus II Quellinus ver­
liath are attributed to Rubens by some keerdelijk toegeschreven aan P.P.Rubens’, J a a r ­
boek Museum A n tw e r p e n , 1977, p p .3 i3 -3 i5 ,
authors. The most important o f these is
fig-19.
an oil sketch o f D a v id w ith the H ead o f 12 . S e e A. Goovaerts, 'Le peintre Michel-Ange Jm-
G oliath, M e t by the W om en o f Israel (I Sa­ menraet d ’Anvers et sa fam ilie’, B u lletin s de X A ca ­
dém ie R o y a le d e B elgiq ue, 2nd Series, XLVI, N o,11,
m uel 18: 6) in the Kim bell A rt Museum,
1878; T h iem e-B eck er, XVIII, p.580; F.-C.Legrand,
Fort W orth, Texas,7 in which M üller Hof­ L es p e in tre s fla m a n d s de g en re a u X V ille siècle, Brus­
stede,8 Jaffé9 and Robb10 believed they sels, 1963, pp,io5-io6.
13. Photo Netherlandish Art Institute, The Hague, L.
could recognize the master’s hand. How­
N0.8400 (Icondass 7 1 H 14.9). On 22 May 1963 a
ever, we share the opinion o f Burchard painting was sold at the Galerie Nackers in Brus­
and H eld'1 that it is the w ork o f another sels as by Hendrik van Balen (lot 128, fig.13; cop­
per, 50 x 40 cm.) representing the same scene, but
Flemish artist, as yet unidentified (see also
enlarged at the top (see J.-P.De Bruyn, op. cit.,
N0.20). Michiel Engel Immenraet (Ant­ fig.18). Another painting (panel, 46.5 x 6 3 cm.)
werp 1621-Utrecht 1683) ,11 executed a figured as 'attributed to Cornelis de Baeillieur’ in
a sale at the Galerie des Chevaux-Légers at V er­
painting based on it13 which was in the
sailles 011 29 April 1979 (lot 33, repr.).
Von Nickl Collection in Budapest around 14. Panel, 58.7 x 85.7 cm. V icto ria a n d A lb e r t M u s e u m .
1930. Another oil sketch, The T rium ph o f C a ta lo g u e o f F o reig n P a in tin g s, London, 1973,pp. 250
to 251, N0.309, repr.
Saul, w ith D avid C arryin g the H ead o f
15. W a a g e n , T r e a su r e s, Supplement, 1857, p.t8o.
G oliath, in the Victoria and Albert 16. R o oses, I, p.145, N o.1 17.
Museum in London,14 was attributed to
Rubens by W aagen'5 and Rooses,'6 but is
now recognized to be the work o f an 39. K in g D avid P layin g the H arp:
immediate follower. D raw in g (Fig. 87)
1. H.E.W ethey, T h e P a in tin g s o f T itia n , I, T h e R elig io u s
P a in tin g s, London, 1969, pp.120-121, fig.157. Ru­ Laid down. Pen and brown ink and brown
bens drew a copy o f Titian's A b r a h a m ’s S acrifice o f wash; sheet with the inscription; 230x
Isa a c from the same soffitto in Venice; this is now
in the Albertina, Vienna (M its c h , R u b e n sçe iclm u n -
150 m m .; drawing, 169 x 11 3 m m .; two
g en , p.132, N o.56, repr.). It is therefore very pos­ inscriptions with the pen in brown ink,
sible that he also brought back from Italy a draw­ in Rubens’s hand: above, Soli deo gloria,
ing o f Titian’s neighbouring work, C a in S la y in g
h is B roth er A bel.
and below, Si ha da avertire che I’opr a
2. K .d .K '., p.87. An oil sketch for this painting is in riitscirebbe m olto diversa / da questi s c iç ç i li
the Ghent museum (see d ’Hulst, O liev erfsch etsen , quali so n o fa tti liggierissim am ente da / prim o
p.91, N0.4, fig.2); it shows the executioner on the
left in the same pose.
colpo p e r dem ostrar solo il pensiero m d p o i si
3. Martin, Ceiling Paintings, pp.69-73, N o.5, figs.31- farebbono / li dissegni come anco la p ittu ra
34 , 36. con ogni studio e diligenda; below on the
4. O ld en b o u r g , R u b en s, p.101, fig.58.
5. B u r c h a r d -d ’H u ls t, D r a w in g s, pp.i 1 6 - 1 1 7 under
left, m ark of the Louvre (L.1886); below
N0.70. on the right, m ark of the collection of
6. Loc. cit. P.J. Mariette (L.1852).
7. Inv. N0.AP60.3; panel, 58.5 x 80 cm.
8. J. M üller Hofstede, 'Zeichnungen des späten Ru­
P a ris, C abinet des D essin s d u M u sée du
bens’, P a n th eo n , XXIII, 1965, p.165, fig,3. Louvre. Inv. N0.20.221.

128
 C A T A L O G U E NO. 39

p roven an ce: P.J.Mariette (Paris, 1694- of which he is traditionally the author.

1774), sale, Paris, 15 November 1775— He gazes heavenwards and joins his voice
30 January 1776, lot 1004 (together with to those o f the angels who, seated on
No. 13 above, and ‘ Q uatre petits Sujets de la clouds above him, are playing instru­
V ie de saint Ignace’), bought by Joullain. ments and singing the praises of Yahveh.'
Musical instruments lie on the ground to
copy: Anonymous painting, Town Hall, the left and right of David. In the back­
Nijmegen; canvas, 178.5 x 16 0 c m . l i t . ground is a hilly landscape with trees.
L. Ackermans, ‘Schilderijen in het Nij­ The m otif of the harp-playing psalmist
meegse Stadhuis’, in H el Stadhuis van N ij­ in Christian iconography is borrowed
megen, Nijmegen, 1982, p. 152, repr. from the antique model of O rpheus Play­

e x h ib ite d : Rubens, ses m aîtres, ses élèves,

ing the Lyre; it was popularized by minia­
tures in psalters, Bibles and books of
dessins du m usée d u Louvre, Louvre, Paris,
prayers and hymns, and by paintings on
1978, N0.8.
organ-doors. David also has a harp as his
Rooses, V, pp.224-225, No.
lite r a tu r e ; attribute in The Tree o f Jesse, where he and
1423 (as R ubens ); M ichel, R ubens, p. 108, the kings of Judah are shown as ancestors
repr. p .109; G liick-H a b erd itçl, No.41 (as of the incarnate Christ.2 In the sixteenth
R ubens, early years in Italy); Evers, N eue and seventeenth century, the harp-play­
Forschungen, pp.202-203, hg.218 (as R u ­ ing psalmist is also encountered as the
bens); G oris-H eld , p.42, under No. 107 (as patron o f choral and musical associations,
R ubens); Lugt, C at. Louvre, École jlam ande, showing his importance as a representa­
II, p. 11, No. 1007, pl.XII (as R ubens, before tive of music.3
160H); H eld, D raw in gs, pp.25, 44, 62 (as Scenes such as this one, with David
R ubens, c. 16 12 -16 1 j) ; A ,P .de Mirimonde, playing the harp and angels making m u­
‘La musique dans les œuvres flamandes sic, had already occurred earlier in Neth­
du XVIIe siècle au Louvre’, La revue du erlandish painting. Rubens must cer­
Louvre, XIII, Nos.4-5, 1963, pp.173-174, tainly have known Pietro Candido’s King
p l.10; Vlieghe, Saints, I, p .102, under No.70 D avid Playing the H arp,4 which was well
(as R ubens); J u d so n -V a n de V elde, p.96, known from an engraving by Jan Sadeler
under No.7a (as R ubens, c.16 10 ); A.P.de (Fig.88),5 executed in about 1590. The es­
Mirimonde, ‘Rubens et la Musique’, Jaa r­ sential elements of Candido’s composi­
boek K on in klijk M u seum voor Schone K u n ­ tion can be found in the present drawing:
sten, A ntw erpen, 1977, pp.170-171, fig.65; David singing psalms and accompanying
D e Poorter, Eucharist, p p .179,181-182, 268, him self on the harp, in an open land­
under No.2b, fig.51 (as R ubens); Cat. Exh. scape; above, in the clouds, the music-
R ubens, ses m aîtres, ses élèves, dessins du making angels in corresponding form a­
musée du Louvre, Louvre, Paris, 1978, tion around a circle of light, and angelic
pp.25-26, No.8, repr. (as Rubens). choirs with the tetragrammaton.
The drawing is a pendant to another
by Rubens, also in the Louvre in Paris,
The elderly King David, crowned and representing Abraham , Isaac and Jacob
wearing the royal mantle, is seen kneel­ (No, 13; Fig.29). For the connection, the
ing on one knee and playing the harp as function and the dating of these two
an accompaniment to one of the Psalms, drawings, see No. 13.

129
CATALOGUE N O . 40

The royal psalmist playing the harp PROV. Sale, Cologne (Lempertz), 14,
and joining his voice to that of the angels 15 November 1892; (2) Anonymous paint­
praising Yahveh was again depicted by ing, A. P. Ritchie, ‘Little London’, W hit­
Rubens, c. 1626-1628, in a tapestry in The church nr Aylesbury (1952); panel, 94 x
E ucharist Series.6 71 cm. pRov. Sale, London (Christie’s),
A painting in the Städelsches Kunst­ 10 May 1948, lot 150; (3) Anonymous
institut at Frankfurt am Main shows painting, J.J.Humblet, Brussels (1963);
David half-length, playing the harp but (4) Anonymous painting, Dr Rudolf
without angels; this is in fact a study by Brands, Schau ins Land 5, 506 Bensberg
Rubens of an aged man, which was en­ (1965); (5) Anonymous painting, E. V er­
larged by Jan Boeckhorst (N0.40; Fig.89). rijken, Antwerp (1975); (6) Anonymous
1. For an identification o f the instruments surround­
painting, Municipality o f Niederhausen
ing King David, and those played by the angels, see near Wiesbaden (1978); canvas, 80 x
A. P.de Mirimonde, 1977, loc. cit. 60 cm. ; (7) Anonymous painting, Mr ÔC
2. R é a u , Ico n og ra p hie, II, i, pp.255-256; H .J . Zingel,
K ö n ig D a v id s H a r fe in d er a b en d lä n d isch en K u n st,
Mrs Staes-D’Hulster, M erksem near A n t­
Cologne, Gering, 1968. werp; canvas, 75 x 60 cm.; inscribed on
) . R ea lle x ik o n , III, cols.1112-1113; L ex ico n d er ch r is t­ the back: Jacob D e W itte, p r o v . Sale, A nt­
lichen Iko n o g ra p h ie, I, col.479,
4. See O .Hirschmann, ‘Ein Gemälde Peter Candids im
werp (Leys), 20, 21 October 1980; (8) En­
Haarlem mer M useum ’, M o n a tsh efte f ü r K u n stw is­ graving by J.K. Eissenhardt (Frankfurt
sen sch a ft, VIII, 1915, pp.81-83; ‘Keuze uit de aan­ am Main, 1824-1896).
winsten’ , B u lletin v a n het R ijk sm u seu m , A m ste rd a m ,
(9), (10), (11), (12)
XXI, 1973, PP-32 . 37, fig.18.
Catalogues o f the Pom-
l i t e r a t u r e :
5. D e P o o rter, E u ch a r ist, pp.181-182, fig.50; B.Volk-
Knüttel, Cat. Exh. P e ter C a n d id Z eich n u n g en , Staat­ mersfelden Gallery: 1719, No.233; 1746,
liche Graphische Sammlung, Munich, 1978-1979, fol. F verso, N0.25; 1857 (W. Bürger),
PP.31-33, N0.4, fig.9.
No.546; G.F.W aagen, K unstw erke u nd
6. D e P o o rter, E u ch a r ist, pp.280-281, N0.6, fig. 117.
K ün stler in D eutschland, I, Leipzig, 1943,
p.131 (as R ubens ); R ooses, I, p.147, N o.119
40. King David Playing the Harp (as R ubens); K .d .K ., edn. R osenberg, p.58,
(Fig.89) left (as R ubens); R .Oldenbourg in K .d .K .,
pp.451, S 58; 459, S i 19 (as only the head by
Oil on panel; 8 4.5 x6 9 .2 cm. (including R ubens); Evers, N eu e Forschungen, p.205
two later enlargements: 20.2 cm. at the (as R ub en s ); V erzeichn is der Gem älde aus
left, 21.7 cm. below). An inscription in an dem Besitz ^es Städelschen K un stin stitu ts und
archaic hand, 60 P . j .f t P .P . R ., was for­ der S tad t F ran kfurt, Frankfurt am Main,
m erly to be seen on the back, but has 1966, p.105 (as R ub en s ); J. S. Held, ‘Nach­
now disappeared. träge zum W erk des Johann Bockhorst
F ra n kfu rt am M a in , Städelsches K un st­ (alias Jan Boeckhorst)’, W estfalen, H efte f ü r
in stitu t. Inv. N o.1043. G eschichte, K u n st u nd Volkskunde, 63, 1985,
p.27, figs.21, 22 (as J . Boeckhorst, although
p r o v e n a n c e : Count Schönborn, Pom- m aybe not the w hole p icture).
mersfelden Gallery, sale, Paris (Drouot),
17, 18 and 22-24 May 1867, lot 206 (sold
13.800 fr; Kohlbacher).
The aged King David, shown bust-length
c o p ie s : (1) Anonymous painting, where­ and in profile, wears a golden-yellow
abouts unknown; canvas, 8 2 x 5 6 cm. damask robe with a large white ermine

13 0
 LA TA 1,0 C U ii NO. 40

collar; over it is a double ornamental that year: it was rich in works by Boeck­
chain set with pearls. He is almost bald horst and included 'Hen stuck, Coninck
and has a long white beard.' He is play­ David, van Lange Jan, met vergulde
ing with both hands on a harp in front lijste’ (A King David by Lange Jan, in a
o f him, gazing fervently towards heaven gilded frame).7 This may possibly be the
(see No.39). present work.
It can be seen from the painting that Among early copies of King D avid P lay­
the panel was originally smaller and was ing the H arp is one (belonging to Mr A. P.
enlarged on the left and below. As the Ritchie) painted on a panel branded with
priming o f the added portions differs the Antw'erp m ark; this would indicate
from that o f the original part, we may that it w'as executed there, and hence that
suppose that the extension took place at Boeckhorst made his enlargement of Ru­
a later date.2 bens’s study of a head, also in Antwerp.
In 1921 Oldenbourg pointed out that ‘Een schilderye, verbeidende den Co­
two different hands had worked on the ninck David, gheschildert naer een stuck
painting. He believed that Rubens had van Langen Jan’ (A painting of King Da­
painted the head, while all the remainder vid after a work by Lange Jan) appears in
was by another artist whom he did not the 1692 inventory of the collection of
name.3 Glück, who agreed with Olden­ Guill. Potteau at Antwerp,8 and may have
bourg, went further and identified the been a copy of the present painting.
second artist as Jan Boeckhorst, nick­ A painting by an unknown hand, which
named Lange Jan (Münster 1605-Ant- in 1936 W'as in the possession of Prof. Dr
werp 1668).4 This is acceptable on the Karolus at Probstdeuben near Leipzig,9
basis that a study of an aged man, painted shows copies of two heads by Rubens : that
by Rubens, was enlarged by Boeckhorst o f David in the present w ork, and that of
to represent David playing the harp, and St Francis in The M adonna A dored by P en i­
that the latter not only painted the por­ tents and Saints in the Kassel Museum.10
tions added on at the left and below, but
1. K is to be noted that l)a\id is not wearing a crown,
also the ermine collar and chains on the as would be expected in the case o f a roval per­
original panel. sonage. Rubens him self depicted the harp-playing
The inventory of Rubens’s estate m en­ psalmist as wearing a crown, in a drawing in the
Louvre in Paris (No.30; lag.Hr).
tions inter alia 'Hen menigte van tronien 2. In the paint layer o f the added portion there has
o f koppen n a e r ’t leven, op doek en pi- in places been a crystallization of the binding
neel, ...d o or Myn heer Rubens’ (A large agent, producing pale, opapuc patches. One of
these can be seen on David's right hand. This crys­
num ber of faces or heads depicted from tallization is also visible in some other paintings
life, on canvas or panel, by Mr Rubens);5 from the Städel Collection. (Information kindly
it is possible that the study o f the aged furnished by Dr Michael Maek-Gérard.)
3. R .Oldenbourg, loc. cit.
m an’s head was one of them, and that 4. Glück mentioned his attribution to Boeckhorst
when Rubens’s collection was dispersed orally to Burchard. who noted it in 1033. Arguing
it came into Boeckhorst’s possession. from the treatment o f the hands and especially of
the robe, Held in 1083 (loc. cit.) also attributed the
Boeckhorst, who died in 1668, made a
painting to Boeckhorst, but added: 'wenn viel­
will on 2 November iôfto appointing his leicht nicht das ganze Bild - so doch einen w esent­
friend Gaspar Thielens as one of the two lichen Teil' (perhaps not the whole, but at any
rate a substantial part). I le did not suggest which
executors.6 Thielens died in 1691, and an
parts were not by Boeckhorst, or who might have
inventory of his collection was made in painted them.

131
CATALOGUE NO. 4I

5. D en u cé, K o n stk a m ers, p.70. e x h i b i t e d : D ie Sam m lung H enle, Wallraf-

6. V a n d en B ra n d en , S ch ild ersch ool, pp.905-906;
Richartz-Museum, Cologne, 1964, N0.31.
H .Lahrkam p, ‘Der "Lange Jan’ ’. Leben und W erk
des Barockmalers Johann Boekhorst’, in W estfa len ,
H efte f ü r G esch ich te, K u n s t u n d V o lk sk u n d e, 60,1982, l i t e r a t u r e : Sm ith, Catalogue R aisonné,
pp.21-22. A codicil added to the w ill in 1668 was II, p. 170, under N o.592; Rooses, I, p. 148,
countersigned by Gaspar Thielens as a witness
under N0.20; G.Redford, A r t Sales, I,
(H.Lahrkamp, loc. cit.).
7. D en u cé, K o n stk a m ers, p.351. London, 1888, p.95; Catalogue o f the C o l­
8. D en u cé, K o n stk a m ers, p.370. lection o f Pictures at G rosvenor House, Lon­
9. Canvas, 36 x 55 cm. p r o v . Lanz Collection, Mann­
don, 1888, p.43, N o.105; Catalogue o f the
heim ; Generalarzt W eil, Prague.
10. K .d .K ,, p.129; K a ta log d er S ta a tlich en G em ä ldeg a lerie Collection o f P ictures at G rosvenor H ouse,
ç u K a sse l, Kassel, 1958, p.133, N o.119, repr. London, 1913, N0.105; L.Burchard, quo­
ted by H .V ey in the Cat. Exh. D ie Sam m ­
lung Henle, Wallraf-Richartz-Museum,
41. The Meeting of David and Abigail Cologne, 1964, under N0.31 (as R ubens,
(Figs.90, 94) 0 .1625-1628); J.M üller Hofstede, ‘Neue
Ölskizzen von Rubens’, Städel Jahrbuch,
Oil on canvas; 123 x 228 cm.1 N.F., 2, 1969, p.239 n.131 (as ‘ späten Ru­
M a lib u , C alifornia, J. P a u l G etly M useum . bens’); M .Jaffé, ‘Rubens’s “ David and
Abigail’” , Burlington M a g a zin e, CXIV,
p r o v e n a n c e : W elbore Ellis Agar,2sale, 1972, pp.863-865, fig.92 (as Rubens, from
London (Christie’s), 2 May 1806, lot 36 (not the early ï ó j o ’s ); H eld, O il Sketches, p.435,
brought to public sale: the whole Agar under No.315 (as R ubens, c .ió jo ) ; J.S.
Collection was bought by the Earl of Held, Flem ish and G erm an Paintings o f the
Grosvenor for 30,000 guineas); the pic­ l j t h C entury. The Collections o f the D etroit
ture, form erly at Grosvenor House, was Institute o f A rts, Detroit, 1982, pp.88-89
sold after the death of Hugh Richard A r­ (as R ubens, the very beginning o f the i6 jo s ).
thur, Duke of Westminster, by order of
the executors at Sotheby’s, London,
24 June 1959, lot 13 (bought by Stephen
Nabal, a sheep-farmer in Maon, pastured
Pollock for Edward Speelman, London);
his flocks around the village o f Carm el in
Dr Günther Henle, Duisburg, W . Ger­
Judah, on the confines of the wilderness.
many; Edward Speelman and Halls-
David and his followers had dwelt for
borough Gallery, London, 1972.
some time in the neighbourhood, and
c o p i e s : ( i ) Anonymous painting, where­ had protected the people from maraud­
abouts unknown (Fig.93); canvas, 41 x ing bands of robbers. W hen Nabal was
77 cm. p Ro v. D r Casimir Wurster, Strass­ shearing his sheep, David sent ten young
burg, sale, Cologne (Heberle), 15 June men to solicit assistance for him self and
1896, lot 253, repr.; (2) Anonymous his followers. Nabal sent back a churlish
painting, Musée municipal, Bergues-St refusal, which so incensed David that he
Winocq, French Flanders, Inv. N0.76.no mustered four hundred armed men in
(as Theodoor van Thulden) (Fig.92); canvas, order to kill Nabal and every man of his
i i o x 211 cm. e x h . Trésors des m usées du household. Nabal’s wife Abigail, who was
N ord de la France. III. La pein tu re flam ande both wise and beautiful, gathered large
au tem ps de R ubens, Lille, Calais, Arras, quantities of food (bread, flour, mutton,
1977, PP-3 2 , 192; Paris, 1 9 7 7 ~ 7 8> P '286- wine, raisins and figs) and went to meet

1 32
(3), (4)
 C A T A 1,0 G U E N O . 4 I

David. After apologizing for her hus­ and also by Maarten de Vos in his M eeting
band’s conduct, she offered him the gifts o f D a v id and A bigail in the Musée des
to be distributed among his men. David, Beaux-Arts at Rouen.6) Abigail kneels
impressed by her eloquence and her pre­ hum bly on one knee and looks im plor­
sents, blessed the Lord and thanked Abi­ ingly up at David, with one hand on her
gail for preventing him from shedding breast and the other pointing to the gifts
blood (I Samuel 25: 1-35). Nabal, on she has brought. David, bare-headed out
learning of the danger Abigail had avert­ o f politeness, bends graciously forward
ed, suffered a stroke and died ten days and takes her arm to help her to rise.
later. Abigail thereupon became one of The scene is at the edge o f a leafy forest.
David’s wives (I Samuel 25: 39-42). It is not known who commissioned this
In the typological literature of the picture or what was its purpose. As loaves
Middle Ages, and particularly in the Spe­ are prominent among the gifts, it may
culum Hum anae Salvationis, Abigail, a m o­ have been intended to adorn the chapel
del o f womanly prudence and diplomacy, altar o f a bakers’ guild. There are exam ­
was regarded as prefiguring the Virgin ples o f the subject of David and Abigail
in her role as intercessor for souls at the being used in this way. Thus in St Rom-
Last Judgement.3 bout’s (Rumoldus’) Church at Malines in
The M eeting o f D avid and A bigail repre­ 1586 an altar was consecrated in the
sents a theme for which Rubens had a bakers’ chapel with a retable by M.Cox-
special liking: the depiction o f emotion­ cie, in the centre panel of which this sub­
ally charged meetings. Other Old Testa­ ject was depicted.7 However, the frieze­
ment examples are The M eeting o f A b ra ­ like horizontal shape of Rubens’s paint­
ham and M elchized ek, The Reconciliation o f ing seems less suitable for an altarpiece,
Esau and Jacob, and Esther before A hasu- and it is possible, as Burchard suggested,8
erus; and to these may be added a his­ that it may have hung above the dining-
torical event in Rubens's own time, The table in a monastic refectory. This sug­
M eeting o f Ferdinand, K ing o f H ungary, and gestion was supported by M üller Hof­
the C ardin al Infante Ferdinand at N ordlin- stede,9 who also pointed out that the re­
gen d As in most o f these, so in the pre­ conciliation and the feeding of David and
sent work he has well succeeded in ren­ his companions were regarded as a pré­
dering the atmosphere of the scene and figuration of Christ and the miracles of
the emotions of the protagonists. The feeding in the New Testament.
elaborate composition with numerous The airy treatment of the design, the
figures falls broadly into two contrasting light touch and delicate colouring, as well
halves. On one side is a group of hand­ as the expressive faces and gestures, indi­
some wom en in glim m ering silks, with cate that the painting was executed short­
servants, bare to the waist, carrying gifts ly after Rubens’s return from his diplo­
or leading Abigail’s donkey. On the other matic missions in April 1630.13
are warriors in armour, whose stern ap­ A preparatory oil sketch is in the col­
pearance enhances the vulnerability of lection o f Mrs Rudolf J.Heinemann in
Abigail and her companions. (This m an­ New York (No.4ia; Fig.91).
ner of setting the scene was used by Vero­ Another version of this painting is in
nese, for instance in The Fam ily o f the C on ­ The Detroit Institute of Arts (N0.42;
quered D ariu s before A lexa nd er the G reat,5 Fig.96).

133
CATALOGUE N O . 41a

1. The conservation o f the painting is described in Hollitscher, Berlin; Siegfried Buchenau,

J, S.Held, Flem ish a n d G erm a n P a in tin g s o f the n t h
Niensdorf bei Lübeck, lit. Rooses, I,
C en tu ry . T h e C ollection s o f the D etr o it In stitu te o f A r ts ,
Detroit, 1982, p.89. pp.148-149, No.i2obis;V, p.313, No.i2obis;
2. G.Redford, loc. cit. writes: ‘This collection was Jahrbuch der Königlichen preussischen K un st­
formed by M r Agar, chiefly through Mr Gavin
Hamilton, who brought so many fine pictures to
sam m lungen, I, 1890, N0.205; W . Bode and
England from Rome and other cities o f Italy'. M. J. Friedländer, D ie Gem äldesam m lung des
3. R éa u , Iconog ra p hie, II, 1, p.272. H errn C arl von H ollitscher in Berlin, Berlin,
4. K .d .K ., p p .n o , 211, 271, 290, 295, 363.
1912, fig.26; (2) Anonymous painting,
5. National Gallery, London (cf. T.Pignatti, Veron ese,
Venice, 1976, p .132, N0.163, fig.428). whereabouts unknown; panel, 43.8x
6. A .Zw eite, M a r te n de Vos a ls M a le r , Berlin, 1980, 68.5 cm. p rov. The picture is one of sev­
pp.289-290, N0.60, fig.74.
eral given by King Charles II of Spain to
7. L.Godenne, G u id e illu str é de M a lin es, Malines, 1920,
p.41 : ‘ Malines, Eglise métropolitaine de Saint- Father Joseph Martin de L.B., who was
Rombaut ... Pourtour... Dès le commencement administrator of the Hôpital St Louis in
du XVIe siècle, les Boulangers avaient l ’usage de
Madrid. Father Martin brought them to
cette chapelle ; après le retour du clergé, en 1585, les
Boulangers reprirent possession de leur autel, con­ France about 1660, and the Rubens sketch
sacré le 3 janvier 1586 par l’archevêque Hauchin, is N0.73 of a list o f pictures in the archives
et fut orné d’un retable dû à Michel Coxie, dont
of the Chateau de L.B. where he died
le panneau central représentait Abigaël présen­
tant au roi David des pains et d ’autres dons pour (comte R.de Sazilly, La généalogie de la
fléchir sa colère contre N abal’ (Malines, m etro­ Fam ille de M a rtin de L .B .); sold by a de­
politan Church o f St Rumoldus ... A m b ulatory...
scendant of the Martin de L.B. family at
The bakers had the use o f this chapel from the
beginning o f the 16th century. After the clergy re­ Sotheby’s, London, 27 March 1968, N0.42,
turned in 1585 the bakers recovered possession of repr. l i t . H eld, O il Sketches, p.436, under
their altar, which was consecrated by Archbishop
N0.315; (3) Anonymous painting, Ernest
Hauchin 011 3 January 1586 and was adorned by an
altarpiece, the w ork of Michel Coxie, the centre L.Jay, Huntington Woods, Michigan; pa­
panel o f which showed Abigail presenting loaves nel, 49.5 x 77.5 cm. ; bears on the back the
and other gifts to King David to soften his anger
wax seal o f J.B.J.van Bevere, Brussels,
against Nabal).
8. [H. Vey], Cat. Exh. D ie S a m m lu n g H en le, Wallraf- notary since 1788. p r o v . Sales at London
Richartz-Museum, Cologne, 1964, under No.31. (Christie’s), 29 March 1935, lot 105, and
9. Ibid.
8 December 1967, lot 124. e x h . Brussels,
10. [F.Baudouin], Cat. Exh. R u b en s D ip lo m a a t, Rubens-
kasteel, Elewijt, 1962, p.43. Galerie Robert Finck, 22 Novem ber-
15 December 1968, N0.32. l i t . H eld, O il
Sketches, p.436, under N0.315; (4) Anony­
41a. The Meeting of David and mous painting, whereabouts unknown;
Abigail: O il Sketch (Fig.91) panel, 39.3 x 47 cm. (partial copy only).
p r o v . Sale, London (Christie’s), 7 May

Oil on panel; 45.7 x 67.3 cm. 1937, lot 258. l i t . H eld, O il Sketches, p.436,
N ew York, M rs R u d o lf J. H einem ann. under N0.315; (5) Anonymous painting
M r Jean Poos, Luxem burg; canvas, 45 x
p roven an ce: Wieszbicki Collection,
71cm .; (6) Engraving, in reverse, by
Warsaw, 1935; Knoedler’s, New York,
Adriaen Lom m elin (Fig.95), executed af­
1957, from whom Mr Rudolf J.Heine-
ter Rubens’s death; inscribed P .P .R u b -
mann bought it.
ben sp in x it, A d r. Lommelin sculp., G illis Hen-
c o p i e s : (1)Anonymous painting, where­ d ricx ex.; letter: ET AIT DAVID A D
abouts unknown; panel, 46 x64 cm. ABIGAIL: BENEDICTVS DOMINVS
p rov. Rodolphe Kann, Paris; Carl von DEVS ISRAEL QVI MISIT HODIE TE

LM
 CATALOGUE NO. 4ia

IN OCCVRSVM MEVM. I. Sam uel 25 v. differences: in the painting there is one

32. lit.V .S ., p.7, N0.49; Rooses, I, p .148, more servant on the left, and the horse­
under No,i2o, pl.34; Van den W ijngaert, man on the right is seen in his entirety.
Prentkunst, p.70, N0.400; H ollstein, XI, The painting originally showed the old
1955. p.95; H eld, O il Sketches, p.436, under nurse kneeling behind Abigail, but Ru­
N0.315; (7) Tapestry, in reverse, Bob bens painted her out, probably thinking
Jones University Collection, Greenville she was incongruous in the group o f at­
(partial copy only); probably woven as a tractive wom en; moreover her absence
commission by the firm Fourment-Van made it possible to depict Abigail’s two
Hecke at Antwerp, l i t . B.Duverger, companions full-length. However, her
‘Tapijten van Rubens en Jordaens in het head has since become visible again under
bezit van het Antwerps handelsvennoot­ the attendants’ robes. The original out­
schap Fourment-Van Hecke’, Arles T ex ­ line of David’s armour, which Rubens
tiles, VII, 1971, pp. 121-125, fig. i - reduced in extent, is also once again
visible.
lite r a tu r e : M.Jaffe, ‘Rubens’ Sketch­ The engraving by Adriaen Eommelin
ing in Paint’, A r t N ew s, 52, 1953, p.64, (Fig.95) corresponds completely with the
repr. p.36 (as R ubens ); L. Burchard, quo­ sketch (in reverse), including the old
ted by H. Vey in Cat. Bxh. D ie Sam m lung nurse. It can thus be deduced that the
Henle, Wallraf-Richartz-Museum, Co­ sketch has come down to us without lat­
logne, 1964, under N0.31 (as R ubens ); eral curtailment, and that for the paint­
M.Jaffé, ‘Rubens’s “ David and Abigail’” , ing in the Getty Museum Rubens exten­
Burlington M a gazin e, CXIV, 1972, p.863, ded the scene at either side. We may even
fig.90 (as R ubens); H eld, O il Sketches, pp.30, wonder if the painting was not originally
under N0.4, 435-436, N0.315, fig.313 (as wider still. Two copies by unknown
R ubens, c. 1630) ; J. S. Held, Flemish and G er­ hands— one in the Museum at Bergues-
man Paintings o f the lj t h C entury. The C ol­ St Winocq, French Flanders (Fig.92), and
lections o f the Detroit Institute o f A rts, De­ the other formerly in the collection of
tro it, 1982, pp.88-89 (as R ubens, the very Dr Casimir Wurster, Strassburg, but pre­
beginning o f the 1630s). sent whereabouts unknown (Fig.93)—
show two more warriors on the extreme
right. One of these warriors carries a
This elaborated sketch shows various ad­ lance, only the tip of which can be seen in
justments o f outlines by Rubens; he also the version in the Getty Museum.
painted out a soldier’s head between the The inventory, dated 24-26 October
two horsemen on the right and the first 1652, o f the estate o f the painter Victor
foot-soldier. The composition is generally Wolfvoet, who died at his home in Sint-
similar to the painting of the same sub­ Jansstraat, Antwerp, on 23 October 1652,
ject by Maarten de Vos, dated about 1575, mentions ‘Ben stucxken van David ende
in the Musée des Beaux-Arts in Rouen,' Abigael, op panneel, in lyste, na Rubens’
which, however, contains many more (A small painting of David and Abigail,
figures. on panel, framed, after Rubens).2
The sketch is a m odello for the painting
I. A .Z w e i t e , .Marten <te Vas als M a le r , Iterlin, iy 8o,
in the J.Paul Getty Museum, Malibu, pp.289-290, No.oo, tig.74. Another M eetin g o f P a v iti
California (N0.41 ; Fig.90). There are some a m i A b ig a il, similar in composition bin in reverse,

135
CATALOGUE N O . 42

was form erly also attributed to Marten de Vos; but M. Rooses, ‘Les Rubens de la Galerie du
Zw eite (p.370) rejects this and ascribes it to Frans
Pourbus the Elder.
duc de Richelieu’, R ubens-Bulletijn, V, 3,
1 . D e n u cé , K on stk a m ers, p.146. pp.138,141 (as R ubens); Rooses, Life, pp.279
to 280 (as R ubens w ith p u p ils, especially V an
D yck); L.M .Bryant, W h at P ictures to See in
42. Th e Meeting of David and Abigail Am erica, New York, 1915, pp.228-231;
(Fig.96) W .R. Valentiner, ‘Rubens and Van Dyck
in the Detroit M useum’, A r t in Am erica,
Oil on canvas; 178.5 x 249 cm. (including X, 1921-1922, pp.203-209 (as R ubens);
along the top a canvas strip o f 26 cm., W .H eil and C.H. Burroughs, Catalogue
which is a later addition). o f Paintings in the Perm anent Collection o f
D etroit, The D etroit Institute o f A rts. Inv. the D etroit Institute o f A rts o f the C ity o f
No. 1889-63. D etroit, Detroit, 1930, N o.194 (as R ubens
provenance: Armand-Jean de Vigne- w ith the help o f assistants, c.1618 ); E.Schey-
rod Duplessis, duc de Richelieu (1629- er, Baroque Painting, Detroit, 1937, pp.42-
1715), who gave it c.1680 to Roger de Piles 44; Valentiner, R ubens in Am erica, p. 160,
(1636-1709); due de Grammont, before N0.72 (as R ubens, w ith the help o f p u p ils,
1714; Jacques Meyers, Rotterdam (d. c.16 18 ); G oris-H eld, p.32, N0.39, pl.46 (as
25 September 1721), sale, Rotterdam, R ubens, c. 162 5-1630 ); M.Jaffé, ‘Rubens’
9 September 1722, lot 71 (1400 florins); Sketching in Paint’, A r t N ew s, 52, May
Ferdinand, Count Van Plettenberg and 1953» P-64, repr. (as R ubens and an assist­
W itten, sale, Amsterdam, 2 April 1738, ant, probably Panneeis) ; L . Burchard quot­
lot 37 (690 florins); Paul Methuen (1672- ed by H .V ey in Cat. Exh. D ie Sam m lung
1757), London, Grosvenor Street; M.Se- Henle, Wallraf-Richartz-Museum, Co­
cretan, sale, Paris, 1-4 July 1889, lot 158 logne, 1964, under No.31 (as aus R ub en s’
(bought by James E.Scripps, Detroit, and letzte Ja h rzeh n t ?); ‘Other W orks of Ru­
given by him in the same year to The bens in the Collection of the Detroit In­
Detroit Institute of Arts. stitute of Arts’, Bulletin o f The D etroit In­
(1), (2), (3) stitute o f A rts, 43, Nos.3-4, 1964, p.54,
e x h ib it e d : The Scripps Collection o f O ld
repr. (as R ubens w ith the help o f assistants,
M asters, Detroit Museum o f Art, 1889,
c.16 2 5 -16 30 ); C.Goldstein, Review of
N0.29; D etroit, 1936, N0.6; A ntw erp, 1977,
B.Teyssèdre, ‘Roger de Piles et les débats
N0.77; Homage to R ubens, The Detroit In­
sur le coloris au siècle de Louis XIV’, A r t
stitute o f Arts, 1978, N0.6.
Bulletin, XLIX, 1967, pp.266-267 (as R u ­
lite r a tu r e : An unsigned biography, bens); Id., ‘Theory and Practice in the
added to a posthumous edition (1715) of French Academy: Louis Licherie’s “ A bi­
Roger de Piles’ Abrégé de la vie des peintres, gail and David” ’, Burlington M a gazin e,
reads : ‘M. Le Duc de Richelieu ... luy fit CXI, 1969, p.346, fig. 12 (as R ubens); J.M ül­
présent d’un fameux tableau de Rubens, ler Hofstede, ‘Neue Ölskizzen von Ru­
qui représente David & Abigaël : & qui bens’, Städel Jahrbuch, N.F., 2, 1969, p.239
a été depuis à M .le Duc de Gram m ont’ ; n.131 (as R ubens); M .Jaffé, ‘Rubens’s
Sm ith, Catalogue Raisonné, II, p.170, N0.592 “ David and Abigail’” , Burlington M a ga­
(as R ubens); W aagen, K unstw erke, II, zin e, CXIV, 1972, pp.863-864, fig.91 (as
pp.313—314 (as R ubens); Rooses, I, pp.147- R ubens w ith the aid o f an assistant, c.1630);
148, N o.120 (as ‘ R ubens et se sé lè v es,c.1618 ’); J.G. van Gelder, ‘Het Kabinet van de heer

136
 C A T A L O G I ' ! ; N O . 42

Jaques Meyers’, R otterdam s Jaarboekje, mous on this point. Burchard3 dated the
1974, pp.167-183 (as R ubens ); Cat. Exh. Getty painting 01623-1628. and the pre­
Antwerp, 1977, p .183, N0.77, repr.; sent work to the 1630s, Jaffé4 agreed as­
H.Vlieghe, ‘Erasmus Quellinus and Ru­ to the date-order, and considered that
bens’s Studio Practice’, Burlington M a ga­ the Detroit painting showed weaknesses
zin e, CXIX, 1977, p.643, fig.58 (as largely that pointed to studio assistance. He also
workshop, 1630 or slightly later); K.Renger, drew attention to a significant pentim ento:
Review o f A n tw erp , 1977, in Kunstchronik, part of David’s military cloak, which in
January 1978, p.2 (as ‘Rubens mit eventuelle the Heinemann modello, and also in the
W erkstattbeteiligung j ; H eld, O il Sketches, Getty painting, hangs down beneath his
p.436, under No.315 (as Rubens, c.16 2 3 - left arm was originally also to be seen in
1628); J.S.Held, Flem ish and German P a int­ the Detroit painting, but was later over­
ings o f the lj t h C entury. The Collections o f painted. Held5 saw the force of this argu­
the D etroit Institute o f A rts, Detroit, 1982, ment, but none the less preferred a date
pp.87-90, repr. (as R ubens, 0 .1623-1628). of 01625-1628 for the Detroit painting,
which he regarded as entirely by Rubens,
whereas the Getty painting, in his view,
This version is o f large size, like the one dated from ‘the very beginning of the
in the J.Paul Getty Museum, Malibu, 1630s’. His reasons for the order of dating
California (N0.41 ; Fig.90). Although the were stylistic: ‘The whole tendency of
composition is generally similar, there Rubens’s development in the later years
are considerable differences of detail. The of his activity w as tow ards a looser, more
present version contains only thirteen spacious treatment of his designs. A
figures instead of seventeen: on the left, transformation o f a broadly extended
the servant with the basket o f loaves on action into one more tightly compressed
his head is missing; on the right, there are runs counter to the general trend of his
two fewer warriors and David’s shield- art in these years. Moreover, the Heine-
bearer with the helm et is not to be seen. mann and Getty versions look in some
David’s horse is only partly visible; its respects like a deliberate improvement
pose is based on Roman sarcophagi' and or rational clarification o f the narrative
was used by Rubens in earlier composi­ as depicted in the Detroit canvas’. This is
tions.2 Abigail wears a dark piece of in principle a true characterization of the
drapery over her head instead o f a gauzy development of Rubens’s later style, and
white veil, and thus looks somewhat it is also true that the narrative is less
older. The elimination o f some figures clear and rational in the Detroit painting
concentrates attention more on the pro­ than in the Getty version. None the less,
tagonists; the figures are closer together the sequence proposed by Held is unac­
and less loosely painted, making the en­ ceptable.
tire scene more compact. As appears from the pentim ento with
The question arises as to the relation­ David’s cloak, the present painting was
ship between the two paintings. Is the in fact executed after the Getty version
present work with its compact and more and hence after the Heinemann m odello;
limited form derived from that in the this probably took place within a short
Getty Museum, or is the latter an en­ time, in the early 1630s. Moreover it is
larged version of it? Critics are not unani­ not w'holly by Rubens but partly the

I.1 7
CATALOGUE N O . 43

work of studio assistants; this is shown (cf. F.Wibiral, L ’Iconographie d ’A ntoine V an

by weak portions such as David’s armour, Dyck, Leipzig, 1877, pl.VI, N0.20). Pen and
the warriors behind him, and the treat­ brown ink and grey wash in a few places;
ment of the sky. These shortcomings, and 192 x262 m m .— Verso: Pen and brown
the condensed nature o f the work, de­ ink. Below on the left, the m ark o f the
tract from the clarity o f the narrative. Printroom, Berlin (L.2504), and the in­
The composition was derived from the scriptions V B and 3397; below on the
Getty painting and not from the modello. right, with the pen and brown ink, van
Thus the servant on the extreme left is D yck (probably by Roupell), and Rou-
also in the Getty painting but not in the pell’s initials (L. 2234).
modello — which, as we know from Lom- Berlin-Dahlem , Staatliche M u seen Preussi-
m elin’s engraving (Fig.95), has come scher K ulturbesitç, K upferstichkabinett. Inv.
down to us without lateral curtailment; N0.5397.
while the old woman, who appears in the
p r o v e n a n c e : Robert Prioleau Roupell
modello but not in the Getty version, is not (London, 1798-1886); Adolph von Becke-
in the Detroit painting either.6 rath (Berlin, 1834-1915); acquired in
1902.
1. J.S.Held, 'Le roi à la chasse’, A r t B u lle tin , June 1958,
pp. 146-147; H e ld , O il S ketch es, p.84 under N o.51, e x h ib ite d : A n tw erp , 1956, No.55; Berlin,
pl.52.
1977, N0.18.
2. T r iu m p h a n t R o m e, Mauritshuis, The Hague (Ant­
werp, 1977, p .145, N0.60, repr.); T h e A d o ra tio n o f the lite r a tu r e :F.Lippmann, Zeichnungen
M a g i, Prado, Madrid ( K .d .K ., p.26).
3. Quoted by H .Vey in Cat. F.xh. D ie S a m m lu n g H en le,
alter M eister im K upferstichkabinett der K ö­
Wallraf-Richartz-Museum, Cologne, 1964, under niglichen M useen ç u Berlin, Berlin, 1910,
N o.31. N0.253 (as Van D yck) ; J. Rosenberg, ‘W ei­
4. ‘Rubens’s "David and Abigail” ', loc. cit. It is not
clear, however, exactly how Jaffé dates both paint­
tere Federzeichnungen von Rubens im
ings: the Getty one he calls ‘characteristic o f Ru­ Kupferstichkabinett’, Berliner M useen,
bens’s practice in Antwerp during the early 1630s’, XLIX, 1928, pp.57-58, fig.i (as R ub en s);
while he considers the Detroit one as ‘a w ork of
C.1630’.
Bock-Rosenberg, p.250, N0.5397, fig.181 (as
5. F lem ish a n d G erm a n P a in tin g s o f the 1 7 th C en tu ry . R ubens, c.16 15 ); F. Lugt, ‘Beiträge zu dem
T h e Collections o f the D etr o it In stitu te o f A r t s , Detroit, Katalog der Niederländischen Handzeich­
1982, p.88.
nungen in Berlin’, Berliner Jahrbuch, LII,
6. If the Detroit painting were prior to the Heine-
mann m odello and the Getty version, how could it 1931, p.64; J.Rosenberg, ‘Neuerworbene
be explained that the servant on the extrem e left Zeichnungen des Kupferstichkabinetts’,
o f the Detroit painting appears in the Getty version
but not in the m o d ello? Moreover, in that case one
Berliner M useen, LII, 1931, p. 110 (as ‘R ubens,
would have to assume that Rubens first painted fr ü h e s B latt’); H.Kauffmann, ‘Overzicht
Abigail’s two young companions full-length and der Litteratuur betreffende Nederland-
then, in the m odello, placed an old woman kneeling
sche Kunst’, O ud-H olland, XLVIII, 1931,
in front o f them , but did not include her in the
Getty version. p.196 (as R ubens, c .16 14 -16 15 ); Evers, R u ­
bens, p.506 n.436 (as ‘ R ubens, fr ü h ’ ); B ur­
ch a rd -d ’H ulst, Tekeningen, p.6o, N0.55 (as
43. Bathsheba Receiving David’s R ubens, c.16 14 ); H eld, D raw ings, pp .107-
Letter: Drawing (Fig.97) 108, N0.32, pl.31 (as R ubens, c .16 12 -16 14 );
E.Kunoth-Leifels, Über die D arstellungen
Sheet cut off on the left. W aterm ark: a der ‘Bathsheba im Bade’ . Studien ç u r G e­
shield with cross surmounted by a crown schichte des Bildthem as 4. bis 17,Jahrhundert,

1 38
 C A T A L O G UP. N O . 4 3

Essen, 1962, p.85 n.123, fig.51 ; B urchard- The naked Bathsheba is seated cross-
d ’H ulst, D raw ings, pp.130-131, N0.78, legged to the left of centre. She is atten­
repr. (as R ubens, c.16 14 ); J.Neumann, ded by three women : one, kneeling be­
'Aus den Jugendjahren Peter Paul Ru­ fore her, dries her feet ; a second, carrying
bens’, Jahrbuch des K unsthislorischen Insti­ a plate or a basket, stands to her left; a
tutes der Universität G ra ç, IÏÏ-IV, 1968-69, third, standing behind, combs her hair2—
p .122, fig.56 (as R ubens, c. 16 12 -16 14 ); R en ­ a m otif which recurs in Bathsheba R eceiv­
ger, R ubens D edit, I, pp. 139-140 (as R u ­ ing D a v id ’s Letter, painted c.1635, in the
bens); Bernhard, p.244, repr. (as R ubens, Gemäldegalerie, Dresden (N0.44; Fig.98).
c.16 14 ); H.M ielke in M ie lk e-W in n e r, pp. On the right a female messenger,whose
62-64, No. 18, fig.i8r (as R ubens, c .1 6 1 3 - attitude recalls that of the Angel of the
1614); M itsch, R ubensçeichnungen, p.97, Annunciation, hands to Bathsheba a let­
under N0.33 (as Rubens, vor 16 i j) ; M.Jon- ter from King David. The Bible makes
zeck, Peter P a u l Rubens, 1577-1640. Mate­ no mention of such a letter, but it already
rial Jur die K unstpropaganda der Staatlichen occurs in medieval art.
Allgem ein bibliotheken und der G ew erkschafts­ The figures o f Bathsheba and the fe­
bibliotheken anlässlich des 400. G eburtstages male messenger are elaborated in three-
des M alers, Zentralinstitut für Biblio­ dimensional fashion with hatching and
thekswesen, Berlin, 1977, pp.48-51; H eld, grey wash; the others are merely out­
D raw ings, 1986, pp.102-103, No.83, fig.135 lined, Rubens drew two alternatives for
(as R ubens, c. 16 12 -16 14 ). Bathsheba’s right hand, and tried a dif­
ferent pose for her left leg so that one of
the maids could dry it. Subsequently he
While his troops, under Joab’s command, drew in the upper left corner a variant of
were conquering the Am m onites and be­ the group formed by Bathsheba and this
sieging their capital of Rabbah, David re­ serving-maid. As Mielke observed, Ru­
mained in Jerusalem. One evening, w alk­ bens was probably dissatisfied with the
ing on the palace roof, he caught sight of latter’s kneeling posture, since in the new
a beautiful woman washing herself. version she is seated on the ground and
Having discovered that she was Bath- more relaxed: he was to use a similar
sheba, daughter of Eliam and wife of pose in, for example, D iana and Actaeon in
Uriah the Hittite, he sent for her and took the Boymans-van Beuningen Museum in
her to his bed (II Samuel 11: 1-4). Rotterdam.3 W hile searching for the cor­
According to theologians of the time, rect pose he repeated the head of the
David was a symbol of Christ and Bath- woman combing Bathsheba’s hair.
sheba represented the Church, cleansing The drawing is inspired by Giulio Ro­
herself so as to receive the Bridegroom m ano’s fresco of L'he Toilet o f Bathsheba in
worthily. These subtleties counted for the Loggia of the Palazzo del Te, Man­
little in the popularity of a theme which, tua.4 In that fresco, Bathsheba is also at­
like its usual pendant Susanna and the tended by three maids: the left one,
Elders, degenerated into senile eroticism. kneeling, holds a m i r r o r ; the one on the
In medieval art the risqué subject of right, standing, attends to Bathsheba’s
Bathsheba was treated with reserve, but hair; the one in the middle, standing up­
from the Renaissance onwards its popu­ right, is seen slightly from behind and
larity was unbridled.1 closely resembles the corresponding fig-

139
CATALOGUE N O . 44

ure in the present drawing. Bathsheba, in that the woman behind Bathsheba is combing her
mistress's hair, as is the case in Giulio’s T o ilet o f
this drawing, comes nearer, in reverse, to
B a thsheba in the Loggia o f the Palazzo del Te. This
Giulio Romano’s Bathsheba in the fresco woman has nothing to do with the theme o f the
D a v id Spying upon Bathsheba in the Loggia drawing on the verso.
3. K .d .K ., p.350; M u s e u m B o y m a n s-v a n B eu n in g en , R o t­
o f the Palazzo del Te.5 W e m ay assume
terd a m . C a ta lo g u s sch ild erijen tot 1800, 1962, pp.n e -
that Rubens had in his studio copies, now n o , N0.2296.
lost, that he him self had made, when in 4. F.Hartt, G iu lio R o m a n o , N ew Haven, 1958, p p .150-
151, fig -334 (painted by Rinaldo, from a design by
Mantua, from Giulio Romano’s compo­
Giulio).
sitions. 5. Id., pp.150-151, fig -335 (painted by Rinaldo, from a
The m otif o f the bather’s crossed legs design by Giulio).
6. D en u cé, K o n stk a m ers, p.63. The painting Jo a n o f A r c ,
is also to be found in Susanna and the E l­
belonging to the North Carolina Museum o f A rt,
ders, an engraving after Rubens by Lucas Raleigh, N.C., and exhibited as R u b e n s in Antw erp
Vorsterman (N0.62; Fig. 162). Otherwise in 1977 (A n tw er p , 1 9 77, p. n 5, No.46, repr.) appears
in its present state to be o f inferior quality. A labo­
this Bathsheba is related to the Susanna
ratory examination is called for, as it may be that
in Rubens’s painting in the Galleria Bor­ the w ork has been much damaged in the course o f
ghese, Rome (N0.58; Fig.152), and even time and unskilfully restored.

more to that in the painting in Stock­

holm (N0.60; Fig.156). The latter is dated
1614, a date which, with some tolerance, 44. Bathsheba Receiving David’s
also seems acceptable for the sheet dis­ L ette r (Fig.98)
cussed here. No w ork based on this pre­
paratory drawing is known to exist, nor Oil on panel; 175 x 126 cm.
is there any known painting o f Bathsheba D resden, Gem äldegalerie. Inv. N0.965.
by Rubens before the late panel in Dres­
p ro ven an ce: ?Rubens’s estate (D enu cé,
den. There is no connection between that
Konstkam ers, p.6o, N0.87) ; Count Van Plet-
painting and this drawing.
tenburg and W itten, sale, Amsterdam,
On the verso is a group o f three men
2 April 1738, lot 38; M. Van Zwieten, sale,
standing full-length, all approximately
The Hague, 12 April 1741, lot 34; bought
de fa ce and wearing the court dress of
by Le Leu for Augustus III (1733-1763),
around 1630. The one in the middle lays
Elector o f Saxony and King o f Poland at
his left hand on the head of a young per­
the Araignon sale, Paris, 26 March et seq.
son, kneeling and in armour (the head of
1749.
this kneeling person is drawn again above,
on a somewhat larger scale). This may c o p ie s : (i) Anonymous painting, where­
allude to the condemnation of Joan of abouts unknown; panel, 103 x73 cm.
Arc in 1431: a ‘Pucelle d ’ O rléans, su r toile’ p rov. Baden-Baden, Hamilton Collec­
is mentioned as N o.159 in the inventory tion; bought from this family by the Ehr­
of Rubens’s estate.6 hardt Gallery, Berlin, 1931; (2) Anony­
mous painting, whereabouts unknown;
1. R ea llex ik o n , 1, cols.i 512-1520; R é a u , Ico n og ra p hie, II, canvas, 164 x h i cm. p r o v . Madrid, Du-
r, p.274; L ex ik o n d er ch ristlich en Iko n o g ra p h ie, cols.
que de Berwick y de Alba. l i t . Rooses, V,
253- 257 -
2. J.S.Held (loc. cit.) believes that ‘the two standing p.313, N o.121 (as ‘copie ancienne’); C atd-
women belong to a different theme, probably the logo de la Colección de P in tu ras del D u que de
one for which the five [ s ic ] figures on the reverse
were intended’. In fact there are only four figures
Berw ick y de A lba, s.l., 1911, pp.163-164,
on the verso , not five. Moreover there is no doubt N0.181, heliograph before p.163 (as Van

140
 ( A I A I. () G UB N O . 44
D yck); (3) Anonymous drawing, where­ saw bathing. He sent for her and took
abouts unknown; pen and brown ink and her to his bed. (II Samuel 11: 1-4; see also
brown wash, p r o v , CL Fairfax Murray N0.43).
(London, 1849-1919). b it. C.Fairfax M ur­ Bathsheba, under an overhanging drap­
ray, Collection o f D raw ings by the O ld M a s­ ery, is seated on a chair1 in the fore­
ters form ed by C. Fairfax M urray, V, Lon­ ground beside a pool ol water; she rests
don, 1905-1912, No.41. (4), (5) her arm on a fountain decorated with a
dolphin on which a cupid is riding.2 Her
i, n h r a t i! R ii : Catalogue des tableaux de la dark, heavy dress is drawn up above her
G alerie Electorale à D resde , Dresden, 1765, thighs; only her upper right arm is loose­
p.75, N0.385 (as R ubens); Sm ith, Catalogue ly covered by a piece of white linen. In
R aisonné, II, pp.171, N0.595, 281, N0.944 this garb she displays her full naked beau­
(as R ubens); Rooses, I, pp. 149-150, No. 121 ty. While a maid combs her blond hair,
(as Rubens, c .ió jj); K.Woermann, Katalog she looks towards a negro page who ap­
der Königlichen Gem äldegalerie ç u Dresden, proaches from behind a low balustrade to
Dresden, 1908, pp.318-319, No.965 (as R u ­ hand her David’s letter. A small dog
bens); K .d .K ., p.347 (as R ubens, c.iójy); barks angrily at the messenger as if to
K .Erdmann, ‘Peter Paul Rubens “ Nessus defend his mistress.3 In the background,
und Dejanira’” , Zeitschrift f ü r bildende behind the balustrade ol the palace roof,
Kunst, 1929-1930, pp.70-71, repr. (as R u ­ David watches to see how Uriah’s wife
bens); Evers, R ubens, pp.419-422, ligs.239- receives his message.
241 (as Rubens, late); B u rch a rd -d ’H ulst, The m otif with the maid combing
Tekeningen, p.60, under No.55 (as Rubens, Bathsheba’s hair occurred some twenty
c .ió js ) ; H eld, D raw ings, pp.107-108, un­ years earlier in Rubens’s drawing in Ber­
der No.32 (as R ubens, late); E.Kunoth- lin (N0.43; Fig.97). In that drawing, how­
Leifels, Über die D arstellungen der 'Bath­ ever, David does not appear, and his let­
sheba im Bade’ . Studien ç u r Geschickte des ter is brought by a woman instead of a
Bildthem as 4. bis ly.Jahrhun dert, Essen, boy messenger.
1962, pp.60-63, hg.50 (as Rubens, c. /635); The m otif of Bathsheba sealed is bor­
B u rch a rd -d ’H u lst, D raw ings, pp. 130—131, rowed from Titian’s Diana and Actaeon,
under N0.78 (as R ubens, c .t ó jf ) ; M.Praz, now in The National (ktllery of Scotland,
M nem osyne. The Parallel between Literature Edinburgh;4 Rubens had copied this and
and the V isu al A rts, Princeton, 1967, p.233 other works by the Venetian master dur­
n.8; E.Panofsky, Problem s in Titian, M ostly ing his stay in Madrid in 1628-1629.5 In
Iconographie, London-New York, 1969, the centre o f that painting, seated beside
p .155 n.43; Staatliche K unstsam m lungen a pool, is a nymph who, startled by Ac-
D resden, Gem äldegalerie Dresden, A lte M ei­ taeon’s appearance, turns her body to the
ster, Dresden, 1979, p.287, N0.965, repr. right while looking in the opposite direc­
(as R ubens, c . t ó j j ) ; H eld, D raw ings, 1986, tion. Rubens took over this pose for Bath­
p. 102, under N0.83. sheba and adapted it to the rhythm of
his composition. There is also a rem ark­
able similarity between the profile head
King David, walking one evening on his of the negress in the painting of Diana
palace roof, was captivated by the beauty and that of the blackamoor in Rubens’s
of Bathsheba, wife of Uriah, whom he Bathsheba. In both cases, the dark-skinned

141
CATALOGUE N O , 45

figure serves to set off the beauty of the 1. The legs o f this chair terminate in an arrow-shape.
This is also seen in Rubens's oil sketch o f Th e E m ­
nearby female nude. As Kunoth-Leifels p e r o r C o n sta n tin e on his D e a th -b ed , Paris, collection of
has pointed out,6 this contrast of colours R.Ktiss (H e ld , O il S ketch es, pp.83-84, N0.50, pl.51),
is found in scenes of Bathsheba in Nether­ and in the paintings M a r s a n d R h ea S ilv ia , Vaduz,
Liechtenstein Collection (G.W ilhelm, P e te r P a u l
landish painting from the sixteenth R u b e n s, a u s d en S a m m lu n g en d es F ü rsten von L iech ten ­
century onwards: for example, in Jan ste in , 1974, p.15, N0.25, fig.XXV) and T h e D ea th o f
Massijs’s Bathsheba R eceiving D a v id ’s Letter D id o , Paris, Louvre (K . d. K „ p,4o8).
2. The fountain decorated with a Cupid riding a
(1562) in the Louvre in Paris,7 and Cor- dolphin is a m otif frequently used by Rubens : cf.
nelisz. van Haarlem ’s Bathsheba at the S u sa n n a a n d the E ld e r s, Academia de San Fernando,
Fountain (1594) in the Rijksmuseum in Madrid, (No.59; Fig. 153).
3. A similar small dog appears in Rubens’s S u sa n n a
Amsterdam.8 a n d the E ld e r s, c. 1635-1640, Munich, Alte Pinako­
One might be inclined to suppose that thek (N0.65; Fig.170), where it rushes to defend
Hélène Fourment sat for the figure of Susanna against the importunate greybeards.
4. H.E.W ethey, T itia n , l i t , T h e M y th o lo g ica l a n d H isto ­
Bathsheba, but a comparison of the lat-
rica l P a in tin g s, London, 1975, pp.138-141, N0.9,
ter’s facial traits with known portraits of fig. 142; E.Kunoth-Leifels, op. cit., p.61.
Rubens’s wife shows that the resemblance 5. Rubens's copy after Titian’s D ia n a a n d A cta eo n is
N0.44 in the inventory o f his estate (D e n u cé , K on st-
is not sufficient to identify the two wo­ Ikam ers, p.58). On Rubens’s stay in Madrid in 1628-
men. It would rather seem that this 1629 and the copies o f Titian that he painted there
Bathsheba represents the general ideal of see R o oses, L ife, II, pp.465-474; J a jfé , R u b en s a n d
Ita ly , pp.33-34.
beauty that Rubens found embodied in
6. Op. cit., p.ói.
his wife and that recurs with more or less 7. Id., p.57, fig.45.
modification in several of his paintings of 8. Ibid., pp.58-59, fig.48.
9. See, for instance, Jan Massijs’s B athsheba R eceiv in g
the 1630s.
D a v id ’s L etter, 1562, Paris, Louvre (E. Kunoth-
Rubens chose for his painting of Bath­ Leifels, op. cit., fig.45), or Veronese’s painting of that
sheba the theme preferred by his six­ subject, Lyon, Musée des Beaux-Arts (T.Pignatti,
V eron ese, Venice, 1976, p.151. No.260, fig.598).
teenth-century predecessors both North
and South of the Alps, namely the deli­
very o f David’s message. In this scene,
45. The Judgement of Solomon
where the messenger’s arrival and David
(Fig. 100)
spying in the background combine to
create a brief dramatic incident, previous
Oil on canvas; 184 x2 17 cm. (including
artists had gradually made Bathsheba the
the strips added, top and bottom, by an
centre o f the composition and brought
unknown hand); below left, the num ­
her into the foreground. Their principal
bers 665 and 1246.
aim was to depict the seductive beauty
M a d rid , Prado. N0.1543.
o f the woman bathing and to give the
scene its full erotic content.9 Thanks to p roven an ce: Queen Isabel de Farnesio
his brilliant use o f colour and above all (Elizabeth Farnese), Palacio de San Ilde-
his skill in portraying physical attractive­ fonso (La Granja), on whose orders the
ness, Rubens surpassed them all in this painting was acquired in Italy (described
respect. in the inventory drawn up after the death
On stylistic grounds the painting is to of Philip V in 1746, N0.665, as Rubens);
be dated c.1635. It is not known by whom later in the palace at Aranjuez, as appears
it was commissioned or for what pur­ from the inventory o f 1794, drawn up by
pose. Bayeu, Goya and Gom ez (as R ubens).

142
 ( . A I A 1, 0(1 U K N O . 4 5

cop y: Anonymous painting, Vaduz, referred by the two women to the judge­
Liechtenstein Collection; canvas, 15ÓX ment o f King Solomon. In order to dis­
210 cm. l i t . O ldenbourg, Flämische M alerei, cover which was the m other of the living
p .127 (as ‘anonym e Schülerarbeit, mit ge­ child, the King commanded that it be
ringer W ahrscheinlichkeit Frans de Neve cut in two, and a half given to each o f the
(16 0 6 -16 8 1) çugeschrieben ’); A.Kronfeld, women. One o f them agreed, the other,
Führer durch die F ürstlich Liechtensteinsche however, moved by maternal instinct,
Gem äldegalerie in W ien, Vienna, 1931, p.39, begged that the child m ight live, even if
N0.92 (as ‘ F ra n ç von N eve oder N eu e’). (2) it was given to her rival. Solomon thus
recognized who was the true mother, and
lite r a tu r e : A.Ponz, Viaje de Espana, X, the child was restored to her (I Kings 3:
Madrid, 1781, p.142 (as in the style o f R u ­ 16-27).
bens); H. Hymans, ‘Le Musée du Prado’, Am ong the kings of Israel, Solomon
G a le tte des B eau x-A rts, 1894, p.78 (as R u ­ was the most famous for power, splen­
bens); Don Pedro de Madrazo, Catalogue dour and, above all, wisdom. In typology
des tableau x d u m usée du Prado, Madrid, the Judgement o f Solomon was inter­
1913, p.269, under No. 1346, pp.311-312, preted as prefiguring the Last Judgement.
N0.1543 (as Jordaens); G.Glück, ‘ Hin ver­ In the clerical courts it was regarded as
kanntes W erk von Rubens im Prado zu a traditional exem plar o f justice, and
Madrid’, Zeitschrift f ü r Kunstgeschichte, 1, from the fifteenth century onwards, espe­
1932, pp.271-273, repr. (as R ubens, 1608- cially in the Netherlands, it was similarly
1610); id., in Thiem e-Becker, XXIV, 1955, regarded in civil courts, such as the muni­
p.141, right (as Rubens, 160 8 -16 14); M.S. cipal courts of alderm en.1
Soria, ‘Some Flemish Sources o f Baroque The action takes place in a palace fore­
Painting in Spain’, A rt Bulletin, XXX, 1948, court. Seated on his throne and holding
pp.252-253, fig.5; B u rch a rd -d ’H ulst, D ra w ­ a sceptre, Solomon gives the order for
ings, pp. 106-108, under N0.63, fig.63r (as the living child— held in the outstretched
R ubens); J.M iiller Hofstede, Review of hand o f an executioner, seen from be­
B u rch a rd -d ’H ulst, D raw ings, in M a ster hind— to be cut in two. The consenting
D raw ings, 4, 1966, p.446, N0.63 (as R u ­ woman addresses the true mother, who
bens) ; D ia ç Padrón, C at. Prado, pp.340-341, kneels and with outstretched arms im ­
N0.1543, pl.215 (as ‘ R ubens, Escuela'); R en- plores the king to spare the child’s life.
ger, p. 23, under No. 2(as R ubens, 1609-1610); The limp, pale body o f the dead child
H.Vlieghe, Review o f D ia ç Padrón, C at. lies on the ground, sniffed at by an in­
Prado, in A r t Bulletin, LXI, 1979, p.653 (as the quisitive dog. Beside Solomon, slightly
invention by R ubens, the execution to a large further off, are two young courtiers; be­
exten t due to the collaboration o f the studio). hind the two women there are an old
man in a turban and three soldiers in ar­
m our; an other dog lies at the foot o f the
Two harlots living in the same house throne.
were each delivered o f a child. One of The full impact of Solom on’s judge­
them, having lain accidentally on her ment is expressed in the composition,
child during the night, took the other’s with the burly figure o f the executioner
child away and substituted her own dead forming its central vertical axis. This
child for it. The consequent dispute was m otif is based on Andrea del Sarto’s Be­

143
CATALOGUE N O . 45

heading o f St John the Baptist, a fresco in w ith Thorns, Grasse, Hospital.“ He also
the Chiostro dello Scalzo in Florence, in appears, still in the same pose, in S t M a t­
which an executioner appears in a similar thew , Madrid, Prado12 and in A ng els at
pose and dress.1 The child dangling from M u sic, Vaduz, Liechtenstein Collection,13
the executioner’s outstretched hand is and, in a different pose, in The T ran s­
probably taken from Raphael’sJudgem ent fig u ra tio n , Nancy, Museum and The
o f Solom on, a fresco in the ceiling of the A doration o f the M agi, Madrid, Prado.H
Stanze della Segnatura in the Vatican,3 of The head o f the second courtier can be
which Rubens made a drawing su r p laced seen in The W om an Taken in A du ltery ,
An executioner seen from behind, full- Brussels, Museum.15 Armoured soldiers
length and holding a sword, also occurs o f the same type, which Rubens had
in later works by Rubens, such as The probably seen in Veronese’s work,16 are
M artyrdom o f S t Catherine o f A lexa n d ria in found in Sam son A sleep in D elila h's Lap,
the Musée des Beaux-Arts at Lille5 or The London, National Gallery (No.31; Fig.72)
Beheading o f S t Pa ul, a drawing in the and The D eath o f Seneca, Munich, Alte
British Museum, London.6 Pinakothek,17 but the earliest known ex­
A sheet now in the Hessisches Landes­ ample from his hand is the halbardier18
museum at Darmstadt (No.45a; Fig.99) in The G onçaga Fam ily A d o rin g the Holy
shows the preparatory sketch, executed T rin ity ,'9 painted during his Italian period
rapidly with the pen in brown ink, for for the Jesuit Church o f the Santissima
the ‘pretended m other’. The shell that Trinità in Mantua.
forms the back o f the throne, and the Edward W right, in Some Observations
sphinx decorating its arm-rest,7 sym bo­ m ade in T ravelling through France, Italy & c .
lize wisdom and discretion; they belong in the years ij2 o , 172 1 and 1722 (London,
to the language o f sculpture with which 1730, p.242), wrote: ‘In the Church o f
Rubens was familiar from Renaissance S. Sylvester [Monte Cavallo, Rome] are
tribunals. some good Paintings ... the W isdom o f
Various types, attitudes and gestures Solomon, a Design o f R uben s...’. As the
from this painting occur in other early present work was purchased in Italy for
works by Rubens. For instance, a similar Elizabeth Farnese, the Consort o f Phi­
kneeling woman, seen from behind, ap­ lip V, it may be wondered whether it is
pears in The Transfiguration, Nancy M u­ perhaps identical with the painting for­
seum (in reverse)8 and in the left panel m erly in St Sylvester’s, and was therefore
of T he R aising o f the C ross in Antwerp executed during Rubens’s stay in Italy.
Cathedral.9 A similar woman, standing However, the style shows it to be con­
with one hand on her hip, occurs in the siderably later. Taking into account also
two versions o f The E xp u lsio n o f H agar that the rapid sketch o f the ‘pretended
(N0S.9, 10; Figs.22, 23). The two courtiers m other’, mentioned above, appears on
appear together in the Portrait o f a G en­ the same sheet as a preparatory drawing
eral w ith Tw o A tten dants, Earl Spencer, for The C row n in g o f the V ictor (c.1614),
Althorp House, Northamptonshire.10 For Kassel, Gemäldegalerie (see No.45a),20 it
the young courtier next to Solomon seems acceptable to date The Judgem ent o f
Rubens already made a study while in Solom on to about the same period, c.1613-
Italy, as appears from the fact that he is 1614. Several weaknesses in the execution
seen in the same pose in C h rist C row ned point to studio assistance.

144
 CA I A LO G l'E N O . 45a

1. R é a u , Ico n og ra p hie, II, i, pp.289-291; B .Kerber in 45a. A Woman Standing: Drawing

U .x ik o n d er christlichen Iko n o g ra p h ie, IV, cols.20, 22;
J. De Ridder, G erech iig h e id s ta jcrelcn voor S ch ep en h u i­ (Fig-99 )
z e n in V la a n d eren in de 14 d e, i f d e en 16 d e reine
(Doctorate, University of Ghent, 1980), vol.II-i, W aterm ark: a jug with blossomingbran-
p.88; vol.Ill, pp.2-5.
ches; pen and brown ink; 297 x 195 m m .;
2. S.J. h'eedberg, Andrea d el S a r lo , Cam bridge, Mass.,
196.!, pp.63-69, IigS.129, 132.
cut oft’ at the margin and inscribed with
3. K .d .K ., R a ffa e l, 1919 ,pp,4», 51 ; L.Dussler, R a p h a el, the pen by an unknown hand, below on
London-N ew York, 1971, p.70, fig.t2t. the left links unten jH, below on the right
4. M.Winner in Alidfe’-U mner, pp.29-30, N o.5, P. P. R ubens.
fig.çv.
D arm stadt , Hessisches Landesm useum .
5. K .d .K ., p.242; V lieg h e, S a in ts, I. p p .121-122, N0.78,
fig. 13.1.
l it e r a t u r e : B u rch a rd -d 'H u lst, D raw ings,
6. B u r c lm r d -d 'H u ls t, D r a w in g s, pp.309-313, N o.195,
tig. 145.
pp. 106-108, N0.63, ftg.ôfr (as R ubens).
7. A drawing o f a H ea d o f a S p h in x , in P ro file is in the
possession o f M r a n d M r s J a ffé , Cambridge (Cat.
Exh. J a cob J o rd a en s, Ottawa, 1968-1969, p .19,
No.IV, pl.IV; as R u b en s). In the upper half o f the sheet, on the left,
8. K .d .K ., p .1 5 J a ffé , R u b en s and Ita ly , p.26, lig.247. is an outline sketch of a standing woman,
9. K .d .K ., p.36. in three-quarter length, turned three-
to. J.S.Held, ‘ Artis Pictoriae Am ator. An Antwerp quarters to the right. Her body and head
Art Patron and his Collection', G a z e tte d es B ea u x-
A r ts , Sixth Series, L, 1957, p.oo 11.29; J. M üller Hot­
are slightly bent forward, her right hand
stede, 'Rubens und Tizian: das Bild Karls V', rests on her hip, her left arm is extended.
M ü n ch n e r J a h r b u ch d er b ild en d en K u n st, third series, The drawing is a sketch for the ‘pretended
XVIII, 1967, p p .67-71, p.92 11.14b.
m other’ in The Judgem ent o f Solomon in the
11. K .d .K ., p.2; J a ffé , R u b en s a n d Ita ly , p.60, ligs.180,
182. Prado, Madrid (N0.45; Fig. 100).
12. K .d .K ., p .n ; D ia z P a d r ó n , C a t. P r a d o , pp.236-238, A winged Victory, seated, fills the
under N o,1646, pp.242-243, N0.1650, pl.ioS. lower left half of the sheet; it is a sketch
13. K .d .K ,, p.66; G.W ilhelm , P eter P a u l R u b en s, a u s den
for the figure o f Victory in The C row ning
S a m m lu n g en d es F ü rsten von L iech ten stein , 1974. P-io,
No. n , fig.XV. o f the Victor, in the Gemäldegalerie at
14. K .d .K ., p.26; D ia * P a d r ó n , C a t. P r a d o , pp.226-229, Kassel.1 Rubens painted this picture as a
pl.163. chimney-piece for the assembly room of
15. K .d .K ., p.54; K o n in k lijk e M u sea veor S ch on e K u n sten the Antwerp militia guild o f the ‘Old
ra n B elgië. In v en ta risca ta lo g u s va n de o u d e sch ild er ­
k u n st, Brussels, 1984, p.247, No.3461, repr. Crossbow’, in the ‘Huis van Spanien’ on
16. See, lor instance; 'I'he F a in ilv o f D a r iu s , before A le x ­ the Great Market. Opposite Rubens’s
a n d er th e G r e a t, London, National Gallery (T. painting and above another fireplace
Pignatti, V eron ese, Venice, 1976, p .132, N0.163,
hung a piece by Abraham Janssens, In Spite
fig.428).
o f Envy, Concord T rium phs w ith the H elp o f
17. K .d .K ., p.44; Cat. A lte P in a k o th ek M ü n ch e n , 1983,
pp.461-462, N o.305, repr. Love and Honesty, dated 1614, and now in
18. Mantua, Museo del Palazzo Ducale. P.Huemer, the Municipal Art Gallery, W olverham p­
‘Some Observations on Rubens’ Mantua Altar- ton.2 Mensaert3 assumed that the two
piece’ , A r t B u lletin , XXXXVIIl, 196b, pp.84-85, figs.i,
4; Cat. Exh. A n tw e r p , t ç j j , p.47, N0.12. repr.;
paintings were completed about thesame
J a ffé , R u b en s a n d Ita ly , p.76, tig.242. time, which means that the sketch for
19. Mantua, Museo del Palazzo Ducale. Cat. Exh. A n t ­ the figure of Victory may be dated c , i 6 i 3 -
w erp , 1977, p.41, repr. ; J a ffé , R u b en s a n d Ita ly , p.74,
1614. Since there is no reason to suppose
fig.239.
that the two sketches on the sheet here
20. K .d .K ., p .57; K a ta log d er S ta a tlich en G em ä ld eg a lerie
Zit K a ssel, Kassel, 1958, p.132, N0.91, repr. discussed were made at a long interval

145
CATALOGUE N O . 46

from each other, the same date may be in G a zette des B eau x-A rts, Second Series,
assigned to the standing woman. XXXIV, 1886, p.87; K.Madsen in Tilskue-
On the verso o f the sheet there are ren, Copenhagen, 1896, p.477fr. ; Rooses,
various sketches in pen and brown ink: Life, I, pp.278-279 (as R ubens, C . 1 6 1 J - 1 6 1 8 ) ;
two more sketches o f a Victory (one of V.Wanscher in K unstm useets A a rsskrift, II,
them crowning Apollo) and, scattered 1915, p.i52ff.; K.Madsen in Belgien, ed.
over the right side o f the sheet, traces of by K.Früs-Moller, 1916, pp.87ff., repr.;
other sketches o f indefinite outline which K .d .K ., pp.128, 459 (as ‘ A u sfü h ru n g von
elude identification. Schüler hand’); G. Glück, ‘Ein verkanntes
1. K .d .K ., p.57; Katalog der Staatlichen Gemäldegalerie
W erk von Rubens im Prado zu M adrid’,
£u Kassel, Kassel, 1958, p.132, No,9r, repr. Z eitsch rift f ü r Kunstgeschichte, I, 1932, pp.
2. J. Vander Auwera, ‘Rubens’ "Kroning van de O ver­ 271-272 (as R ubens); L .Halkin, ‘l’Itiné­
winnaar” te Kassel in het licht van zijn bestem ­
m ing’, in R u b e n s a n d liis W o r ld , Antw erp, 1985, pp.
raire de Belgique de Dubuisson-Aubenay
147-155. (1623-1628)’, Belgisch tijd schrift voor O u d ­
3. M e n sa e r t, P ein tr e, I, pp.110-211. Mensaert is rather heidkunde en Kunstgeschiedenis, Antwerp,
vague about the ‘Salle des Serments’ where he
claims to have seen the two paintings. This was not
XVI, 1946, p.6i n.25; Catalogue o f Foreign
part o f the town hall, as the arrangement o f his Paintings, R oyal M u seu m o f Fine A rts, C o­
text would suggest, but was in the guild house of penhagen, Copenhagen, 1951, pp.268-271,
the 'Old Crossbow’, very close by.
N0.609, repr. p.269 (as p a rtly painted by
R u b en s’s p u p ils); H eld, D raw ings, p .iio,
under N0.39 (as R ubens); H. Vlieghe, G as­
46. The Judgement of Solomon
p ar de Crayer, sa vie et ses œ uvres, Brussels,
1972, p.84, under N0.A9 (as R ubens);
Form erly in Brussels Tow n H all, where it was
K, Renger, Cat. Exh. R ubens in der G rafik,
presum ably destroyed in 169 y
Göttingen-Hannover-Nurem berg, 1977,
c o p ie s : (1) Anonymous painting, Copen­ pp.22-23, under No.2 (as R ubens); Bodart,
hagen, Statens Museum for Kunst p.24, under N0.18 (as R ubens); (2) Engrav­
(Fig.101); canvas, 233 x302 cm. Below in ing by Boetius a Bolswert (Fig.102); in­
the right corner are painted the coat of scribed: P. P . R ubens p in x it (on the left),
arms o f the Rantzau fam ily and (pre­ C um Privilegijs R egis C hrislian issim i, Sere­
sumably by command o f King Christian IV nissim ae Infantis, et O rdinum Confederato-
o f Denmark) the legend: ‘Mons: Iosias rum (in the middle), B. a Bolsw ert sculp, et
Com te de Ransau. Mar: de France / m e excu d it (on the right) ; dedication : N obilis­
l ’a donné’, p rov. Presented, about the sim is A m plissim isq(u e) viris D .D . F R A N ­
m iddle o f the seventeenth century to C IS C O V A N D E R E E Praetori. E N G E L -
Christian IV (1577-1648) by Josias Rant­ B E R T O D E T A Y C on su li reliquoq(ue) Sena­
zau, M aréchal de France (born in Den­ tui Urbis B ruxellensis. lu ris beniq(ue) p u b ­
mark, 1609-1650), who brought the pic­ lici servantissim us D om inis su is / Schema hoc
ture to Denmark, l i t . Sm ith, Catalogue Salom inici Iudicij ad aram Them idis. D .C .
R aisonné, II, pp.279-280, N0.939 (as R u ­ Boetius a Bolsw ert; l i t . V .S ., p.7, N o.51;
bens ) ; Clém ent de Ris in G azette des Beaux- H ym ans, G ravure, pp.307-310; Rooses, I,
A rts, Second Series, XII, 1875, p.409ff.; pp.151-152, pl.35; Rooses, Life, repr. on
H ym ans, G ravure, p.308; Rooses, I, pp. 150- p.276; K .d .K ., p.459, under S128; L .Hal­
152, No. 122 (as ‘ travail d ’élève, retouché kin, loc. cit.; K.Renger, loc. cit.; Bodart,
p a r R ubens, 16 18 -16 2 0 ’); H. Hymans p.24, N o.18, fig.18. (3) (4), (5), (6), (7), (8),
(9), (10), (11), (12), (13), (14), (15), (16), (17),
146

(18), (19) (20), (21), (22), (23), (24), (25), (26)

(27), (28), (29), (30), (31), (32), (33), (34), (35)
(36) (37)
 (. A I A I.O c; I’ H NO . 46

lite r a tu r e : Abraham Goelnitz (Gol- The incident takes place in the royal pa­
nitzius), Ulysses Belgo-G allicus, Leyden, lace, and not in the tem ple as m ight be
163], p.124; A.Henne and A.Wauters, supposed from the Salomonie columns.
H istoire de la ville de Bruxelles, 1845, III, Salomonie columns have a composite
p.46 n.6; Hym ans, G ravure, p.308 n. 1 ; Roo- Corinthian capital and a twisted shaft,
ses, 1 , pp.151-152, under N o.122; K .d .K ., divided into four sections by wreaths of
p.459, under N0.S128; U. Lederle-Grieger, acanthus leaves. The first and third sec­
G erechtigkeitsdarstellungen in deutschen und tions are spirally fluted; the second and
niederländischen R athäusern, Philippsburg, fourth are decorated with vine tendrils
1937, pp.26-33; L .Halkin, op. cit., p.61; and grapes, with harvesting putti be­
Cat. R oyal M u seum o f Fine A rts, O ld Foreign tween. The model and prototype of these
Paintings, Copenhagen, Copenhagen, 1931, twisted columns consists in the twelve
p.268, under N0.609. antique columns that stood, in two rows
o f six, before the Confessio o f Old St Pe­
ter’s in Rome from the eighth to the six­
A woman whose newborn son had died teenth century. According to a late m e­
took away another wom an’s baby and dieval belief, they came originally from
substituted the dead infant for it. A dis­ Solom on’s Temple. Hieven o f them are
pute arose, which the women submitted still to be seen in different parts of the new
to the judgem ent o f Solomon. The King Basilica, including the Colonna Santa in the
ordered that the living child should be chapel containing Michelangelo’s Pietà.1
cut in two with a sword, and a half given It is not certain whether Rubens saw
to each mother. One woman agreed, but anything of the famous columns in Rome.
the other, moved by maternal instinct, It m ight be supposed that he did, since
begged that the child should be spared they are already to be seen in The Ecstasy
even if it was taken away from her. Solo­ o f S t Helena, Grasse, Hospital2 and The
mon thus recognized the true mother, and G on ça ga Fam ily A doring the T rin ity, Man­
she was given back the child (I Kings 3 : tua, Palazzo Ducale,3 two works painted
16 -2 7;see also N0.45). during his stay in Italy. However, Rubens
Solomon, enthroned on a dais and hold­ may have seen Raphael’s Healing o f the
ing a sceptre, orders the executioner to Paralytic in the series of The A cts o f the
stay his hand. To the left o f the King are A postles in the Vatican, a tapestry in which
two courtiers; to the right, an old man numerous Salomonie columns appear,4
in a turban and two soldiers in armour. or, before he left for Italy, the cartoon for
One o f the two mothers kneels before the that tapestry, which, like the rest o f the
King and points with a urgent gesture cartoons for the series, was for a long
towards the child that is about to be time in the Netherlands.5
slain, thus revealing that it is hers. The Rubens also made use o f Salomonie
other, accompanied by an old woman, columns in The Justice o f Cam byses, the
looks on in surprise. Between the two painting which hung in the Brussels town
mothers is the executioner: with one hall opposite The Judgem ent o f Solomon (see
hand he holds the child by the leg, and below); this appears from the engraving
with the other he raises the sword to after it by R. Eynhoudts.6 He did the same
strike. The dead child lies in the fore­ in several subsequent paintings after his
ground; a dog approaches to sniff at it. return to Antwerp.7

147
CATALOGUE NO. 46

Abraham Goelnitz (Golnitsius), who Rubens’sJudgem ent o f Solom on hung in the

visited the Southern Netherlands in about ‘chambre crim inelle’ o f the town hall,
162,4, wrote in the account o f his travels opposite the same artist’s Justice o f C am ­
(1631)8 that there was, in a room o f the byses. This mention o f both works to­
Brussels town hall, a Judgem ent o f Solom on gether excludes the possibility that they
by Rubens, with panels consisting o f por­ were confused by Golnitsius and Dubuis­
traits o f aldermen. A ll the editions of son-Aubenay (who also mentions that a
G u icd m 'h n 9 after 1631 repeated this in­ Last Judgem ent by Rubens hung in the
formation in the same terms. They also courtroom).
repeated a mistake by Golnitsius, who The Judgem ent o f Solom on now in Copen­
stated that Rubens had been paid 3,000 hagen, which Oldenbourg rightly terms
florins for the painting. Henne and Wau- the work o f a pupil (‘ A u sfü h ru n g von
ters:o corrected the mistake by drawing Schiilerhand‘) , can scarcely be identical
attention to a Resolution o f 6 April 1622 with the painting which hung in the Brus­
from which it appears that Rubens re­ sels town hall and which, as Hymans
ceived that amount for a Justice o f C am ­ says, was no doubt destroyed by fire in
byses that was then in the town hall. They 1695.
inferred from this that Golnitsius, and Moreover, the architectural décor in
hence Guicciardini, had actually seen a Boetius a Bolswert’s engraving differs ap­
Justice o f Cam byses and mistaken it for a preciably from the Copenhagen painting.
Judgem ent o f Solomon. Rooses" also thought O f the row o f Salomonie columns seen on
Golnitsius was mistaken, but believed the right o f that painting the engraving
that what he had seen was a triptych by shows two on the left beside the king’s
Michiel Coxcie that was also in the town throne ; room is thus left for an archway
hall, with a Judgem ent o f Solom on in the giving a wide view of the open air. Other
centre and portraits o f aldermen on the differences can be pointed out. The dais
side panels. However, Rooses was struck on which the throne is placed has only
by the fact, which he called a remarkable three steps in the engraving, as opposed
coincidence, that Boetius a Bolswert’s en­ to four in the painting, and they are seen
graving after Rubens’s Judgem ent o f Solo­ m ore from above; the courtier in the
mon was dedicated to two Brussels magis­ foreground stands with his left foot for­
trates; this, in Rooses’ view, was relevant ward instead o f his right; Solomon’s feet
to Golnitsius’s testimony. Only Hym ans" rest on a stool instead o f on the dais itself ;
was o f the opinion that there was indeed within the shell behind him there is an­
a Judgem ent o f Solom on by Rubens in the other, smaller shell; and so on. It follows
courtroom o f the Brussels town hall; he that the engraving is certainly not based
surmised that it had been destroyed by on the Copenhagen painting but in all
fire in the French bom bardm ent o f probability on the original one, form erly
1695. in the Brussels town hall. This view is
Hymans was right in thinking that Gol­ supported by the fact that it is dedicated
nitsius had seen a Judgem ent o f Solom on by to Franciscus van der Ee, bailiff, and En­
Rubens. This can be seen from the Itine­ gelbert de Tay, form er mayor o f Brus­
rarium Belgicum by Dubuisson-Aubenay sels;14 cf. Golnitsius’s statement that Ru­
(1623-1628), published in part by Halkin bens’s Judgem ent o f Solomon was flanked
in 1946.13 Dubuisson-Aubenay states that by ‘portraits o f alderm en’. O f the nu-

148
 CATALOGUE NO. 46

merous known copies after Rubens’s com­ with a Judgem ent o f Solomon inspired by
position, almost all are based on the en­ Boetius a Bolswert’s engraving.
graving (and hence on the original paint­
ing);13 only two agree with the Copen­ 1. D e P o o rter, E u ch a rist, p p .171-170, figs.42, 43. This
w ork contains a useful review of the literature oil
hagen painting.'6 the Salomonie Columns.
The engraving, with Rubens’s three 2. K .d .K ., p .t;J a ffé , R u b en s a n d lla lv , pp.io, 10,23-24,
privileges, cannot be o f earlier date than 53, 59, 61, 64, 96, lig.179.
3. K .d .K ., p . i y .J a f f e , K ubetts a n il Ita ly , p p .ti, 37-38,
1629. This was the year in which Engel­
5b, 74 , 76 , fig. 23*).
bert de Tay relinquished his post as ma­ 4. K .d .K ., R a ffa e l, 1919, p.131; L . Dossier, R a p h a e l,
yor, which explains the wording o f the L o n d o n - N e w Y o rk , 1971, p .102, tig.i7b.
5. K .d .K ., R a ffa e l, 1919, p . n o ; L.Dussler, op, cit.,
dedication: Engelberto de Tay, C on su li reli-
p. 102, fig. 175-
quoq. Senatui Urbis B ruxellen sis.'7 On the 6. V.S., p. 137, No. 13.
basis o f the engraving, Rubens’s original 7. See e.g. K .d .K ., pp.175, 227, 230. 237, 2 9 1 , 335, 336,
370, 413, 423.
painting can be dated c.1615-1617. A 8. Op. cit., p .124.
Judgem ent o f Solomon commissioned on 9. The first edition of Ludovico Guicciardini’s
i i Decem ber 1619from Gaspar de Crayer D escr ittio n e d i fulti i /Atesi B assi was published by
Silvius at Antw erp in 1507. Numerous editions
for the audience chamber o f the Oud- followed, m ostly in translation. After the appear­
Burg in Ghent, and now in the Ghent ance o f Golnitsius's work in 1631 three further
Museum, was strongly influenced by Dutch translations o f Guicciardini were published
in 1648,1660 and 1854, and .111 English one in 1795.
Rubens’s work, both in the general com ­
10. Op. cit., p.46 n.6.
position and in the attitude o f certain 11. Rooses, I, p p .151-152, tinder N o.122.
figures.'8 12. H y m a n s, G r a v u r e , p.308 n.i.
13. L.H alkin, op. cit., p.61.
According to Smith,19 an oil sketch
14. For a portrait of Engelbert de Tay, see K .d .K ., V a n
(panel, 30.5 x 38 cm.) was sold from the D y c k , 1931, pp.295, 551 (under S.295, left), and
De Schrijvere Collection at Bruges in M .Mauquoy-Hendrickx, l'Icon og ra p h ie d ’A n to in e
v a n D y c k , Brussels, 1956, p.28b, N o.128, lig.128,
1763, and was a preparatory sketch for a
15. (1) Anonymous painting, whereabouts unknown;
Judgem ent o f Solomon corresponding to canvas, 160 x 220 cm. n u n . Bremen, House o f the
Boetius a Bolswert’s engraving. In 1785 a Clothiers’ Corporation, sold in 1085 to the K ra -
m e r a m t; bought in 1802 in the krumerumt-sale,
drawing was sold as R ubens, Judgem ent
Brem en, by J.Ohlm eyer, Bremen; Stockholm,
o f Solom on from the Nourri Collection, Captain Sjöberg (1937); Sarny Rosenberg Gallery,
Paris.20 N ew York (1955); (2) Anonymous painting, where­
abouts unknown; panel 7 3 x 8 9 c m . p r o v . A m ­
In 1950 D r E.Schapiro, London, pos­
sterdam, W inklem an Collection, sale, Dorset,
sessed a painting (copper, 48 x64 cm.; Thornhill House, December 1880; sale, Lucerne
signed), a copy after Rubens’s composi­ (Fischer), 27-28 August 1929. lot 90; sale Brussels
(Fiévez), 16 Decem ber 1929, lot 83, repr.; (3)
tion by the Antwerp painter Frans Ykens
Anonymous painting, whereabouts unknown;
(1601-1693), O ther paintings apparently copper, 19.6 x 2 6 cm, (oval), p r o v . Sale, London
based on this composition (either the ori­ (Christie's), 25 April 1952, lot 150; sale, London
(Christie’s), 1 August 1975; (4) Anonymous paint­
ginal painting, Boetius a Bolswert’s en­
ing, Den Burg (The Netherlands), town h a ll(1901);
graving or the Copenhagen version) were (5) Anonymous painting, whereabouts unknown ;
at one time in the town hall at Rouen,2' panel, 74 x 11 0 cm. p r o v . Brussels. Neckers Gal­
lery, 25 April 1964, lot 175, repr.; (6) Anonymous
the town hall at Delft, the town hall at
painting, whereabouts unknown; panel, 7 2 x
Courtrai, and Seville Cathedral,22 91 cm. p r o v . Sale Frankfurt am Main (Arnold),
In the Hermitage in Leningrad there is 28 June 1975; (7) Flemish tapestry (17th century),
whereabouts unknown; 2 1 3 x 150 cm. p r o v , Ber-
an ivory cup dating from the second half
lin-Westend, L.Hirschberg Collection, sale, Berlin
o f the seventeenth century,23 decorated (Internationales Kunst- und Auktions-Haus), 1 1 Fe-

149
CATALOGUE N O . 47

briiary 1933, lot 210, pl.4; sale, Cologne (Lem- p roven an ce: Elector Palatine Johann
pertz), 28 May 1971, lot 1713, pl.73; (8) Engraving
by P .Viel (V.S., p.7, N o.52); (9) Engraving by
W ilhelm (reigned 1690-1716), Ge­
F.Ragot (V.S,, p.7, No.53); (10) Anonymous en­ mäldegalerie, Düsseldorf; Hofgarten­
graving, J.C.Visscher excudit (V.S., p.7, N0.54); galerie, Munich, 1806; A lte Pinakothek,
(11) Engraving by J.B. Jackson (V . 5 ., p,7, N o.55);
(12) Engraving by Van Somer (V.S., p.7, N o.56);
1836.
(13) Anonymous engraving, C.Danckerts excudit
( V .S ., p.8, N o.57); (14) Anonymous engraving, d
c o p ie s : (i) Anonymous painting, where­
P a r is c h e z H e c q u el (V.S., p.8, N o.58); (15) Anony­ abouts unknown; panel, 100 x120 cm.
mous engraving ( V .S ., p .8, N o.59); (16) Anony­ p r o v . Sale, Felix Fleischhauer, Stuttgart,
mous engraving, <i Pa ris ch e z C herea u le je u n e ( V .S .,
p.8, N0.60); (17) Anonymous engraving, F.van den
24-25 April 1928, N0.76, pl.6 (as ‘R u b en s-
Enden exe. ( V .S ., p.8, N0.61); (18) Anonymous W erkstatt, D ie K onstantinschlacht ’) ; (2) En­
engraving (V.S., p.8, N0.62). graving by Pieter C.Soutm an (Haarlem,
16. Anonymous painting, Antwerp, private collec­
c.x580-1657) (Fig.104); inscribed: P .P .R u ­
tion; canvas, 1 1 9 x 1 7 6 c m , u r. Th.V an Lerius,
B iog ra ph ies d ’A r tiste s A n v er so is, I, Antwerp, 1880, bens P in x it, C um P rivil P .Sou tm a n Effigia­
p.69 (as J a n B oeck h orst); Anonymous painting, vit et E xcu d .; letter: Venit A ng elus D om ini,
Detroit, Michigan, Revd E.J. Hickey (1972);
canvas.
et percu ssit in castris A ssijriorum centum oc-
17. H y m a n s, G r a v u r e , pp.308-309. tuaginta quinque m illia V id it omnia corpora
18. H .Vlieghe, op, cit., pp.84-85. m ortuorum , et recedens abijt Sennacherib R e x
19. S m ith , C a ta lo g u e R a iso n n é, II, p.280; Rooses, I, p .152,
under No. 122; R o y a l M u s e u m o f F in e A r t s , C a ta ­
A ssijriorum , et m ansit in N inive. 4: R eg .19 .
log u e o f O ld Foreig n P a in tin g s, C o p en h a g en , Copen­ l i t . Sm ith, Catalogue R aisonné, II, p.67, un­
hagen, 1951, p.268, under N0.609. der No. 193, and Supplement, 1842, p.264,
20. C a t. V en te d e d essin s, N o u r r i, C o n seiller a u G r a n d
under N0.81; V .S ., pp.8-9, N0.67; Rooses,
C o n s eil, 24 February 1785, Paris (Foiliot et Re-
gnault), lot 847; 'R u b e n s , Le J u g em en t de S a lom on, I, p.154, under N0.124, pl.36; V an den
n fig s . P lu m e , lavé a u b istre e t reh a ussé de blanc W ijngaert, Prentkunst, p.92, No.628; R en-
[ H .3 6 .5 4 : L .4 J .3 8 c m .] ’. Sec H.M ireur, D ictio n n a ire
ger, p.84, N0.56, fig.33; Bodart, p.28,
des V en tes d ’A r t , Paris, VI, 1912, p.362; R o v a l M u ­
seu m o f F in e A r t , C a ta lo g u e o f O ld Fo reig n P a in tin g s, N0.23, fig.23 ; (3) Engraving, in reverse,
C o p en h a g en , Copenhagen, 1951, p.268, under by F.Piloty (1786-1844); inscribed:
N0.609 (as mentioned in the C a ta lo g u e de la C o lle c­
tion d e M . N o u r r i, P a r is, 1787 [ s ic .] , N o .8 47).
P. P. R ubens p in x ; f . Piloty d el; not in
21. H y m a n s, G r a v u r e , p.308 n.t. V .S . (4)
22. R o y a l M u s e u m o f F in e A r t s , C a ta lo g u e o f O ld Foreign
P a in tin g s, C o p en h a g en , Copenhagen, 1951, p.268, l i t e r a t u r e : G.J.Karsch, D ésignation e x ­
under N0.609. This also mentions a copy in the acte des peintures dans la galerie de la rési­
possession o f the Prince o f Liechtenstein ; but the
reference here is to Rubens's painting in the Prado,
dence à D üsseldorf, Düsseldorf, 1719, No. 193
Madrid (N0.45; Fig. 100). (as R u b en s ); J.van Gooi, D e nieuw e Schou-
23. Inv. E.7286; height 42 cm. Cat. Exh. VVestetiro- burg, etc., The Hague, II, 1751, p.545 (as
p ä isch e E lfen b ein a rb eiten n .- iq .J a h r ln in d e r t a u s d er
R ubens ); Catalogue des T a b lea u x qui se trou­
S ta a tlich en H erm ita g e L en in g ra d , Deutsches Elfen­
beinmuseum, Erlach 0. d. W ., 1975, N o.31; Cat. vent dans les G alleries d u Palais de S .A .S .E .
Exh. R u b en s a n d Flem ish B a roque (in Russian), Lenin­ Palatine à D ü sseld orff, Mannheim, ‘De
grad, Hermitage, 1978, p.62, N0.215, fig.2iç.
L ’Imprimerie Electorale’ (s.d., but Hir-
sching, N achrichten, VI, p.62, gives the
date 1760), p. 19, N0.29 (as R ub en s ); M ichel,
47. The Defeat of Sennacherib Histoire, p.3oi,No.29 (as R ubens); N .de Pi-
(F ig .io j) gage, La G alerie Electorale de D ü sseld orff, ou
catalogue raisonné et fig u ré de ses T ableaux,
Oak panel; 98 x 123 cm. Basle, 1778, N0.266 (as R ub en s ); Sm ith,
M u n ich, A lte Pinakothek. No.326. Catalogue R aisonné, II, pp.66-67, No, 193,

150
 c a t a 1.0 c. tu i n ö . 47

and Supplem ent, p.264, No.81 (as Rubens)', Hunting Scenes, pp. 108-109, under No.3
Rooses, I, pp. 153-154, No. 124, pi.36 (as R u ­ (as R ubens, 16 16 -16 17 ).
bens, C .1614); K .d .K ., edn. Rosenberg, p.83,
(as R ubens, c . 16 14 -16 1 3); H. Knackfuss,
R ubens, 1907, p.66, fig.46 (as R ubens); In 701 B.C. Sennacherib, King o f Assyria
L. Burchard, ‘Anm erkungen zu den Ru­ (reigned 704-681), undertook a campaign
bens-Bildern der Alten Pinakothek zu against Palestine, but failed to capture
München’, K unstchronik, N.F., XXill, 1911- Jerusalem. The Old Testament (U Kings
1912, N o.17, C0I.259, No.732 (as not R u ­ 19: 35-3b; II Chronicles 32: 21-22; Isaiah
bens); O ldenbourg, Flämische M alerei, p.39 37: 36-37) relates how the besiegers were
(as R ubens); K .d .K ., pp. 156, 4ór (as ‘R u ­ destroyed by divine intervention: ‘And it
bens, von späterer H and ein w enig überm alt, came to pass that night, that the angel
C .16 16 -16 1H ’); R. Kieser, ‘Die Bekehrung of the Lord went out, and smote in the
des Paulus bei Rubens’, D er Cicerone, XIX, camp o f the Assyrians an hundred four­
21, 1927, p.661 (as R ubens, c .i( i y ) ; Cat. score and five thousand: and when they
A lte Pinakothek, M ünchen, 1936, pp.211-212 arose early in the morning, behold, they
(as ‘ R ubens. Von späterer H and überm alt'); were all dead corpses. So Sennacherib
C.Janson, 'L ’influence de Tintoret sur King o f Assyria departed, and went and
Rubens’, G a lette des B eaux-A rts, Sixth Se­ returned, and dwelt at Nineveh’.
ries, XIX, 1938, pp.80-81 (as R ubens); Evers, Rubens gives a personal interpretation
N eue Forschungen, pp.259-263, figs.280, 281 to this theme, which was seldom treated
(as ‘R u b en s; w enn später berührt, denn nicht in pictorial art. He shows four angels,
in den w ichtigsten Figuren'); Seilern, Flemish armed with shafts o f lightning or a fiery
Paintings, pp.35-37, 39-40, under No.21, sword, swooping down amid a blinding
flg. i o (as R ubens, <21613-1617); H eld, D ra w ­ light that pierces the darkness and sows
ings, p.107, under N0.31 (as R ubens, before panic in Sennacherib’s camp. The King
c . i b i j ); B u rch a rd -d ’H ulst, D raw ings, 1, him self is unseated by his rearing white
pp.91-92 (as R ubens, c . 16 12 -16 14 ); J.M ül­ horse and, deathly pale with fear, clings
ler Hofstede, Review o f B u rch a rd -d 'H u lst, to its mane so as not to fall headlong. His
D raw ings, in M aster D raw ings, 4, 1966, warriors flee to right and left of him,
pp.444-445, N o.53 (as R ubens); M a rtin, gazing in terror at the skies or vainly
Cat. N ational G allery, p .184, under N0.853P trying to calm their horses. Several men
(as R ubens ); M itsch, R ubensçeichnungen, and horses, dead or wounded, lie out­
pp.46-47, under No. 19, 134, under N0.57, stretched on the ground. In the back­
repr. p.48 (as R ubens, c.16 16 -16 18 ); ground on the left, warriors in front of
R. Baumstark, ‘Peter Paul Rubens. Bild- their tents look with amazement at what
gedanke und künstlerische Form ’, Ja h r­ is taking place in the heavens.
buch der Liechtensteinischen K unstgesellschaft, As O ldenbourg1 observed, the painting
1977, II, p.28ff. ; H. von Sonnenburg; ‘Ru­ exhibits ‘eine ungestüme Freude im Auf­
bens’ Bildaufbau und Technik’, M altech­ suchen und Lösen der schwierigsten figu-
nik, R estauro, 1979, 2, p.78, figs.5, 10; H eld, ralen Verflechtungen, wobei stets ein
O il Sketches, I, pp.362, 408, 581, 632, 635 (as strenges Formgefühl das Gleichgewicht
R ubens, c. 16 14 -16 1 y); U . Krempel in Cat. hält’ (a wild delight in seeking and solving
A lte Pinakothek M ünchen , 1983, pp.440-441, the most intricate figurai complexities,
N0.328, repr. (as R ubens, c.16 16 ); Balis, the balance being always held by a strict

151
CATALOGUE N O . 47

sense o f form). The same is true o f The the left. Another engraving o f a biblical
Conversion o f St Paul, London, Courtauld subject by Tempesta, The Destruction o f
Institute o f Art, Princes Gate Collection ; the Amalekites, depicts a scene o f turm oil
The Death o f Decius M us, Vaduz, Liechten­ and unhorsed riders, a confused battle in
stein Collection; and Rubens’s early hunt­ which it is difficult to distinguish friend
ing scenes.2 A ll these works, produced in and foe. In its general composition this
the space o f a few years, convey a sense w ork does bear a remarkable resem ­
of irresistible force; and none o f them is blance to Rubens’s painting, and he may
conceivable without ancient or Italian have had it in mind as well as Stim m er’s
models. One may think o f antique sarco­ engravings.8
phagi, such as that representing The Battle As Rooses9 observed, The Defeat o f Sen­
o f the Am azons, which was in the Vatican nacherib is a pendant to The Conversion o f
Belvedere after the middle o f the six­ St Paul, now in the Courtauld Institute o f
teenth century;3 Leonardo’s Battle o f A n - Art, Princes Gate Collection, London. The
ghiariA Raphael’s fresco (executed by two works are painted on panel and are
Giulio Romano) The Battle o f Constantine o f practically the same dimensions. They
in the Vatican ;s or Titian’s lost Battle o f were both form erly in the collection o f
Cadore,6 These lively compositions with the Elector Palatine Johann W ilhelm ,
horses and riders in violent action— some Düsseldorf Gallery,10 and were acquired
o f them, as with Raphael and Titian, by the A lte Pinakothek, Munich in 1836.
composed o f separate but related episo­ They remained together until 1938, when
des— must have made a strong im pres­ The Conversion o f St Paul came on the art
sion on Rubens, especially as they suited market. Count Seilern" pointed out that
his own dynamic style. For The Defeat o f the works were not simply pendants but
Sennacherib he probably recalled the hov­ ‘were conceived as two halves o f a single
ering angels who help to secure the em ­ overall composition’. Indeed, if The Con­
peror’s victory in Raphael’s Battle o f Con­ version o f St Paul is placed to the right o f
stantine. The Defeat o f Sennacherib— taking account
Rubens was familiar with Tobias Stim- o f the direction o f the beams o f light in
m er’s Neue Künstliche Figuren Biblischer each— it w ill be seen that the two works
Historien, from which he made drawings are mirror-images o f each other. As Sei­
o f various scenes,7 and which included lern observed: ‘The groups at the outer
The D efeat o f Sennacherib (as No.ioo). A l­ edges o f both are composed of figures
though the overall composition is quite looking upwards and inwards; the rear­
different, Stim mer’s engraving shows on ing horse and rider in one appears almost
the left an avenging angel and a camp o f as a contre-épreuve o f that in the other;
tents, similar to those in the same part and the inner edges are left em pty except
o f Rubens’s painting. The engraver A n ­ for the figures fleeing into the back­
tonio Tempesta (1555-1630) treated the ground and, as it were, towards one an­
same theme on two occasions. His en­ other, thus drawing the eye into the dis­
gravings too have little in com mon with tance’. The similarity o f composition is
the painting as regards composition, bu t enhanced by the subject-matter: the two
they also introduce an avenging angel, works depict an O ld and a N ew Testa­
and in one o f them, as in Rubens’s paint­ m ent scene respectively, with horsemen
ing, there is an encampment o f tents on conspicuous in both, and with the divine

151
 CATALOGUE N O . 47

intervention manifested in a blinding lection in London, belonged to the Lm-

light.12 peror Rudolph II in Prague, and in 1615-
Several authors since Rooses have, on 1616 came into the possession o f the Arch­
stylistic grounds, proposed a date for The duke Albert in Brussels, Jan Brueghel de­
D efeat o f Sennacherib varying between 1612 picted it in one of his Five Senses, now in
and 1618. One o f the most recent is Ba­ the Prado in Madrid. The drawing will
lis.'3 After pointing out that Rubens bor­ be more fully discussed in Part XXV of
rowed the m otif o f the horse and the this series (C opies and A daptation s from
rider falling backwards from Raphael’s R enaissance and Later A rtists).
Battle o f C onstantine, and that, besides the Pieter C.Soutm an made an engraving
present work, this m otif also occurs in (Fig.104) which, in reverse, partly repro­
The D eath o f D ecius M u s, Vaduz, Liechten­ duces the present painting, particularly
stein Collection, and The Lion H u nt, Lon­ Sennacherib and the group around him.
don, National Gallery, Balis suggests that The angels in the upper part of the paint­
The D eath o f D eciu s M u s was the first work ing occupy a lower place in the engrav­
in which Rubens made use o f it. He does ing— in the background, on the right—
so on the grounds that the connection and are reduced to a single angel.'8 This
with Raphael’s Battle o f C onstantine is modification was probably Soutman’s
clearest in that painting. As the contract own design. A drawing which, in reverse,
for the weaving of the D ecius M u s series corresponds to the engraving and may
was signed on 9 Novem ber i 6 i 6 , ' 4 Balis have been preparatory to it, is in the Na­
argues for this date as a term inus post quern tional Gallery, Washington D.C. (Fig.
for both The D efeat o f Sennacherib and The 105).'9 Nicolaas Visscher published an en­
Lion H u nt. It remains a question, however, graving (Fig. 106)“ reproducing Soutman’s
as Balis him self observes, whether the in reverse and with a rather more exten­
degree of fidelity with which the Raphael sive background.
m otif is copied is a trustworthy indication
o f the chronology o f the three paintings. 1. K .d .K ., loc. cit.
2. S o m e o f t h e s e works h a w motifs in com mon with
I believe it is not, and that on stylistic T h e D efea t o f S en n a ch erib. Thus the bolting horse
grounds The D efeat o f Sennacherib should is seen on the left o f T h e C on v ersion o f S t P a u l (S ei­
be dated c.1612-1614, as already proposed lern , F lem ish P a in tin g s, pp. w-40. No.21, pls.XLVH-
LI), and on the right is the horse, seen frontally,
by Burchard-d'Hulst. trying to throw its rider. In 'Ih e D e a th o f D eciu s
In the Albertina, Vienna (Inv.No. 15.104) M u s ( K .d .K ., p .146) the main central m otif with
there is a drawing (No.48; Fig. 107) which, the two horses is the same; .1 similar naked man
is lying in the foreground, and two o f the fleeing
apart from a few details, corresponds to
soldiers are seen, namely the a tergo figure (in The
the present painting. D efea t o f S en n a ch erib helmeted and looking back
Another drawing in the Albertina (Inv. over his left shoulder) and the figure in profile
looking up over his right shoulder. Again, in T h e
N0.8204), attributed to Rubens by some
L ion a n d L eop a rd H u n t, Gem äldegalerie, Dresden
but rejected by others,'5 has in the past (B a lis, H u n tin g S cen es, pp. 140-1 53, No.8, fig.63) are
been connected with this painting.'6 How­ found the figure of Sennacherib, his horse, the
bolting horse, and the slain bearded man in the
ever, Geissler’s research'7 has shown that
foreground, centre.
this work is a copy after a painting by 3. C.Robert, D ie A n tik e n S a r k o p h a g -R eliefs, Berlin,
Hans von Aachen, which is itself copied 1890, pp.99-101, No,80, pls.XXXlV, XXXV,
4. C.Pedretli, L eo n a rd o , A S tu d y in C h ro n o lo g y a n d
from a painting by Christoph Schwarz.
S ty le, Berkeley-Los Angeles, 1973, pp.80-96,
Von Aachen’s work, now in a private col­ pl.XVII. Rubens's interest in 't he B a ttle o f A n g h ia r i

153
CATALOGUE NO . 48

can be seen, for instance, in a drawing o f his in the 16. Rooses, V , pp.225-226, No. 1425; G liick-H aberditçl,
Louvre (R oo ses, V , 1882, pp.206-207, N0.1395, p.39, N0.85, repr. ; Evers, Nette Forschungen, pp.261-
pi.399; L u g t, C a t. L ou v re. E cole fla m a n d e , II, pp.29- 262, fig.278.
30, N0.1084, p],L; H e ld , D r a w in g s, p p .157-159, 17. H.Geisslcr, 'Eine Zeichnung von Rubens nach
N o.161, p i.173). This reproduces T h e F ig h t fo r the Christoph Schwarz’, M ünchner Jahrbuch der bilden­
S ta n d a r d with variations: a group o f four horse­ den Kunst, third series, XII, 1961, p p .192-196, fig.i ;
men contending for the flag, with three warriors J. M üller Hofstede, loc. cit.; Mit sch, Rubenszeich­
on foot. It is generally accepted that Leonardo's nungen, p.134, N o.57, repr. (also reproduced are
execution on the wall of the Palazzo Vecchio in the paintings o f Hans von Aachen and Christoph
Florence w'as confined to this group. As the wall Schwarz); Jaffé, Rubens and Italy, p.60, pi.233.
painting was com pletely destroyed in 1557, Ru­ 18. Similarly the engravings by Tobias Stimm er and
bens wras no doubt inspired by a copy from an Antonio Tem pesta, and the drawing in the A lb er­
unknown hand. tina, Vienna (Inv. No.8204) show only a single
5. K .d .K ., R a ffa e l, 1919, p.196; L.Dussler, R a p h a el, angel.
London-N ew York, 1971, pp.86-88, fig.144. There 19. Black chalk and wash and brown ink, 350 x
is in the Louvre a drawing after T h e R attle o f C o n ­ 450111m. p r o v . J.Richardson Senior (London,
sta n tin e (L u g t, L ou v re, É cole fla m a n d e , II, p.29, 1665-1745); Sir J.C.Robinson (London, 1824-1913);
No. 1083, pl.XLIX) which was at least touched up C.F’airfax Murray (Cat., V ol.V [not published],
by Rubens, showing that he was familiar with N0.606, as S chool o f R u b e n s); sale, London (Sothe­
Raphael’s composition, b y’s), 18 N ovem ber 1959, lot 10 (as S outtn a n ) l i t .
6. H.E.W ethey, T h e P a in tin g s o f T itia n , III, London, M .Rooses,'Œ uvre de Rubens’, R u b e n s-B u lle tijn , V,
1975, pp.225-232, N0.L-3, figs.51—61. T h e B a ttle o f 1900, p.2oo; A.-M. Logan, Review o f R u b e n s E x ­
C a d o r e , painted in 1537-1539 for the Grand Coun­ h ib itio n s, 1977, in M a s te r D r a w in g s , 15, 1977, p.405,
cil cham ber in the Doges' Palace in Venice, was C at.19 (as S o u tm a n ); Id., Review o f H e ld , D r a w in g s,
destroyed by fire in 1577. There is a copy in the 1 9 8 6 , in M a s te r D r a w in g s, 25, 1987, p.82 n .i (as
Uffizi in Florence ( K .d .K ., T it ia n , 1 9 2 4 , p.83). Soutman).
7. Cf. L u g t, R u b e n s a n d S tim m e r, pp.99-114; E vers, 20. Anonymous engraving; inscribed : P. P. R u b e n s p in ­
N e u e F o rsch u n g en , pp.95-96; L u g t, C a t. L o u v re, É cole x it , N ico la a s V issch er e x c u d it; letter: Ita q u e f u i t n octe
fla m a n d e, II, pp.34-35, Nos.1116-1121 ; B u r c h a r d - ea d em , u t p r o d ie n s A n g e lu s Iehovae p e r c u ter e t in C a s ­
d ’ H u ls t, D r a w in g s , p p .19-20, N0.6; K.L.Belkin, tr is A s sy r io r u m cen tu m octo g in ta q u in q u e M illia .
R u b e n s u n d S tim m er , in Cat. Exh. T o b ia s S tim m er, 2 R e g u m 1 9 .3 s , w ith four lines o f verse in Dutch,
M useum , Basle, 1984, pp.201-222. French, German and English, l i t . V.S., p.9, N0.68;
8. E v e rs, N e u e F o rsch u n g en , p.260, flgs.272-275. R o o ses, I, p .154, under N o.124.
9. R o o ses, II, p.331, under No.477.
10. See N ic o la s d e P ig a g e , o p . c it ., N o s .2 6 6 , 267 (as
'fa is a n t p e n d a n t').
11. S eiler n , F lem ish P a in tin g s, pp.35-36, figs.10-11. 48. Th e Defeat of Sennacherib:
12. M üller Hofstede's theory (loc. cit.) that Rubens
Drawing (Fig. 107)
first painted a G id eo n O v erco m in g th e M id ia n ite s
(Judges 7: 13-23) as a companion piece to T h e C o n ­
versio n o f S t P a u l, and later substituted T h e D efea t Fully mounted. Cut down slightly on the
o f S en n a ch erib , is untenable, as Held has shown
(H e ld , O il S ketch es, p.635, under N0.A20). Held
right. Small fragments o f the upper right
rightly describes the oil sketch G id eo n O v ercom in g and the lower left edges torn away and
th e M id ia n ite s in the N orth Carolina Museum o f restored. Spotted; traces o f black chalk;
A rt, Raleigh (Inv. N0.52.9.207) as a compilation of
Rubens motifs, executed by an unknown hand.
pen and brush and brown ink; a few cor­
13. B a lis, H u n tin g S cen es, pp.108-110. rections in black chalk and white body-
14. S ee J .D u v e r g e r , ‘ A a n te k e n in g e n b e tr e ffe n d e d e colour (in particular in the horseman on
p a tr o n e n v a n P. P. R u b e n s e n d e ta p ijte n m e t d e
g e s c h ie d e n is v a n D e c iu s M u s ’ , G en tse B ijd ra g en tot
the left); 40.2x50.8 cm. Below on the
d e ku n stg esch ied en is, XXIV, 1976-1978, p.17. left, m ark o f the Albertina (L.174); below
15. Rubens’s authorship was contested by Logan (Re­ on the right, A B (?) or 73 (?) inscribed
view o f R u b e n s E x h ib itio n s, 1977, in M a s te r D r a w ­
in g s, 15, 1977, p.406), who thought the w ork more
with the pen in brown ink.— Verso: a
probably by P.C.Soutm an, and by Vlieghe (review signed inscription by the hand o f P.J.
o f J a ffé , R u b e n s a n d Ita ly , in B u r lin g to n M a g a z in e , Mariette (L. 2998) reading D essein original
CXX, 1978, p.473). Freedberg expresses doubts o f
it i n ‘L ’ Année Rubens, manifestations et publica­
de P. P. R ubens, de toute beauté et tellem ent
tions en 1977’, R e v u e d e l ’A r t , 39, 1978, p.90 n.19. accom pli dans toutes ses parties que je ne

154
 <-A i a i. o c r i ; n o . 48

com tois p o in t le pareil. Je l ’ai achetté à la ing— which corresponds, except for a few
Vente du fa m e u x cabinet de M . C ro isâ t en details, with Rubens’s painting The Defeat
1741. o f Sennacherib in Munich (No.47: Fig. 103)
Vienna, A lbertina. Inv. No. 15.104. — as a fine authentic work bv Rubens, so
perfect in all its parts that he knew no
p roven an ce: Pierre Crozat (Paris, 1665
other to be compared with it. In later
to 1740), sale, Paris, 10 April-13 May 1741,
times the enthusiastic language of the
Cat. (P.J.Mariette), N0.819; P.J.Mariette
great connoisseur has given place to the
(Paris, 1694-1774), sale, Paris, 15 June
more sober terminology of Rooses, who
1775-30 January 1776, lot 992 (‘vendu
wrote that the drawing was probably
1500 livres’). Mentioned in the Catalogue
executed by Rubens for an engraver;
des D essins de la Collection de feu son A ltesse
however, on the mount he noted that it
Royale le D u c A lbert de Saxe passés en b'idei
was a copy by Van Dyck (see Lugt, loc.
com m is à son A ltesse Im périale l ’A rchid uc
cit.). Meder, in a note in the same place,
Charles en 1S22 (in manuscript in the A l­
followed Rooses’s opinion on this point.
bertina, Vienna) as N o.548 (as R ubens).
Glück and Haberditzl originally intended
lite r a tu r e : P.J.Mariette, D escription to include the drawing in their book
som m aire des D essins .. . d u Cabinet de je u (G liick -H a b e rd itçl) and had already had
M .C r o ç a t, Paris, 1741, p.94, No.819; Sm ith, the plate made for the illustration, but
Catalogue Raisonné, 11 , p.67 (as R ubens. A changed their mind at the last m om ent
D ra w in g in bistre and India ink, tinted with because they no longer believed in its
colours, o f the above p ictu re [sc. The Defeat authenticity.
o f Sennacherib, A lte Pinakothek, M u n ich ]. A reaction against these negative views
Sold in the collection o f M . M ariette, 1775): came from Lugt, who greatly admired
D.W ilkie, Jou rn al, Vienna, 14 September M ariette’s connoisseurship and thought
1840; Rooses, 1 , p .154, under No. 124 (as more respect was due to his opinion; ac­
‘probablem ent un travail fa il p a r R ubens cordingly he reattributed the drawing to
p our un g ra v eu r’); F.Lugt, ‘Notes sur Ru­ Rubens. So did Burchard and d ’Hulst,
bens’, G azette des Beaux-A rts, Fifth Series, who agreed with Mariette and Lugt as to
XII, 1925, p. 184 (as R ubens); B u rcha rd - the w ork’s quality. Their view was rein­
d ’H ulst, D raw in gs, pp.90-93, No. 53, fig. 53 forced by various penlim en ti and some
(as R ubens); J.M üller Hofstede, Review divergences of detail between the draw­
of B u rch a rd -d ’ H ulst, D raw ings, in M aster ing and the painting at Munich. As to the
D raw ings, 4, 1966, pp.444-445, No. 53 (as relationship between the two, they
R ubens); M itsch, R ubensçeichn un gen, pp.46 thought it impossible to decide which
to 47, No. 19, repr. p.49 (as ‘ R ubens. T rot% preceded the other.
der hohen Q u a litä t. . . sollte auch die M ö g lich­ Meanwhile Mitsch, while not denying
keit einer Kopie nicht ga n ç ausser acht gelas­ the quality and fascination o f the work,
sen w erd en ’); A.-M.Logan, ‘ Rubens Exhi­ has expressed the view that the possibility
bitions, 1977’, M a ster D raw ings, 15, 1977, o f its being a copy should not be quite
p.405, Cat. 19 (as may w ell be by Soutm an). excluded. His chief reason for doubting
its authenticity is the closeness of its
agreement with the painting, which sug­
As appears from his inscription on the gests to him that it may be copied from
verso, P.J. Mariette regarded this draw­ the latter. He also notes that the penti-

155
CATALOGUE N O . 49

m enti and differences o f detail from the p r o V E N A N c e : Art dealer Laporte, Hano­
painting occur principally around the ver; Dr Rolph Grosse, Berlin; Dr Ludwig
edges, while the main group in the centre Burchard (Berlin, London, 1886-1960).
agrees exactly w ith the painting. These
e x h i b i t e d : A m sterdam , 1933, No,87 ; B rus­
features, he considers, are also present in
sels, 1938-39 , N0.9; A rtists in 13th-C en tury
an engraving by P. C. Soutman which re­
Rom e, Wildenstein Gallery, London, 1 9 5 5 ,
produces the painting partially and in
N0.68; A n tw erp , 1936, N0.27.
reverse (cf. under N0.47; Fig. 104)— a fact
which apparently led Göpel and Benesch lite r a tu r e : L.Burchard in G lück, R u ­
to attribute the drawing to that artist bens, V an D yck, p.375 (as R ubens); Evers,
(notes written on the passe-partout). N eue Forschungen, pp.114, 119, p i.18 (as
Logan also doubts Rubens’s authorship R ubens); H averkam p Begem ann, O lieverf-
and suggests Soutman, though there is no schetsen, p.33, under N0.2 (as R ubens);
known engraving o f his after the com ­ B u rch a rd -d ’H u lst, Tekeningen, pp.43-44,
plete drawing. She believes that in execu­ N0.27 (as Rubens) ; B u rch a rd -d ’ H u lst, D ra w ­
tion and technique the latter is to be ings, pp.46-48, N0.26, fig.26v, 149, under
compared with a drawing o f The R ape o f N0.89 (as R ubens); J.M üller Hofstede,
Proserpina in the École des Beaux-Arts, Review o f B u rch a rd -d ’H u lst, D raw ings, in
Paris (Collection Masson, N0.570), which M a ster D ra w in gs, 4, 1966, p.440, N0.26V
she regards as a preparatory w ork by (as R ubens).
Soutman for an engraving made by
him.
A m ong the features that throw doubt On the right a man, with his back turned
on Rubens’s authorship m ay be added to the spectator, is directing the burial of
the uncertainty with which some sum­ a body which is being lowered into an
mary portions are executed and the over- open tomb. On the left, seated and
emphatic effect o f the sharp outlines o f wrapped in a cloak, a sleeping man. Be­
the illum inated parts. It also appears al­ hind the corpse, two mourning figures.
most certain that the drawing is not a Below on the left, on a smaller scale, the
preparatory study, but was copied from half-length figure o f a man with out­
the painting for the purpose o f an en­ stretched hand ; below in the centre, two
graving. If Soutman was the copyist, his heads faintly indicated in chalk.
style o f drawing in this instance must The scene could be a sketch for a pic­
have been extrem ely dependent on that ture o f the last o f the Seven Corporal
of Rubens. W orks o f Mercy, the Burial o f the Dead
( M o rtu u s Sepelitur) .' The annotation T o­
bias above the sleeping man, however,
49. Tobit Burying a Slain Jew: points to the biblical account o f how
Drawing (Fig. 108) Tobit (Tobias’s father, living in Nineveh)
secretly buried at night the bodies of
Sheet cut off at the top, below and on the Jews slain by the Assyrian king Senna­
left. Pen and brown ink; 210 x 370 mm. cherib (Tobit 1: 21 and Tobit 2: 9). A n­
On the left, inscribed in Rubens’s hand: other text (Tobit 2: 10-11) relates how
Tobias. one night Tobit, ‘being wearied with
Farnham , Collection o f W olfgang Burchard. burying’, fell asleep by the wall o f his

156
 (.Aï AI. () GUU NO. 49

house and was blinded by hot dung fal­ in Rubens’s A ssum ption o f the Virgin in the
ling from a sw allow ’s nest. The seated Church o f the Holy Cross, Augsburg5
man on the left obviously represents painted C.1619-J620, and in his A ssum ption
Tobit in his affliction. The scene recalls o f the V irgin in Antwerp Cathedral6 from
a tapestry by Barend van Orley, one of a c. 1625-1626, in both pictures as an apostle
series of eight representing The Story o f gazing into the em pty tomb of the Virgin.
Tobit, now in Vienna.1 For this apostle Rubens made two drapery
In a study from life by Rubens, show­ studies which no longer survive but are
ing A M a n Bending Forw ards, Collection known through copies in the Printroom
S. de Clercq, The Hague,3 the pose o f the o f the Statens Museum for Kunst, Copen­
m odel closely resembles that o f the man hagen. One of the copies (Inv. No.IV.25)
who supports the head and shoulders of agrees with the Augsburg painting; the
the dead Jew. Apparently Rubens placed other (Inv. No.IV.24) comes close to the
his model in this attitude. Yet it is diffi­ painting in Antwerp, and its original
cult to accept that this study from life m ight have been used for the Antwerp
was made at the same period as Tobias panel before it was enlarged on the right.
Burying a Slain J e w , stylistically it is to be It is doubtful whether Rubens ever
dated a few years later. It is noteworthy painted the incident of Tobit B u ryin ga Slain
that the figure in this study from life also Jew , but it is rem arkable that elements
resembles the man (Gamaliel) who, in of the drawing survived in his work for
The Entom bm ent o f St Stephen ,4which forms some eighteen years.
the right wing o f the St Stephen Triptych, On the reverse side of the sheet is a
c. 1615-1616, at Valenciennes, supports the St G regory the Great Surrounded by other
head and shoulders o f the dead saint. Saints, a very cursory sketch7 for the lower
However, Gamaliel has a different head half o f the Grenoble altar-piece8for which
and a slightly different pose, and the Rubens signed a contract on 25 Septem ­
folds o f his garm ent are not the same as ber 1606 and which he finished in 1607.
in the study. The Entom bm ent o f St Stephen The half-length figure of a man with out­
is similar in subject m atter to Tobit B ury­ stretched hand, drawn on a smaller scale
ing a Slain Jew : both depict the seventh below on the recto, is a variant of the Saint
W ork o f Mercy, performed by night and at the extrem e left on the verso, while
against the edict o f the authorities. It is one o f the two heads in chalk is very likely
not surprising, therefore, that Rubens, a study for St Domitilla.
when he conceived the Valenciennes As there is no reason to suppose that
wing, rem embered the early burial scene. the drawings on both sides o f the sheet
In point o f fact this wing is essentially a were drawn at different times, Tobit B ury­
freely adapted, condensed version in ver­ ing a Slain J ew may be assigned to the
tical format o f the earlier horizontal com ­ same date as St G regory the G reat S u r­
position. rounded by other Saints, that is to say
The figure on the right, with its back cm 606-1607.
turned to the spectator, may be derived
I. Only six W orks 0!' Merc\ arc enum erated in the
from St John in Daniele da Volterra’s Gospel (Matthew 25:34-40): (1) feeding the hungry
D eposition in Santa Trinità dei Monti, Ro­ (esuriens cibatur); (2) gising drink to the thirsty
(sitiens potatur); (3) harbouring the harbourless
me, as has been suggested by M üller (hospes colligitur); (4) clothing the naked (nudus
Hofstede. It reappears many years later vestitur); (5) tending the sick (aeger curatur); (0)

157
C A T A L O G U K N O . 50

visiting the imprisoned (incarcérants solatur). T he fä ltig en den K ünste, Vienna, 1893, pp.14-15,
seventh W ork o f Merry, to bury the dead (mortuus
sepelitur), was added in the 12th century by Jean
164; O ldenbourg, R ubens, pp.75-76, fig.34;
Beleth in his Rationale divinorum officiorum. It is not Van den W ijngaert, Pren tku n st, p.46,
mentioned in the Speculum Ecclesiae by Honorius of No. 193, fig.i; Evers, R ubens, pp. 110-112,
Aucun (Réau. Iconographie. Il, 2, pp.747-749).
2. L. von Baldass, D ie W ien er G o b elin ssa m m lu n g , Vienna,
fig.53; Evers, N eue Forschungen, p.117;
1920, N o .12, pl. 12. This author wrongly inter­ J.S. Held, ‘Com ments on Rubens’ Begin­
prets the scene represented, as 'R a g u e l b esta ttet einen nings’, M iscellanea Prof. D r D . Roggen, A nt­
d e r sieben von Asmodi ersch la g en en G a tten S a ras ( T o ­
bias 3 : 6 ,$ ) '.
werp, 1957, p.130; H eld, D raw in gs, pp.99,
3. Black chalk heightened with white; 407x 291 mm. under N 0 .15,103, under N0.25; B u rch a rd -
See B urchard-d'H ulst, Draw ings, pp. 148-149, N0.89, d 'H u lst, D ra w in gs, p.8i, under N0.47;
repr.
J.M üller Hofstede, ‘Rubens’ Grisaille für
4. Vlieglie, Saints, II, p p .156-158, N o.148, tigs.109, 1 17.
5. Freedberg, Life o f Christ after the Passion, pp. 109-171, den Abendmahlsstich des Boetius à Bol-
N0.42, fig. 1 12. sw ert’, Pantheon, XXVIII, 1970, p. 108 ;
6. Freedberg, Life o f Christ after the Passion, pp. 172-178,
N0.43, fig.1 16,
Pigler, Barockthem en, 1974, p.196; Renger,
7. B urchard-d’Hulst, D raw ings, pp.46-48, N0.26, repr.; R ubens D edit, I, pp. 133-134; II, p.203;
Vlieglie, Saints, II, p p .50-51, No.109a, fig.24. Bodart, pp. 18-19, N0.9, repr.; Renger,
8. Vlieglie, Saints, II, pp.43-50, No. 109, fig.23.
pp.44-46, N0.21, fig.11.
(2) (3) (4) (5) (6) (7)
lite ra tu re : Sm ith, Catalogue Raisonné,
50. Judith Beheading Holofernes II, p.290, N o.iooi; IX, p.332, N0.327 and
under No.328; S ainsbury, Papers, pp.57-58,
W hereabouts u nknow n; presu m ably lost. 249; C.Ruelens, P. P. R ubens, docum ents et
lettres, Brussels, 1877, pp.38-39; H ym ans,
provenance: ? Collection of Charles
G ravure, pp.37-44; Rooses, I, pp. 154-156,
Stuart, Prince o f Wales, in 1621.
under No. 125; V, p.147; R ooses-R u elens, I,
copy: Engraving (in reverse) by Cornelis p.55; II, pp.2.77, No.CCXVIII, 286-287,
Galle the Elder (Antwerp, 1576-Antwerp, No.CCXXV ; O ldenbourg, R ubens, pp.75-76
1650) (Fig. 109); inscribed C orn eliu s Galle (as R ubens, c.16 10 ); H.Weizsäcker, A da m
sculp, et excu d .; letter: C edite R om ani duc­ Elsheim er, der M a ler von F ran kfurt, Berlin,
tores, cedite G ra ij: / O b stru x it vestris fem ina 1936, p p .io o-ioi (as R ubens, c. 1 6 1 0 -1 6 1 1 );
lum inibus, j Vestra fu it magna victoria parta K nipping, Iconography, I, pp.47, 188, 203-
virum vi, / Et cessit laudis pars bona m iliti­ 204, 211-212, 222; II, pp.393,446; H.Kauff-
bus; I Barbarus vnius d extra cadit Indupera­ mann, ‘Rubens und M antegna’, Köln und
tor, j D efendit patriae perniciem vna m anus; d er N ordw esten, 1941, p.102; Evers, N eue
dedication: C la riss.0 et am icissim o viro Forschungen, pp. 117-118; J.S.Held, ‘C om ­
D . IO A N N I W O V E R IO paginam hanc au ­ ments on Rubens’ Beginnings’, M iscella ­
spicalem prim um que suorum operum / typis nea D r D. Roggen, Antwerp, 1957, p.130
aeneis expresum s P E T R V S P A V L L V S R V - (as fir s t h a lfo f R u b en s’s Italian period) ; H eld,
B E N IV S prom issi iam olim Veronae a se fa cti D ra w in gs, pp.99, under Nos.12, 15, 103,
mem or D A T D I C A T , l i t . M ariette, Abécé- under N0.25 (as R ubens, the fir s t years o f
dario, V, pp.74-75; V .S ., p. 10, No,79; H y­ his Italian stay); B u rch a rd -d ’ H u lst, D ra w ­
m ans, G ravure, pp.37-44; Rooses, I, p. 156, ings, p.81, under N0.47 (as R ubens, shortly
under N0.125, pl.37; V, p .14 7 ; R ooses- a fter his return fr o m Italy); E.Hem pel, Ba­
R uelens, I, pp.54-55; A, Rosenberg, ‘Die roque A rt and A rchitecture in C entral E u ­
Rubensstecher’, in Geschichte der verviel­ rope, London, 1965, pp.59-60; M .W arnke,

158
 ( A I AI.OCUi; NC). 50

Kom m entare ç u R ubens, Berlin, 196s, p.108; Judith cuts the general’s throat as he slips
J. M üller Hofsrede, ‘Abraham Janssens. off the bed; blood spurts from the wound
Zur Problem atik des flämischen Cara- in three streams. Beside the bed stands
vaggismus’, Jahrbuch der Berliner M useen, Judith’s old maid-servant, holding a sack
XIII, 1971, pp.267, 271 (as R ubens, c.16 0 9 - in which to put Holofernes’ head, and
1610); R. Klessmann, in Car. E x h .J o h a n n looking up at four angels who are hover­
Liss, Augsburg-Cleveland, 1975-1976, ing over the scene; one o f them lays a
p.91, under N0.A19 (as R ubens, 1609): finger on his lips to command silence.
R enger, p.46, under No.21 (as 'R ub en s, eher The moon can be seen above through an
in die letzten italienischen Jahre als in die opening in the tent, in accordance with
erste A n tw erpen er Zeit ç u ordnen ) ; J. G. van the biblical statement that the incident
Gelder, ‘ Das Rubens-Bild. Bin Rück­ took place at night (Judith 13).
blick’, in Peter Pa ul R ubens. W erke und In this work, Rubens happily renders a
N achruhm , Munich, 1981, p.17. dramatic theme by the skilful use o f well-
considered technique. Hverv detail is per­
meated by the impulse o f the action, and
When the Assyrian troops were besieging every line is imbued with the same sense
the Jewish city o f Bethulia, the beautiful o f form. There is a reminiscence of anti­
widow Judith managed by a stratagem to quity in the figure o f Holofernes, resem ­
penetrate the enem y camp. She gained bling the Laocoon of which Rubens made
the favour of the Assyrian general Holo­ several copies,2 but the work is chiefly
fernes, who invited her to his tent. When inspired by Italian models. W ith Cara­
he was drunk and sleepy she killed him vaggio, whose J u d ith 3 he must have seen,
with his own sword, thus averting the Rubens has in common not only the care­
danger from her city. The story is told in ful attention to everv detail and the sharp
the B ookofju dith (chapters 10-13), which chiaroscuro giving a sculptural effect to
is regarded as apocryphal by Jews and figures and objects, but also the objec­
Protestants but which St Jerome included tivity with which the heroic but cold­
in his Latin Bible. It was much depicted blooded act is depicted. Hlsheimer’sJu dith,
in art, its significance varying from one which Rubens had in his collection,4
period to another. In the Middle Ages must also have made .1 strong impression
Judith was seen above all as a préfigura­ on him, as is shown by the m otif o f Holo­
tion o f the Virgin Mary or as a sym bol of fernes with his head towards the specta­
Sanctim onia (chastity and humility), and tor, and also by the general composition
was celebrated as one o f the Nine Hero­ (see No.50a). Clearly both Rubens and
ines, while Renaissance and Baroque art Elsheimer felt an affinity with Caravag­
laid emphasis on her courage and triumph gio’s new technique. The m otif o f the
over the enem y.1 drawn-up leg already occurs in Michelan­
As appears from the engraving by Cor­ gelo’s J u d ith on the Sistine Chapel ceiling
nelis Galle the Elder, known as ‘the great (later also in Tintoretto), and Rubens was
Judith’, which reproduces the lost paint­ probably impressed bv that work. But
ing in reverse (Fig. 109), Rubens depicted only his strong compositional powers and
the beheading o f Holofernes in a highly his brilliant imagination could have pro­
realistic and dramatic fashion. With an duced such an unforgettable detail as the
impassive expression, the richly adorned giant’s drawn-up leg with its powerful

159
CATALOGUE N O , 50

muscles standing out against the dark 27 May 1621, which calls it ‘o f littell cre­
background.‘KaufFmann5 has pointed out dite to his [Rubens’s] great skill’.10 Rubens
that Rubens must also have had in mind him self says o f it in a letter o f 13 Septem­
a composition by Mantegna, reproduced ber 1621 to W illiam Trum bull ‘laquelle
in a drawing from the School o f that mas­ jay fait en ma jeunesse’ (which I made in
ter which depicts J u d ith P u ttin g the H ead m y youth):" he thus does not go so far
o f H olofernes in a Sack, and which form erly as Thomas Locke, who reported him as
belonged to the Koenigs Collection at disavowing it. W hat exactly Rubens
Haarlem. This not only presents the m o­ meant is not clear, however. If it was
tif o f the maid-servant holding the sack, really a w ork o f his youth it could not be
but also the group formed by the two the one engraved by Galle, which bears
wom en; note in particular Judith’s gen­ witness to many reminiscences o f his stay
eral attitude and the position o f her arms. in Italy, which began when he was 23 years
The painting was most probably exe­ old. However, he m ay have intended
cuted shortly after Rubens’s return from ‘youth’ in a broader sense, and only
Italy (c.1609-1610), at the same tim e as meant to convey that he painted in a dif­
The A n n un cia tion in the Kunsthistorisches ferent style in earlier years, when the
Museum in Vienna; The D isp u ta o f the painting was executed, than in 1621, the
Fathers o f the C hurch in St Paul’s, Antw erp ; date o f his letter: this m ight explain, ac­
and the outer sides o f the wings in The cording to him, why the painting was not
R aising o f the C ross, form erly in StW al- appreciated in England. In that case it is
burga’s, now in Antw erp Cathedral.6 (It o f course possible that the painting then
is noteworthy that at the top in all four owned by the Prince o f Wales was the
paintings there appears a group o f angels.) one engraved by Galle.
Considering the freedom and skill with A compositional drawing for the paint­
which Rubens handles the means of ex­ ing is in the Städelsches Kunstinstitut at
pression, it seems hard to suppose that Frankfurt am Main (No. 50a; Fig. 110).
the w ork is o f an earlier date, i. e. in his In his dedication on Galle’s engraving
Italian period, as some authors maintain.7 Rubens recalls his promise, made at V e­
Rubens’s dedication to his friend Jan van rona, to inscribe to his friend Jan van den
den W ouwere (Woverius), which is found W ouwere the first engraving made after
on Galle’s engraving and alludes to their one o f his paintings. Hence Galle’s print
stay in Verona together, proves nothing should be the first independent sheet
in this respect : it gives no information as that Rubens caused to be produced. Since
to the origin o f the painting, but m erely the first dated Rubens print, C h rist and
says that the print is the first graphic re­ the D isciples a t Em m aus by W illem Swa-
production that Rubens has caused to be nenburgh, bears the date 1 6 1 1 , several
made o f one o f his paintings.8 authors" have dated the ‘Great Judith’ to
In a letter o f 18 March 1620 Thomas the previous year, 1610. However, Ren-
Locke wrote to Sir Dudley Carleton that ger13 has pointed out that Swanenburgh’s
‘the Prince [of Wales] hath none o f Rew- engraving was probably not com mis­
bens worke but one peece o f Judith ÔC sioned by Rubens, so that it is not a con­
Holofernes w ch Rewben disavoweth’.9 clusive term inus ante quem for the ‘Great
The painting is also referred to in a letter Judith’, which m ay date from some years
to Carleton from Lord Danvers, dated later than 1611.

160
 C A T A L O G U E NO. 50

A preparatory drawing for G alle’s en­ known; panel, 10 7 x 7 6 cm, p ro v . Sale, London
(Sotheby’s), 14 Decem ber 1977, lot 293; (2) Anony­
graving— probably by Galle himself— mous painting, whereabouts unknown; canvas,
was worked up by Rubens and is now in 200 x 1 4 5 cm, p r o v . Sale, Versailles (Palais des
the Nationalmuseum in Stockholm (No. Congrès), 16 Novem ber 1975, N0.95, repr.; (3)
Anonymous painting, whereabouts unknown;
50b; Fig. 111); a proof retouched by Ru­ 140 x 9 8 cm. piun. J.Nestel, Basle, 1898; (4)
bens is in the Bibliothèque Nationale. Anonymous painting, Florence, Museo Stibbert,
Paris (No.50c; Fig. 112). Numerous copies N o .14320; canvas, 61.5x40 .4 cm. n r. Cat. Exh.
R u b e n s e la p ittu r a Jia m m eng a d el Seicento n elle colle-
were painted after the engraving (in the Z io n e p u b licité flo r e n tin e , Florence, Palazzo Pitti,
same direction),14 and it was also en­ 1977, p,236, N o.tor, repr. p.237; (5) Anonymous
graved in reverse by F. Ragot (Paris, 1638- painting, whereabouts unknown; panel, 58x
45 cm, p r o v . Colonel E.R.Lam poni-Leopardi
1670).15 Ragot’s engraving served in its (Florence), sale, Florence (Jules Sambon), 10 No­
turn as a model for paintings16 and tap­ vem ber 1902 et seq., No.2327, pi. A (as R u b e n s, g r i­
estry:'7 all these are in the same direction sa ille ); (à) Anonymous painting, whereabouts un­
known; panel, 111.7 x8 0 cm. p r o v . Sale, London
as the engraving and the lost painting. (Christie’s), 26 October 1956, lot 106 (as S p ra n g er);
There are also engravings'8 which agree, (7) Anonymous painting, whereabouts unknown;
in reverse, with G alle’s as far as the main oil 011 copper, 53.2 x 38 cm. p r o s '. Sale, N ew York
(Christie's), 16 April 1980, lot 49 (as School o f R u ­
group is concerned, but in which only bens).
two angels are seen instead o f four and 15. Inscribed: F.R a g o t f e c it et e x c u d .-, letter: F oem ina ,

there is no opening in the tent giving a v in a , d a p es, m a rtem . stra n iere po ten tem / S er v ia r u n t
p a tr ia m fo e m in a ly m p h a , p recis / H ie vel in im belli
view o f the sky. q u id fe b r ia p ecto ra se x u / P o s su l nique v iro m er tem u ­
len te p a ten t. 1.1 r. \'.S ., p . 10. No.81 ; R o o ses, 1, p . 156,
1. Réau, Iconographie, II, r, pp.329-334; J. Seibert, in under N o . 125.
Lexikon der christlichen Ikonographie, II, 1970, cols. 16. (1) Anonymous painting. Musée de Curpcntras,
454 - 458 . N o.167; panel, 114x88 cm. p r o v . Mme veuve
2. F iib in i-H e ld , Iigs.8, 9, pis. 1-4. Brun, Boulevard du Musée, Carpemras (i88i).
3. Galleria Nazionale d 'A rte Antica (Palazzo Barbe­ lit. C .Ruelens, 'Rapports sur 1111 voyage en France

rini), Rome. See M. Marini, M ic h ela n g elo d a C a r a ­ (1881)’, R u b e n s-B u lle tijn , 1, p p .120-127; R o o ses, I,
va ggio, Rome, 1974. pp.377-379, N0.32, figs. pp. 142- pp.154-157; R o o se s-R u e le n s, I, pp.54-55 11.2; (2)
145. Anonymous painting, Munich, private collection
4. W ellington Museum, Apsley House, London. See (1966); canvas, 15 3 x 10 7cm . p r o v . J.van Arend,
K.Andrews, A d a m E lsheim er, Oxford, 1977, p .144, Brussels; sale, Brussels (Fiévez), aojune 1928, lot99,
No. 12, fig.36. p l.XXXV. l i t . K .d .K ,, pp.30,455 (S.30); H e ld , D r a w ­
5. Op. cit., pp . 101-102, fig. 16. in g s, pp.99, under N0.12, 103, under No.25; B ur-
b. K .d .K ., respectively pp.30, 47, 28 and 37. c h a r d - d ’H u ls t, D r a w in g s, p.81, under N0.47. This
7. J.S.Held, op. cit., places the w ork in the first years painting does not show the streams o f blood from
o f his Italian stay; K.Renger, op. cit., assigns it to Holofernes’ wounds which appear in G alle’s en­
the end o f his stay. graving and in the copy after Ragot at Carpen-
8. According to A.Rosenberg, op. cit., and II.G. tras.
Evers, op. cit., the dedication can also be inter­ 17. Anonymous French tapestry, La Gruz-Floirac(near
preted as m eaning that Rubens, when in Verona, Bordeaux), Edouard Lawton Collection, l i t .
promised to give his friend Jan van den W ouwere M .Fenaille, E ta t G én éra l de la M a n u fa c tu r e des Go­
an engraving after the painting o f Judith and Holo­ belins, I, Paris, 1923, pp.309-317, fig. p.317 (as after
fernes, executed in Italy. a m ode! bv S im o n V ouet).
9. Sainshury, Papers, p,57, No.XLVIII. 18. (1) Anonymous engraving, without the name of
10. Sainsbury, Papers, pp.57-58, No.XLIX; Rooses- the painter or the engraver and without dedica­
Ruelens, II, p.277, No.CCXVIII. tion, but with the address l iren s e x c u d it, and the
11. S a in sh u r y , P a p e r s, p p .59-61 (LIV), 249 (IV); R o o se s - same letter as 011 C.Gallo's engraving: C e d ite R o ­
Ruelens, II, pp.286-287, No.CCXXV; M agurn, Let­ m a ni d u cto res . . . p ern iciem una m a n u s; Pierre Firens
ters, p.77, N0.4Ö. became master at Antw erp in 1 597, stayed in Paris
12. Hymans, Gravure, p.40; Rooses, I, p. 155; Oldenbourg, before 1005 and died there after 8 December 1636;
Rubens, p.76. (2) Anonymous engraving, without the name of
13. Renger, loc. cit. the painter or the engraver, but with the address
14. E.g. : (1) Anonymous painting, whereabouts un­ M a r ie tte e x c. h t . V.S., p . 10, No,80; R o oses, I, p . 156,

161
CATALOGUE N O . 50a

under N o.125. This engraving corresponds to the Europe, London, 1965, pp.59-60; H eld,
preceding one; in fact it is not impossible that it
is the same, from which Firens' address has been
D ra w in gs, 1986, p.85, N0.48, repr. (as R u ­
erased and replaced by that of Pierre Mariette. bens, c. 160 8 -16 10 ).

50a. Judith Beheading Holofernes: Holofernes lies sprawled on a couch, his

Drawing (Fig.no) head and arms projecting towards the
spectator and one o f his knees raised.
Fully m ounted; pen and brown ink and
Judith, standing in profile to the left in
brown wash, 205 x 160 m m. Below on
front o f the couch, holds him by the hair
the left, m ark o f the collection o f Sir
with her left hand, ready to strike off his
T. Lawrence (L.2445) ; on the mount, mark
head with the sword in her raised right
of the collection o f R. Low (f,2222) and
hand. On the right, rapidly indicated with
inscribed with the pen R.P.R. van Dyck.
the pen, is an old maid-servant, turning
J u d ith slaying H olofernes. Barnard, Sir Thos.
away from the scene o f horror while look­
Law rence, one o f the selected fift y fo r W ood-
ing back over her right shoulder. The ac­
b u rn ’s E xhibition in 18j j ; in addition,
tion takes place in a tent (Judith 1 3 :1-12).
N o .y4 inscribed in pencil— Verso: Mark
The drawing, form erly ascribed to Van
of the collection o f R.P.Roupell (L.2234),
Dyck, was first attributed to Rubens by
and the inscription van D yck.
I.Q .van Regteren Altena. It is a com po­
F ra n kfu rt am M a in , Städelsches K u n st­
sitional sketch for his J u d ith Beheading
in stitu t. Inv. N o.15.690.
H olofernes, a painting now lost and best
John Barnard (London,
p r o v e n a n c e : known from an engraving by Cornelis
d.1784); Sir Thomas Lawrence (London, Galle the Elder (see No.50; Fig. 109). The
1769-1830); Samuel W oodburn (London, original painting must have been exe­
1786-1853), sale, London, 4 June i860, cuted shortly after Rubens’s return from
lot 361 (as V an D yck), bought by Roupell Italy, C.X609-1610.
(£1 3s); R.P.Roupell (London, 1798-1886); It is clear that when Rubens made this
Robert Low (London, 1838-1909); J.F. drawing he was strongly under the in­
Lahmann (Dresden, d.1937). Purchased fluence o f Adam Elsheim er’s painting of
from Lahmann in 1935. the same subject o f c.1601-1603, which he
had in his own possession.1 Many cor­
e x h i b i t e d : The Law rence G allery, Second
respondences point to this: in the first
Exhibition , Royal Academy, London, July
place the general composition, then the
1835, No.34 (as Van Dyck).
pose of Holofernes’ body, the figure of
l it e r a t u r e : J.S.Held, ‘Rubens’ Pen Judith with the sword in her upraised
Drawings’, M a g a zin e o f A rt, 44, N ovem ­ hand, the maid-servant looking on from
ber 1951, p.290, fig.7 (as R ubens, probably a certain distance, and finally the drapery
connected w ith the com position know n through above on the right. Like Elsheimer, Ru­
the engraving by C .G a lle); H eld, D raw ings, bens depicts the scene in a Caravaggesque
p.99, No. 15, fig. 16 (as R ubens, connected illumination, with the protagonists em er­
w ith a later version than the one engraved by ging from darkness into light.
C .G a lle ); B u rch a rd -d ’H u lst, D ra w in gs, pp. The body of Holofernes is an adaptation
80-81, N0.47, fig.47 (as R u b en s ); E.Hem- o f Rubens’s study from life o f a reclining
pel, Baroque A r t and A rchitecture in Central m ale nude, a drawing in the Louvre, Paris ;a

162
 CATALOGUE N O S . 5o b - 50 C

among other points of similarity, the left (as probably by G alle); J. Müller Hofstede,
leg o f that figure is seen in reverse. 'Rubens’ Grisaille für den Abendm ahls­
In his painting Rubens took over the stich des Boetius à Bolswert’, Pantheon.
general composition o f the drawing, XXVIII, 1970, p.108, fig.i (as 'w ahrschein­
though its flowing and dynamic charac­ lich G alle, m it Korrekturen von R u b en s’); Id.,
ter was to some extent transformed into ‘Abraham Janssens. Zur Problematik des
a more static and monumental concep­ flämischen Caravaggismus’, Jahrbuch der
tion. He also varied several details of the Berliner M useen, XIII, 1971, P-267; Renger,
figures and décor. Thus Judith is seen p.46, under N0.21 (as bx a R ubens-collabo­
cutting Holofernes’ throat with the rator, and retouched bx R ubens); Bodart,
sword, and the victim ’s twisted and help­ p.19, under No.9 (as Galle).
less body is shown with one leg drawn
up, so increasing the sym m etry of the
two protagonists about the vertical cen­ This engraver’s drawing was the basis of
tral axis. This sym m etry is accentuated Cornelis Galle the Hlder’s print after Ru­
by moving the maid-servant to the bens’s lost painting J u d ith Beheading H olo­
centre— she is also brought into the ac­ fern es (see N o.50; Fig. 109); it was very
tion, being made to stand ready with the probably made by Galle himself under
sack for Holofernes’ head— and by adding Rubens’s supervision. Us dimensions are
four angles, two on either side o f the cen­ the same as those o f the print.
tral axis. The décor, in the painting, be­ Rubens made various corrections to
comes a clearly recognizable tent. the drawing. He gave the faces greater
definition with the pen and— by means
1. K.Andrews, Adam E lsh eim er, Oxtord, W 7 7 . p.M4.
of hatchings with the pen and retouching
N o.12, f'lg.36.
2. B u r c lm n l-d 'H iils t, D r a w in g s, pp.72-73, No.40, lig.40. with the tip o f the brush in brown ink—
deepened the shadows in Judith’s head
and body, in Holofernes’ hair and beard,
50b. Judith B eh ead in g H olofernes: and in the drapery drawn aside by an
R etouched D raw ing ( F ig .in ) angel on the left. At the same time, with
thick white body-colour he strengthened
Black chalk, retouched in pen and brown the light on Judith’s face, arms and left
ink and heightened with white; 509 x hand and the folds of her dress. Evidently
370 mm. he was not com pletely satisfied with the
Stockholm , N ationalm useum . Inv. No. 1963. result, as he made further corrections on
[863 a proof now in the Print room o f the
Bibliothèque Nationale, Paris (No.50c;
p r o v e n a n c e : Bought by Carl Gustaf
Fig. 112).
Tessin at the Crozat sale in Paris in 1741,
after which it entered the Swedish Royal
Collection.
50c. Judith B eh ead ing H olofernes:
l it e r a t u r eRooses, I, p.156, u n d e r
: R etouched E n grav in g (Fig. 112)
No. 125 (as w rongly attributed to Van Dyck);
V, p.147 (as by a R ubens-collaborator, other Engraving, 542 x 374 mm.
than V an D yck, or by an engraver) ; Van den Paris, Bibliothèque N ationale, C abinet des
W ijngaert, Pren tku nst, p.46, under No. 193 Estam pes. Inv. N0.C10483.

163
 CATALOGUE NO. 5I

l i t e r a t u r e : Rooses, I, p.156, under by C.Schroeder (Brunswick, 1760-1844),

N0.125; V a n den W ijngaert, Pren tku nst, 1793. l i t . V .S ., p .10, N0.83. (3)
p.46, under N0.193; H eld, D ra w in gs, p.38
n.i ; J. M üller Hofstede, ‘Rubens’ Grisaille l it e r a t u r e : Sm ith, Catalogue R aisonné,
für den Abendmahlsstich des'I Boetius à II, p.290, N0.1002; IX, pp.332.-333, N0.328;
Bolswert’, Pantheon, XXVIII, 1970, p.108; Rooses, I, p. 157, No. 126 (as R ubens, after
R enger, R ubens D edit, I, p.134; II, pp.202- i6 jo ) ; H. Riegel, Beschreibendes u n d k riti­
203; R enger, p.46, under N0.21. sches V erzeichn is der G em älde-Sam m lung,
Brunswick, 1900, p.57, N0.87 (as R ubens);
(1), (2), (3), (4), (5), (6), (7), (8), (9)
H.Knackfuss, R ubens, Bielefeld-Leipzig,
1907, p.133, fig.113 (as R ubens); K .d .K .,
Cornelis Galle the Elder, in his engraving
p .i36 (as R ubens); R .Oldenbourg, ‘Zur
after Rubens’s J u d ith and H olofernes, faith­
“Judith” von Rubens’, Zeitschrift f ü r B il­
fully carried out the corrections made
dende K unst, January-February 1922, pp.
by Rubens on the engraver’s drawing,
66-68, fig.2 (as R ubens, c .i ó i f); K nipping,
now in the Nationalmuseum, Stockholm
Iconography, I, p.204; J. Davidson Reid,
(No.50b; Fig. 111). However, when he
‘The True Judith’, Art Jou rn al, XXVIII, 4
showed the proof to Rubens the latter
(Summer 1969), pp.376, 382, fig.6; J. M ül­
was not wholly satisfied and made sev­
ler Hofstede, ‘Abraham Janssens. Zur
eral further corrections with the pen.
Problem atik des flämischen Caravaggis-
These affected the angel figures, the dra­
m us’, Jahrbuch d er Berliner M u seen , XIII,
peries above, Holofernes’ hair and his open
1971, p.277 n.237 (as R ubens, c .ió iy ) ;
hand, the sack held by the maid-servant,
H.Vlieghe, D e schilder R ubens, U trecht-
and the lion’s claw foot o f the bed. The
Antwerp, 1977, pp.88-89, p l.n (as R ubens,
changes, designed to deepen the shadow
c. or shortly after 16 15 ); R.Klessmann, H er­
parts, were all carried out in Galle’s final
zo g A n to n U lrich-M useum , Braunschw eig,
print.
Munich, 1978, p.44, repr. p.45 (as R ubens,
The care which Rubens took over the
c. 16 16 ); J. Bialostocki, ‘La gam ba sinistra
‘Great Judith’ shows what importance he
della Giuditta: il quadro di Giorgione
attached to the engraving.
nella Storia dei terna’, in G iorgione e
l’ Um anism o V enezian o, I, Florence, 1981,
p.217, fig.55.
51. Judith with the Head
o f Holofernes (Fig.i 13)

After Judith had succeeded, by a trick, in

Oil on panel; 120 x hi cm.
entering the tent o f Holofernes, the As­
B runsw ick, H erzo g A n to n U lrich-M useum .
syrian general whose troops were be­
: D uke Anton Ulrich (1633
p r o v e n a n c e
sieging the Jewish town o f Bethulia, and
to 1714), from his Salzdahlum Gallery. had cut off his head, she handed it to her
maid-servant to put in a sack.1 Then the
c o p i e s : ( i ) Anonymous painting, where­ two women left the enem y camp and
abouts unknown; canvas, 119 x 9 4 c m . returned to Bethulia, which Judith had
p r o v . Sale, Berne (Dobiaschofsky), 19- saved by her heroic deed. (Judith 10-13;
22 October 1983, lot 671 (as School o f see also N0.50).
R ubens); (2) Engraving (not in reverse) The two wom en are here depicted half­

164
 C A T A 1,0 G U P. N O . ÇI

length. Judith, whose broad chest and House, London.4 The source of light, half­
sturdy arms testify to her physical covered by the maid-servant ’s arm, gives
strength, stands frontally in the vertical a repoussoir effect that is also found in
axis o f the composition. She holds a Antw erp masters o f Rubens’s following,
sword in one hand, and with the other such as Jordaens.5
she grasps Holofernes’ head by the hair. For the old maid-servant with the
Her blue garm ent is in disorder, so that wrinkled face Rubens used the same
her breasts escape from the bodice, and model as for the O ld W om an with a Coal-
her white linen is rolled back from her Pan in the Gemäldegalerie, Dresden;6
bare arms; she wears a pearl necklace. that painting likewise shows an artificial
The young woman, gazing at the spec­ source o f light giving a strong Caravag­
tator with a satisfied air and evidently gesque chiaroscuro. It is similar in execu­
excited by her exploit, contrasts with the tion to the present work, and on stylistic
old maid-servanr, whose expression is a grounds both may be dated c. 1616-1617.
m ixture o f horror and curiosity. The old We do not know for whom this Ju dith
woman, dressed in red with a white w ith the H ead o f H olofernes was painted. In
kerchief, holds a candle in one hand and 1621 Theodoor Schrevelius in Leiden pos­
stretches out the other for Holofernes’ sessed ‘Len Judith bij Rubens, hebbende
head. The candle-light throws a sharp, het hooft van Holyfernes, dat aerdigh de
warm glow on Judith’s white skin ; Holo­ doot vuytbeelt’7 (a Judith with the head
fernes’ face is bluish, his nose and mouth o f Holofernes by Rubens, in which death
bloodstained. In the semi-darkness his is skilfully portrayed); this may be the
headless body can be seen on the left, and painting now in Brunswick, though there
his armour in the background. is no proof.
Rubens’s composition is not dissimilar In 1631 W illem Panneels made an en­
to that o f Veronese’s Ju dith and her M a id ­ graving of Rubens’s Salome with the Head
serv a n t w ith the H ead o f H olofernes,2 which o f John the Baptist (Fig. 115),8 which closely
he may have seen in Italy. In both paint­ resembles the painting in Brunswick in
ings the figures are in half-length, Judith reverse, differing only in details. The pose
stands in the vertical axis o f the composi­ o f the figures is the same in both works.
tion field, and the maid-servant is on the However, while Judith holds the sword
right; moreover, like Veronese, Rubens in one hand and grasps Holofernes’ hair
depicts Judith with a necklace and with with the other, Salome holds the charger
bare arms and bosom. In addition he with the severed head on it, and with her
gives the scene a peculiar dramatic inten­ other hand grasps the Baptist’s tongue.
sity by means o f strong Caravaggesque In both scenes the old woman holds a
chiaroscuro. However, Caravaggio him ­ candle in one hand; with the other she
self did not deliberately illuminate his takes hold o f Holofernes’ head in the first
pictures by artificial light3 as is the case composition, and o f the charger in the
here. A different model must be sought second.
for the candle, and we find it in Fdshei-
mer, whose influence on Rubens is so 1. Rifaii, Ico n o g ra p h ie, II, i, p.a 14.
obvious in other respects : a candle is seen, 2. T.Pignatti, V eron ese. Venice. 1470, p. 181, N0.A83,
figs.797, 798 (both .is attributed to Veronese).
for instance, in his Ju d ith Beheading Holo­
3. The torch in Caravaggio's Naples Seven W o r k s o f
fernes in the Wellington Museum, Apsley M e r c y is purely incidental.

165
CATALOGUE N O . 52

4. K.Andrew s, Adam Elsheimer, Oxford, 1977, p.144, Florence, 1950, N0.22; A n tw erp , 19 77,
N0.12, fig.36.
5. See, for exam ple, Jordaens’s painting The Holy Fa­
N0.68; Florence, 19 77, N0.91.
m ily with Maid-Servnnt, N ationalmuseum, Stock­
holm (R.-A.d'Hulst, Jacob Jordaens, London, 1982, l it e r a t u r e : Sm ith, Catalogue R aisonné,
p .124, fig.89), or his drawing M usical Party in an In ­ II, p.290, No. 1002; H ym ans, G ravure, p.38;
terior, Ashmolean M useum , Oxford (R.-A.d'Hulst,
Jordaens Draw ings, London-N ew York, 1974, I,
Rooses, I, p.158, N o.127, pl.38; V, pp.313-
pp.292-293, N0.A206, fig.221). 314, N0.127; M.Rooses, ‘Œ uvres de Ru­
6. Cat. Gemäldegalerie. Alte M eister, 1975, p.93, N0.958, bens. Addenda’, R ubens-B ulletijn , V, p.86
pl.VI.
(as Studio, retouched by R ubens ); K .d .K .,
7. Arnoldus Buchelius, 'Res Pictoriae', published by
G.J.H oogewerff and I.Q .van Regteren Altena, The p.236 (as R ubens, c. 162 0 -16 22); R. O lden­
Hague, 1928, pp.48-49 (in Quellenstudien £nr Hollän­ bourg, ‘Zur “Judith” von Rubens’, Z eit­
dischen Kunstgeschichte, XV).
8. V.S., p.31, N0.168; Van den W ijngaert, Prentkunst,
sch rift f ü r Bildende K un st, January-Febru-
p.78, No.48t; Rooses, II, p .n ; V, p.323. ary 1922, pp.66-68, fig.i (as ‘R ubens in
jed em Strich, c.16 20 ’), republished in O ld en ­
bourg, R ubens, pp .132-135; K nipping, Ico­
nography, I, p.204; H.Kauffmann, ‘Rubens
52. Judith Putting the Head und M antegna’, Köln u n d der N ordw esten,
of Holofernes in a Sack (Fig. 1 14) 1941, p. 102 (as R ubens ); D. Marrow, The
A r t Patronage o f M a ria d e’ M ed ici, (Disser­
Oil on canvas; 113 x 8 9 cm . (including a tation, University o f Pennsylvania), 1978,
strip o f 09 cm. added below). p.172, fig.68 (as R ubens).
Florence, Soprinten dença per i Beni A rtistici
e Storici p er Ie Provincie d i F iren çe e Pistoia.

: Offered for sale to the

pr o v e n a n c e In this scene from the story o f J u d ith and
Louvre, Paris, in 1892 by Mr Becucci, Bo­ H olofernes (cf. No.50), the beautiful and
logna (not bought); Borghesani Collec­ richly dressed heroine, with jewels in her
tion, Bologna; Mrs Maria Borghesani sale, ears and hair and a double string o f pearls
London (Sotheby’s), 25 June 1924, lot 35, round her neck, takes hold o f Holofernes’
repr. (£420); Alessandro Contini Bona- head by the hair and drops it into a sack
cossi, Florence; sold to Field Marshal held by her old maid-servant ; in the other
Goring in 1942; recovered in Germany, hand she holds the sword with which she
16 Novem ber 1948. has cut off the general’s head. She is seen
against the background o f the sumptuous
c o p y : Engraving, in reverse, by Alexan­
tent, which is partially open to the sky.
der Voet the Younger (Fig. 116); inscribed :
Below on the left is Holofernes’ blood­
Petr. Pa ul R ubens p in x it, A le x . V oet scu lpsit
stained body, lying on a bed.
et e xcu d it; letter: A spice qu id p o tu it lu d ith
In the painting o f c.1616-1617 in Bruns­
praeclara virago / que ca put in palm is en
wick (N0.51; Fig.1 13) Judith wears a tense
H olofernis habet, l i t . V .S ., p.io, N0.82.
expression, full o f excitement at the deed
After this print, Franz Prechler, Prague
she has just performed. Here, by contrast,
(active c. 1698-1721) published an anony­
her calm, beautiful features show no sign
mous print (in reverse with respect to
o f emotion. Similarly there is no trace
Voet; not in V.S.).
here of the disarray o f her clothing, due
e x h i b i t e d : Seconda M ostra N ation a le to the violence with which she com mitted
dalle O pere d ’ A rte ricuperate in Germ ania, the act o f murder. In the Brunswick paint-

16 6
 CATALOGUE N O . 53

ing her powerful arms contrast with the Only the face of Holofernes, which is also
darkness in a Caravaggesque manner, de­ that o f Cyrus in Thom vris and C yru s in
fiantly expressing the more than natural the Louvre,3 shows a certain mastery.
force with which she performed her task. Since, as Rooses noted, the work is heavily
Here they cease to play a major part in restored, it is difficult to form a judge­
the total impression, as one arm is more ment. It is not quite impossible, how­
foreshortened and the other in shadow. ever, that, while impaired by restoration,
This weakening o f the dramatic content it is the same work as that which, in its
is accompanied by an emphasizing o f the unspoilt state, was the basis of V oet’s en­
form al aspect, especially the rough graving (Fig. 1 16).
touches o f colour which take on an im ­
portance o f their own. i. L o c. d r.
1. M . R ooses, loc. cit.
Oldenbourg,' who saw this as a typical 3. K .d .K ., p.2,t7.
instance o f the change in Rubens’s style
around 1620, wrote that the present work
‘zeigt in jedem Strich die Hand des Mei­
53. Esther before Ahasuerus
sters und wird uns zum wichtigsten Zeug­
nis für Rubens’ Malweise in jenen Jahren,
W hereabouts unknow n, presum ably lost.
da ihn die umfangreichen Arbeiten für
Ludwig XIII. und seine M utter Maria von c o p ie s : (i) Etching (in reverse) by W il­
Medici zu Bildern intimeren Charakters lem Panneels (Antwerp, c. 1000-after 1632)
nur selten Zeit finden Hessen’ (shows the (Fig. 117); inscribed: E x inue R ubeni fee.
master’s hand in every touch. It furnishes D iscip. eius G u if Panneels, Prune van W yn-
highly important evidence as to Rubens’s gaerde ex. l i t . V .S ., p.o, N0.70; ( 2 ) En­
style in those years, when his extensive graving (in reverse) bv R. Colins (Luxem ­
work for Louis XIII and the king’s m other burg, 1 6 2 7 - C . 1 6 9 7 ) ; inscribed: Pet. Paul
Marie de’ Medici left him little time for R ubbens p in x it, R ichardus Colins scu lpsit;
pictures o f a more intimate character). letter: Estheris obtinuit populo, pro caede
Burchard, as his notes show, also regarded trium phum effusa ad Dom inum gratia n ixa
this painting as an authentic work by prece. / Sic ree victor abis vera Esther virgo
Rubens. Rooses2 on the other hand— parenso / ad gnati solium si tua vota ferret.
having seen it in 1896 in Paris, where it and a dedication to Judocus Gillis, abbot
was unsuccessfully offered for sale to the o f the Abbey o f St Bernard, near A nt­
Louvre by a certain ‘abbé de Bologne’— werp, by Rumoldus van de Velde, l i t .
was less enthusiastic, calling it ‘probable­ V .S ., p.9, N0.69; (3) Engraving by
m ent un tableau d ’atelier retouché par P.Spruyt (Ghent, 1727-1801). l i t . V .S .,
le maître dans les parties les plus claires, pp.8 (No.öq, as 'La reine de Saba devant
les chairs de Judith. Œ uvre peu intéres­ Salom on’ ), 9 (No.71); Rooses, I, p . 1 5 9 , un­
sante ayant subi de fortes retouches’ der N o.128; V, p.314. (4), (5), (6), (7)
(probably a studio painting retouched by
the master in the lightest parts, i.e. Ju­
dith’s flesh-tints. An uninteresting work, The Persian king Ahasuerus (a Latinized
much retouched). The painting in its pre­ form o f the Jewish name for Xerxes I,
sent condition makes no great impression who reigned from 4 8 5 to 4 6 5 B.C.) di­
and it is hard to see Rubens’s hand in it. vorced his haughty consort Vashti and

167
CATALOGUE N O . 53

took the Jewish Esther in her stead. Mor- nese’s soffitto o f the same subject in St Se­
decai, Esther’s uncle and foster-father, bastian in Venice.2 The analogies in Vero­
urged her to intercede with the King for nese’s painting are striking: Esther, ap­
the Jewish people, who were threatened proaching from the left and kneeling on
with extermination by the King’s chief the steps before the King, is attended by
minister Haman. Esther did so at the risk two wom en; the raised throne is covered
o f her life, as she was forbidden to ap­ by a curtained baldachin; and the right
proach the King without being sum­ foreground is occupied by the King’s
moned. Once in his presence, she fainted attendants. Rubens was influenced by
with fear; her weakness softened Ahasu- Veronese not only in the present work
erus’ anger and he agreed to hear her but in another Esther before A hasu erus and
request. She was so persuasive that the also a Solom on and the Q ueen o f Sheba, two
King revoked his order to destroy the ceiling paintings executed in 1620-1621
Jews, and Haman was hanged on the gal­ for the Jesuit Church in A ntw erp.3
lows he had prepared for Mordecai According to Burchard, a preparatory
(Esther, 3-7). oil sketch for this painting (No.53a; Fig.
In Christian iconography Esther (a 118) was in the possession o f Herr Gustav
name supposedly derived from the Per­ Hobraeck, Neuwied, Rheinland-Pfalz in
sian for ‘star’) is a préfiguration o f Mary, 1937-
the Stella M a ris o f the litanies. The crown­ Rubens’s Esther before A hasu erus was
ing o f Esther by Ahasuerus corresponds used as a model by other artists. One of
to the Coronation o f the Virgin, and her these was Jan Boeckhorst (1605-1668),
intervention with the King parallels who is known to have painted two ver­
M ary’s intercession with her divine son at sions o f the subject: one is in the collec­
the Last Judgement: as Esther obtained tion o f Mrs M.S. at Kortrijk (Courtrai),
m ercy for the Jews, so M ary will obtain Belgium ;4 the other’s whereabouts are
clemency for the whole human race.1 unknown.5 Both reproduce Rubens’s
The composition consists o f ten figures. composition in reverse, as does the en­
Esther, who has sunk to her knees on the graving by Panneels.
steps leading to the throne, faints in the
arms o f two ladies-in-waiting; one of
them, bending by her side, holds her
hand. The King appears to have risen in
haste from his throne; he holds the faint­
ing Queen by the hand and extends his
1. R é a u , Ico n o g ra p h ie, II, i, pp-335- 337-
sceptre over her. A page supports his 2. T.Pignatti, V ero n ese, Venice, 1976, p . m , No,58,
train, and two o f his ministers are behind fig- 114-
3. M a r tin , C e ilin g P a in tin g s, p . h i , under N o,i7, figs.22,
him. Three guards in armour witness the 90.
scene. The décor is composed of classical 4. Canvas, 152 x 23 6 cm. p r o v . Sale, London (Chris­
architecture, with a view o f the open air tie's), 13 Decem ber 1957, lot too (as A .J a n ssen s).
u t . H .Lahrkam p, 'D er “ Lange Jan” , Leben und
in the background, and a baldachin over W erk des Barockmalers Johann Bockhorst aus
the throne, suspended between Salo­ M ünster’, in W e stfa le n , 6 0 , 1982, No.3a, repr.
monie pillars. 5. Canvas, 166 x 2 3 5 cm. p r o v . Sale, Brussels (G.G i­
roux), 5-7 Decem ber 1957, lot 410, pl.XXXill (as
As already observed by Rooses, the pre­ R u b e n s 's W o r k sh o p ), l i t . H.Lahrkam p, op. cit., p.27,
sent composition was inspired by Vero­ N o.3, repr.

16 8
 C A T A I . O C . r F . N O . 53 a

53a. Esther before Ahasuerus : 1620 bis 1625’ (a fine, authentic, well pre­
O il Sketch (Fig. 118) served work by Peter Paul Rubens from
the period 1620-1625). However, after
Oil on panel; 46 x 52 cm. being shown at Brussels in 1937 (when on
W hereabouts unknow n. loan from Mr Hobraeck) at the exhibi­
tion Esquisses de R ubens the w ork dis­
Arthur Anderson, Stor-
p r o v e n a n c e :
appeared without trace and is now' known
rington, Sussex (1912); Baron Albert von
only from a reproduction, so that it is no
Goldschmidt-Rothschild, Frankfurt am
longer possible to form a well founded
Main (1925); Gustav Hobraeck, Neuwied,
judgem ent as to its authenticity. That
Rheinland-Pfalz (1937).
Rubens did make an oil sketch, whether
c o p ie s : (i ) Anonymous grisaille paint­ this one or another, is proved by the
ing, Nationalmuseum, Stockholm ; panel, existing copies.
enlarged at the top, 4 1 x 5 5 cm. pr o v . Rubens made at least two preparatory
King Gustavus III o f Sweden (1746-1792). oil sketches for the Esther before A hasuerus
l i t . Cat. Nationalmuseum, 1958, p. 176, that was form erly part o f the ceiling de­
No,608; (2) Anonymous painting, where­ coration o f the Jesuit Church in Antwerp.
abouts unknown; copper, 42 x 5 7 cm. This can be seen from those respectively
p r o v . A.Kay, Edinburgh, sale, London in the Akademie der bildenden Künste
(Christie’s), 8 April 1943, lot 129 (as Ro(- in Vienna and in the Courtauld Institute
tenham m er ). (3) (4), (5), (6) o f Art, Princes Gate Collection, London.1
The present sketch too. in all probability,
e x h ib it e dW orks bv O ld M asters and
:
did not stand alone. A copy1 is know'n
Deceased M asters o f the British School , Royal
(Fig. 120) which differs from it in certain
Academy, London, 1912—13, No.56; A u s­
elements, showing that it must be based
stellun g alter M alerei aus P riva tbesitç,
on an earlier version. In that copy the
Städelsches Kunstinstitut, Frankfurt am
waiting-woman in profile is closer to
Main, 1925-26, N0.179; Brussels, 1937,
Esther, which may mislead the spectator
N0.4.
into thinking that Esther’s drooping right
l it e r a t u r e : Sm ith, Catalogue R aisonné, arm in fact belongs to her attendant. Be­
II, pp.225, No.802, 289, N0.999; IX, p.332, hind them is a page holding up the train
N0.326 (as R u b en s ); Rooses, I, pp. 158-159, o f Esther’s ermine cloak, and there is a
No.128; V, p.314 (as R ubens); O .G ötz, in barking dog at the King’s feet. In the later
D er Cicerone, August 1925, p.735, repr. sketch Rubens increased the distance be­
p.730 (as R ubens). tween Esther and her companion, thus
rem oving the ambiguity as to the Queen’s
right arm. However, there was then no
F.sther, kneeling before King Ahasuerus, room for the page holding the train, who
faints in the arms of her waiting-women was accordingly left out.3 For less clear
(see N o.53). reasons Rubens also omitted the dog in
In a certificate, dated 1932, for the then the later version.
owner Mr Gustav Hobraeck, Burchard Various old sale catalogues and inven­
described this sketch as ‘eine schöne tories mention oil sketches by Rubens of
eigenhändige und gut erhaltene Arbeit Esther before A hasuerus which have since
von Peter Paul Rubens, aus den Jahren disappeared or cannot be related to any

169
CATALOGUE N O . 5 4 -5 6

known example. Thus in rhe estate of the rara, sale, Milan (Hugo Helbing, Munich, and
A.Ram baldi, Bologna), 25-30 May 1914, N0.1021,
painter Anthony de Waardt, The Hague,
pl.28; Savile Gallery Ltd., London (1928); Trotti &
29 June 1752 there was (N0.60) a sketch Co., Paris (1928); M .Knoedler S i Co., London-N ew
‘verbeeldende de Koninginne Esther bij York (1937-1944; see B u rlin g to n M a g a z in e , Septem­
ber 1943, p.IV, repr.). e x h , Kleykam p, The Hague,
Ahasuerus, door P. P. Rubens’ (a sketch of
1929; B.J.van Wisselingh, Am sterdam , August
Queen Esther before Ahasuerus, by P. P. 1932, Cat. N o.13 (probably w rongly as canvas),
Rubens), (A.Bredius, Kiinstler-Inventare, repr.; B r u ssels, 1937, pp. 19-20, N o.3. An E sth er be­
fo r e A h a su er u s (canvas, 69 x 85.5 cm.), sold succes­
III, The Hague, 1917, p. 1026, N0.60). In
sively in Paris (Ader, Picard and Tajan), 12 June
the sale catalogue o f the collection of 1986, lot 124 (as Van T h u ld e n ), and in Monaco (So­
M r Servad in Am sterdam on 25 June theby’s), 6 Decem ber 1987, lot 256 (as V a n T h u ld e n ),
shows the same composition.
1778 there appears as lot 85 an Esther be­
3. In an anonymous painting in Schloss Weissenstein,
fore A hasu erus (panel, 37 x 38 cm. ; for Pom mersfelden (Fig.119) (canvas, 138 x208.5 cm.
fl.200 to Fouquet. l i t . Abstract from the l i t . Cat. 1721, N o.3 [as V a n T h u ld e n ]; C a t.1746,
N o.13 [as V a n T h u ld e n ]; C at.1894, N0.476 [as R u ­
Rijksbureau voor Kunsthistorische Docu­
b e n s’s W o r k sh o p ]), the ambiguity as to the Q ueen’s
mentatie, The Hague). This may be iden­ right arm is rem oved, but the page is not elim i­
tical with a work that was later in the nated. It may be wondered if this painting is not
based on a third oil sketch, now lost.
collection of J.F.de Vinck de Wesel and
was sold with that collection, as lot 4, in
Antw erp on 27 April 1813, H.14 duim ,
54-56. T H E T R IP T Y C H O F JOB
L.14.5 duim [36.5 x 38 cm.]; it became the
IN DISTRESS
property o f M. van den Bergh o f Antwerp
for the sum o f 100 florins (Rooses, I, p. 159,
Form erly in St N icholas’s C hurch in B rus­
under No. 128). In the sale catalogue of
sels; destroyed by fir e d u rin g the bom bard­
the collection o f F[riedrich] J[akob] Gsell
m ent o f the city by the troops o f the French
(died 30 September 1871), held in Vienna,
M a rsh al de V illeroy in i 6 ç j.
Künstlerhaus (Georg Plach) on 14 March
1872 et seq., we read: ‘N0.91. Rubens, : M ensaert, Peintre, I, p.98;
l it e r a t u r e

Esther vor Ahasver; Holz, 46 x52 cm. Descam ps, Voyage, p.52; Rooses, I, pp. 159-
Sam m lung Br.Pasqualatti. Oben in der 162, N0.129, pi.39; A.H enne and A.Wau-
Architektur angesetzt und von anderer ters, H istoire de la V ille de Bruxelles, Brus­
Hand ergänzt. A u f der Rückseite Ent­ sels, 1975, 3, p .132.
würfe von Rubens’ (N0.91. Rubens, Esther
before Ahasuerus; panel, 46 x 52 cm. C ol­
lection o f Br. Pasqualatti. Enlarged in the When Yahveh praised to Satan the piety
architecture at the top and added to by and uprightness o f his servant Job, the
unknown hand. Sketches by Rubens on Adversary replied : ‘Thou hast blessed the
the back). It is also referred to in Theodor work o f his hands ... but put forth thy
von Frimmel, Lexikon der W iener G em älde­ hand now, and touch all that he hath,
sam m lungen, II, Munich, 1914, p.89: ‘N0.91. and he will curse thee to thy face.’ There­
Rubens aus der Sam m lung Pasqualatti— upon Yahveh afflicts Job with all possible
fl. 1000: Plach’. disasters: his house is struck by lightning
and all his children crushed under the
1. M a r tin , C e ilin g P a in tin g s, pp.112-114 (No.17a), 114- ruins, his servants are slain and his oxen,
116 (No. 17b), figs.94, 95.
2. Anonymous painting, whereabouts unknown; pa­
asses and camels plundered by the Sa-
nel, 36.5 x 4 3 cm. p r o v . Giuseppe Cavalieri, Fer­ beans and Chaldeans. Job him self is

170
 C A T A L O G U E NO. 54-56

stricken by disease and his whole body perturbability— as well as resignation and
covered with boils. He is also tormented constancy in faith.1
by the devil and, as he sits on a dunghill, Almost all we know of the origin of
is scolded by his wife and put to the test this triptych is derived from François Jean
by his friends; but nothing shakes his Joseph M ols’s A nnotations m anuscrites sur
faith and confidence in God. Finally God R ubens, a manuscript in the Koval Library
takes pity on him, cures him o f his dis­ in Brussels. Mols, who was born at A nt­
ease and returns his possessions a hun­ werp on 22 January 1722, derived his in­
dredfold (Job 1-42). Job is spoken of as a formation trom two earlier sources, of
righteous man in Ezekiel (14: 13-23) and which he made copies: u ) a handwritten
as a model of patience in Tobit (2: 12) and catalogue o f Rubens’s paintings, drawn up
the Epistle o f James (5: 11). by one Smeyers; (2) a note copied trom
Job plays an important part in Chris­ an old register.
tian iconography, although he was neither Neither this note nor Smeyers’s original
a judge nor a king nor an army com m an­ catalogue can now be traced; Mols be­
der such as, for instance, Judas Macca- lieved that the register, as well as the
baeus. h is not even known if he ever lived ; triptych itself, had been destroyed by fire
possibly he is a mythical personage and in 1695.1
the book is no m ore than a parable. Early M ols’s transcription ol the catalogue by
and medieval Christians, however, be­ Smeyers contains the following passage;
lieved him to be a real character. In the ‘ Brussel— Men sal hier nog byvoegen
late Middle Ages he was venerated espe­ eenige gedenkweirdige aenmerckingen
cially in the Netherlands and in Italy, as van de schilderyen van Rubens dewelkde
a saint and patron of lepers and sufferers gestaen hebben in sommige kerken en
from the plague and venereal disease, op het stadthuys ende verbrandt zyn door
and consequently of hospitals. He was de Bombardatie van Brussel in het jaar
also chosen as a patron by troubadours 1696 [sic]. Voor eerst was in St Niclaes-
and minstrels, probably on account of kerck dat overpuyck autaer stuk van Job
two passages in the Book o f Job: 'They sittende opden mesthoop, die getergt
take the tim brel and harp, and rejoice at wird van syne vrouw ende beproeft van
the sound o f the organ’ (21: 12), and ‘ My syne drij vrinden. Hv had d ’eene hand
harp also is turned to mourning, and my hem elwaerts opheffende, en m et de an­
organ into the voice o f them that weep’ dere schrabde hij den etter uijt syne
(30: 31). Thanks to the patience with sweeren m et eenen schervf; de deur aen
which he bore his wife’s reproaches, he den kant van het Evangelie verbelde
was also invoked by men plagued with a w'onderlyck hoe Job met slangen geslae-
nagging spouse. gen wird van den satan, de andere deur
The trials o f Job were represented in vertoonde, hoe by Job eenen loopende
Christian art as a préfiguration of the Bode kom t het sweet van syn hooft af-
Passion and Trium ph o f Christ, or of vaegende, om te boodschappen het on­
church persecutions, and also as sym bol­ geluk dat over syn huvsgesin gekomen
izing the trials o f the Christian soul. His was, als dese deuren gesloten waeren sag
story was regarded as an illustration of men op dese twee Paneelen hoe Job
the virtue o f patience— often tinged, in staende op eenen trap als eenen weir-
the seventeenth century, with stoic im ­ digen ouderling tot grootereti overvloet

17t
CATALOGUE N O . 5 4 -5 6

van alles gekom en zynde, aen den slinken bekomen, mits die hand nog leefde die
kant bragten hem de vrouwen toe syne hem w erk genoeg soude doen hebben
jonge kinderen, en van den anderen kant van gelyke deugt en weirdighydt, boven­
syne knechten vee en aerdvruchten. Van dien den landtschapschilder Coppens
dese uytnemende verbeeldtenissen alte- heeft hy verhaelt dat als in ’t jaer [ille­
gaeder was nogtans w el de schoonste daer gible] den grooten hertog van Toscaenen
Job van den duyvel geplaegt wird; m its in nederland gekom en was, hy over dese
den achtergrond pek swardt zynde het schilderyen soo ingenomen was, dat hy
bloot lichaem van Job zig helder daer voor de selve geboden heeft 30.000 gul­
tegen vertoonde; ik heb hier van tot dens, mits hier by nog te geven de copijen
Brussel eene opgeschilderde schets ge- geschildert door den besten meester van
sien, dewelke men niet sonder verbaest- dit landt en daer by nog te laeten m ae­
hydt kost aenschouwen, gelyk P.Bellori ken eenen autaer van marber, het w elk
verhaeld in het leven van Rubens dat nogtans in alles is afgeslaegen. Daer naer
dese autaer stukken onder het puyk van heeft dien innighen konstliefhebben Jan
dien meester gerekent word, en gelyk W illem keurvorst van den Palts de selve
hem hierover van alle kanten grooten lo f somme door den Heer Colum ellus voor
gegeven wird, bekende hy selfs, soo men dese schilderyen geboden, ende het soude
sydt, dat de hand des Heere hem waere- hem toegestaen zyn geweest, soo m y sy-
lyk geraekt had, en hier in zigselven hier­ nen Cabinetschilder den Heer Douven
in te boven gegaen had, het was ook verhaeld heeft, ten waer wynigen tydt
hier om dat hy ider naer dit schilderwerk hiernaer, het selve toen de Franschen
sendt om te sien wat hy int schilderen Brussel bombardeerden, niet en was ver­
verm ögt. Voorders alle dese autaer stuk­ brandt geweest tot groot jam m er van
ken heeft doen maeken het broederschap alle die de konst beminnen, nogtans men
oft confrérie van st. Job het w elk bestaet kan zig nog eenigsints vertroosten m et te
uyt musikanten dewelke op instrumen­ aensien de schoone copyen soo van dit
ten spelen, het wird aenbesteedt in het stuk als van de deuren dewelke staen in
jaar 1612 voor 1500 guldens, het w elk be- eenen autaer van de kerck van W esemael
taelt wird in 8 verschyde paijen begin­ een dorp gelegen tusschen aertschot en
nende van het jaar 1613 tot het jaar 1621, loven, en die schynen van over een eeuw
volgens dat ik gekopieert uyt den reke­ gem aekt te zyn door eenen ervaeren
ningboek van het selfste Broederschap, meester’.3
bovendien wird hem nog betaelt den on­ (Brussels— Some m em orable remarks
kost van de prom uring van dese talfe- should be added here concerning the pic­
reelen, als ook van het overbrengen van tures by Rubens which were form erly in
de selve uyt antwerpen. My is gesegt van some churches or in the town hall and
den ouden baudewyns dat den Artsher­ were destroyed by fire in the bom bard­
tog Albertus dese stukken soo behaegden m ent o f Brussels in 1696 [sic]. Firstly, in
dat hy voor de selve 7000 guldens heeft St Nicholas’s Church was the very fine
willen geven, dog dese confrérie versogt altarpiece o f Job sitting on a dunghill,
beleefdelyk niet verpligt te m ogen zyn being scolded by his wife and put to the
van sulks te leveren en Rubens vertoonde test by his three friends. He pointed up
hier neven aen syne hooghydt dat hy niet to heaven with one hand, and with a
besorgt soude zyn om dese schilderyen te potsherd in the other he scraped the pus

172
 C A i A I, O G l ' E NO. 54-56

from his sores. The wing on rhe Gospel need not be so anxious to obtain them,
side showed m arvellously how Job was as the hand was still living that could
tormented with snakes by Satan; the furnish him with plenty of works o f equal
other wing depicted a messenger wiping merit. Moreover he told the landscape
the sweat from his brow and telling him painter Coppens that when the Grand
o f the misfortune that has struck his Duke o f Tuscany came to the N ether­
household. W hen these doors were clos­ lands in the year [illegible] he was so ta­
ed, the two panels together showed Job ken with these paintings that he offered
standing on a raised platform as a worthy 30,000 guilders for them and was pre­
old man with an abundance o f posses­ pared to have copies painted by the best
sions: on the left, women were bringing master in the land, and to have a m arble
his young children to him, and on the altar made as well; but this offer was re­
right were his servants with cattle and fused also. Thereafter the Hlecror Pala­
fruits o f the earth. But the finest of these tinejohann W ilhelm , a great lover o f art,
excellent pictures was no doubt the one offered the same sum for the paintings
showing Job tormented by the devil, his through Mr Columellus, and this would
naked body showing up against the pitch- have been accepted, so 1 was told by his
black background. I have seen a painted cabinet painter M r Douven; but shortly
sketch o f his in Brussels which could not afterwards, when the French bombarded
be looked at without amazement. P.Bel- Brussels, they were destroyed by fire to
lori says in his life o f Rubens that these the great distress o f all art-lovers. How'-
altarpieces are reckoned among the best ever, there is some consolation in the fine
o f his w ork and were much praised on copies o f this piece and o f the doors, to
every side. The master him self is said to be seen on an altar in the church at Weze-
have declared that he was touched by ntaal, a village between Aarschot and
the hand o f God and had surpassed him ­ Louvain, which seem to have been made
self, and that he would send anyone to over a century ago by a skilled artist).
look at this painting to see what he was According to Mols, the note in the re­
capable o f as an artist. All these altar- gister (already lost in his time) ran as fol­
pieces were made for the confraternity lows: ‘Pièces Justificatives pour 1 ‘Etat des
or brotherhood o f St Job, consisting of Tableaux de Pierre Paul Rubens, exis­
musicians who play on instruments. It tants en Europe.— Haec sunt! Rubenius
was commissioned in 1612 for 1500 guil­ ad 7ju n iu m i7 76 : 1612— Par accord passé
ders, to be paid in 8 instalments from entre Rubens & la confrérie des Musiciens
1613 to 1621, as I have copied from the de Bruxelles, il entreprit de leur peindre
book o f the Brotherhood’s accounts; he l ’Histoire du Patriarche Job pour leur
was also paid for the cost o f priming these Autel dans l’Eglise de St Nicolas. Cette
paintings and bringing them from A nt­ entreprise a été consommée en cette an­
werp. I have been told by the old Baude- née,car,en 1613,il reçut à com ptesuivant
wyns that the Archduke Albert was so l ’accord du prem ier payement: fl.150: en
pleased w ith these pieces that he offered 1614, 150; en 1615, 150; en 1616, 150; en
7,000 guilders for them, but the Brother­ 1617, 300; en 1619, 300; en 1620, 150; en
hood politely requested that they should 1621, 150; ensemble 1500 florins, pour
not be obliged to part with them, and lesquels II avoit entrepris de peindre le
Rubens indicated to His Highness that he Tableau de St Job leur patron avec les

173
C A T A L O G U E NO. 54-56

volets’ (Evidence concerning the state of & sur l’autre on voioit Job livré à Satan
the paintings by Peter Paul Rubens, in qui le tourmentoit d ’une étrange façon.
existence in Europe.— Haec sunt ! Rube- Quand ces volets étoient fermés, on
nius ad 7 Junium 1776:1612— By an agree­ voioit Job rétabli dans ses biens. Il étoit
m ent between Rubens and the Brussels com me sur un perron, au bas duquel,
Confraternity o f Musicians, he undertook d ’un côté, on lui présentoit des fruits, et
to paint the history o f the patriarch Job de l’autre, on lui amenoit plusieurs en­
for their altar in St Nicholas’s Church. fants. Ce tableau seul suffissoit non seule­
The work was completed in that year, for ment pour faire taire les critiques de la
in 1613 he received, in accordance with ville, mais tous ceux qui allieurs tachoi­
the agreement, a first payment o f fl.150 ent a déprimer les valeurs suppérieurs de
on account; then fl.150 in 1614; 150 in ce grand homme. Il étoit d’une telle
1615; 150 in 1616; 300 in 1617; 300 in 1619; force de coloris, d ’une si grande expres­
150 in 1620; 150 in 1621 ; altogether fl. 1500, sion de caractère que les descendants en
for which he had agreed to paint the parlent encore avec admiration. Il fut fait
altarpiece of their patron St Job with the pour la confrérie des musiciens qui ont
wings). Mols added; ‘Cet extrait a été ce saint pour leur patron. Il fut placé dans
tiré d ’un ancien registre, qui je crois ne l ’autel en 1613 et Rubens reçut, pour
subsiste plus, ayant péri avec les tableaux, prix de son travail, 1500 florins en huit
dans l ’incendie de cette Eglise lors le paiemens, dont le premier fut fait en 1613
Bombardement de Bruxelles en 1695’4 et le dernier en 1621. On prétend que
(This is an extract from an old register l’archiduc Albert eut tant de goût pour
which I believe no longer exists, having ce tableau qu’il fit offrir 7000 florins pour
been lost together with the paintings l’avoir, mais les confrères trouvèrent
when the church caught fire during the moyen d’éluder ses offres avec honêteté.
bom bardm ent of Brussels in 1695). Il en fut de m êm e quand le grand-duc
M ols’s manuscripts contain three de Toscane Ferdinand vint dans le pays.
passages, the information in which is Il fut tellem ent frappé de ces tableaux
derived from the sources mentioned qu’il en fit offrir jusqu’à trente mille flo­
above: rins, de leur faire faire une copie du m eil­
A. ‘ 1613— Le fam eux tableau de S' Job leur peintre du pays et outre cela de leur
sur le fum ier dans l ’Eglise de S' Nicolas donner un autel neuf tout en m arbre’.6
de la m êm e ville. Ce tableau, qui était (1613— The famous picture o f St Job on
com pté pour un des chefs d’œuvre d ’Ru- the dunghill in St Nicholas’s Church in
bens, vengea celui-ci des critiques de sa that city. This painting, considered one of
Sainte Anne.5 Il etoit en volets, le grand Rubens’s masterpieces, avenged him on
tableau representoit ce S' patriarche assi the critics o f his St Anne. It consisted of
sur le fum ier elevant une main vers le panels, the centre one showing the pa­
ciel, & s’ôtant de l’autre le pus qui sortoit triarch seated on a dunghill, with one
de ses plaies avec un morceau de pot hand pointing towards heaven; with a
cassé, d’un côté sa fem m e le provoquoit potsherd in the other he was scraping the
S£ de l’autre ses amis qui tachoient de le pus from his sores. On one side was his
consoler. Sur l’un des volets on voioit un wife railing at him, and on the other his
mesager qui en grande hâte vennoit friends trying to comfort him. On one of
anoncer à Job la destruction de ses biens, the wings a messenger came in haste to

174
 C A T A L O G IH N O . 54-56

tell Job of the destruction of his posses­ 125. Quand ils étaient fermés, St Job
sions, and on the other Job was being rétabli dans ses biens / 1613’.7
tormented by Satan in a strange manner. (Note o f several paintings mentioned in
When these wings were closed, the the manuscript entitled Rubeniana, in
painting showed Job once more in posses­ two folio volumes: 122. St Job on the
sion o f his wordly goods. He was on a dunghill with his wife and friends, for­
kind of platform at the foot of which, on m erly in St Nicholas’s Church in Brussels,
one side, he was being presented with destroyed by the bombardment in 1695/
fruits, while on the other several children 1613; 123. On one of the wings, Job re­
were brought to him. This painting alone ceiving a messenger who comes in haste
sufficed not only to silence all the town to tell him of the destruction of his
critics but also all those elsewhere who goods / 1613; 124. On the other, Job tor­
called in question the outstanding worth mented by demons/ 1613; 125. When the
o f this great man. The colouring was so wings were shut, Job with his possessions
powerful and the expression of character restored to him / 1613).
so striking that men of a later time still C. Dans l ’Eglise paroissiale de St Nicolas:
speak o f it with admiration. The work 1. St Job sur le Fumier peint sur bois, haut
was painted for the Confraternity of M u­ de [not filled in]. Cet excellent Morceau
sicians who have Job as their patron saint. était placé au Retable de l’Autel des M u­
It was placed on the altar in 1613 and siciens, qui avoient ce patriarche pour
Rubens received as a fee fl.1500 in eight Patron de leur confrérie. Il estoit repré­
payments, the first in 1613 and the last senté assis sur le fum ier visité par ses amis,
in 1621. It is said that the Archduke Albert invectivé par sa fem m e ; 2. Job Tourm enté
admired the painting so much that he par le Malin Esprit. C ’etoit le sujet de
offered fl.7,000 tor it, but the Brother­ l ’un des volets en dedans: on y voioit le
hood politely refused the offer. The same patriarche assis sur le f umier outragé par
happened when Ferdinand, Grand Duke sa fem m e & tourm enté [illegible] par le
o f Tuscany, came to the Netherlands. He Demon. Ce morceau etoit extraordinaire
was so struck by the paintings that he pour l ’effet de la lumière ck du coloris;
offered up to fl.30,000 and was prepared 3. Job recevant des messages sinistres de
in addition to have copies made by the la perte de ses Biens, tk [illegible]. Ce su­
best artist in the country and also to pre­ jet étoit peint sur l ’autre volet endedans;
sent the Brotherhood with a new marble 4. Job rétabli dans ses Biens. Ce sujet étoit
altar). représenté sur les dehors des volets quand
B. ‘Notice de différents tableaux dont il ils étoient fermés. Tous ces morceaux fu­
est parlé dans le Manuscrit titré Rube- rent entrepris par Rubens en 1612, ache­
niana— en Deux volumes folio: 122. St vés ôé délivrés en 1613; & pour lesquels
Job sur le fum ier accompagné de sa fem ­ il reçu en differents pavements f 1500: Ils
me & de ses amis, autrefois dans l’Eglise ont été admirés par tous les Amateurs
de St Nicolas à Bruxelles détruit par le tant Etrangers que naturels & Bellori
bom bardem ent en 1695/1613; 123. Sur dans sa vie de Rubens en fait un éloge
l ’un des volets, St Job recevant un messa­ particulier.— Le grand Duc de Toscane,
ger tout en hâte qui lui vient annoncer la étant à Bruxelles, peu de temps avant le
perte de ses biens / r6r3; 124. Sur l’autre, Bombardement, en fit offrir f 30.000;
St Job tourm enté par les démons / 1613 ; en outre, de faire rebâtir a ses dépens,

175
CATALOGUE N O . 5 4 -5 6

leur Autel tout en Marbre, & de faire destroyed by fire in the bom bardm ent
placer les copies de ces tableaux, exécu­ o f 1695. It is also made clear that the work
tés par les meilleurs artistes du pays, sans was a triptych with folding panels; the
pouvoir persuader ces Messieurs a lui dimensions are not indicated. In its open
céder leur St Job’ .8 state, the centre panel showed Job seated
(In the parish church of St Nicholas: i. St on a dunghill, with one hand pointing to
Job on the dunghill, painted on panel, heaven and with a potsherd in the other,
height [not filled in]. This fine piece was with which he scraped the pus from his
placed on the retable o f the altar of the sores; he was being scolded by his wife
Musicians, who recognized the patriarch and put to the test by his three friends
as the patron o f their Brotherhood. He (see N0.54). On the left panel Job was
was shown seated on the dunghill, visited being scourged with snakes by the Devil
by his friends, scolded by his wife. 2. Job (see N0.55), while on the right a messen­
tormented by the Evil One. This was the ger came hastening to tell him o f his va­
subject o f one o f the inner wings, which rious misfortunes. W hen the panels were
showed the patriarch seated on the dung­ closed Job was seen as a rich man once
hill, insulted by his wife and tormented more, a venerable old man standing on
[illegible] by the Devil. This piece was a dais, while from one side wom en led
amazing as to the effects o f light and his young children to him and from the
colour. 3. Job receiving evil tidings o f the other his servants brought him cattle and
loss o f his goods and [illegible]. This scene the produce o f the fields. The triptych
was on the other inside wing. 4. Job’s pos­ was commissioned in 1612 by the Brother­
sessions restored to him. This scene ap­ hood o f Musicians, whose patron was
peared on the outer wings when they St Job, and was intended for their altar
were closed. A ll these paintings were un­ in St Nicholas’s Church. The agreed fee
dertaken by Rubens in 1612, completed was fl.1500, to be paid over a period of
and delivered in 1613, and he received for years: fl.150 in 1613, 16 14 , 1615 and 1616,
them fl.1500 in several payments. They fl.300 in 1617 and 1619, and fl.150 in 1620
were admired by all art-lovers, both na­ and 1621. In addition Rubens was paid
tive and foreign, and Bellori praises them the cost o f priming the panels and trans­
especially in his life o f Rubens. The Grand porting them from Antw erp to Brussels.9
Duke o f Tuscany, who was in Brussels It also appears from Mols’s sources that
shortly before the bombardment, offered the triptych must have enjoyed great
to pay fl.30,000 for them and in addition success in the course o f years, as three
to have their altar rebuilt entirely in princes tried to buy it from the Confra­
marble and to replace the paintings by ternity. Thus the Archduke Albert ad­
copies to be executed by the best artists mired it so m uch that he offered them
in the country ; but he could not persuade fl.7,000 for it, but without success. Again,
the musicians to part with their St Job). a ‘Grand Duke o f Tuscany’ (Florence) on
The sources used by Mols, which we a visit to the Netherlands10 was so enthu­
m ay assume to have been reliable, fu r­ siastic that he offered not only to pay
nish important information. In the first fl.30,000 but also to present the Brother­
place they m ake it clear that a painting hood with a m arble altar and a copy o f
o f Job in D istress by Rubens was in St the triptych by the best artist in the land.
Nicholas’s Church in Brussels and was This tem pting suggestion was likewise

176
 C A T A L O G U E NO. 54

refused. Finally it appears that the art- of his visit to the Netherlands is illegible. Mols
calls him Ferdinand in one of his own texts (MoIs,
loving Elector Palatine Johann W ilhelm "
5725, fol.56 recto and verso).
made a similar offer and that the Bro­ 11. The Elector Palatine Johann W ilhelm (1658-1710)
therhood were willing to accept it, but reigned from 1090 to 1710. His collection, formed
in Düsseldorf, later came to Munich and now
nothing came of this as the triptych was
forms the core of the Pinakothek in that city.
destroyed by fire soon afterwards. It also 12. B ello ri, Vile, I, p.225.
appears from Mols’s sources that Bellori" 14. These copies are also mentioned by Baert in a note
on the paintings destroyed by fire in Brussels in
considered the work one o f the best that
16s>5 (Rijksarchief. Brussels, No. 15.765-70).
Rubens had ever painted; and that co­
pies o f the centre and side panels were
on the altar o f the church at Wezemaal,
54. Job Seated on a Dunghill between
a village between Aarschot and Louvain13
his Wife and his Three Friends
(see No. 56).

Form erly in S t N icholas's C hurch in Brussels.

1. H.Weizsäcker, ‘Der sogenannte Jabaih.schc Altar
und die Dichtung des Buches Hiob', K u n stw isse n ­
D estroyed by fir e in j 69 >.
sch a ftlich e B eiträg e A u g u s t ü m a r so w g ew id m et, Leip­
zig, 1907, p p .15.1-162; W.Weisbach, ‘L ’histoire de
c o p ie s : (i) Engraving by Jan Lauwrijn
Job dans les Arts. A propos du tableau de Georges Krafft (born 1694 in Brussels) (Fig. 121);
de la Tour au musée d ’Hpinal’, G a ç c tte îles B ea ux- 361 x 271 m m .; title: C onclusitque me D eus
A r ts , Sixth Series, XVI, 1946, pp.102-112; M.L.
Brown, ‘The Subject Matter in Dürer's Jabach
a pu d iniquum , ego ille quondam opulentus
Altar', in M a r s y a s , New Vork University, Institute repente contritus sum : Ft j concidit me v u l­
of Hinc Arts, I, 1941, pp.55-68; V.Denis, 'Saint Job, nere super vulnus. Job X V I; dedication: In­
patron des musiciens'. R ev u e belge d 'a rch éolo g ie et
d 'h isto ir e d e l ’a r t, XXI, 1952, 4, pp.25)-2g8; tiédit.
geniosissim o Dom ino D ""Jacobo Bergé [prob­
Ico n og ra p hie, II, 1, pp.yto-.iiH; R.Budde, in L exiko n ably the sculptor Jacques Berger (Brussels,
d e r ch ristlich en Iko n o g ra p h ie, II, «>15.407-414; B ig ler, 1693-1738)], Statuario v B ruxellensis A cade­
B a rock th em en , 19 74 , I, p.204.
2. Mols, 5746, fol.41.
mie Picture v Sculpture D irectori in am icitie
4. M o ls , 5744, to i.145, recto and versa. p ig n u s I o ffe ra b a tJ .L .K ra fft. caelator; P .P .
4. M o ls , 5746, Tom us tertius, V, fols.40-41. See R ooses, R ubens p in xit ; Horst delin 1. [probably Nico-
I, p.tot.
5. This 'St A n n e ’ is very probably identical with The
laas van derHorst( Antwerp, 1598- Brus­
lid u ca lio n o f th e V ir g in , painted by Rubens i'or the sels, 1646), a pupil of Rubens], l i t . Sm ith,
Church of the Calced Carm elites in Brussels, and Catalogue R aisonné, IX (Supplement),
destroyed during the french bombardment o f the
city in 1695, See M o ls , 5745, fol.459; R o oses, I,
p.260, under No.70; V .S ., pp.3-4, No.21;
p p .182-184, N0.141. Rooses, I, p p .160, under No. 129 n.2, 162,
6. M o ls , 5725, fol.56, recto and verso. See R ooses, I, under N0.129; O ldenbourg, R ubens, pp.94-
p p .i6 o -ie i (with some deviations from the m anu­
95, fig.48; J. Müller Hofstede, ‘Beiträge
script).
7. M o ls , 5725, tol.90. zum zeichnerischen W erk von Rubens’,
8. M o ls , 5745, fols.114-115. W allraf-R ichartç-Jahrbuch, XXVII, 1965,
9. The author o f the note transcribed by Mols (Alois,
5746, Tomus tertius, V, fols.40-41) states that the
p.300; (2) Drawing (by ?Nicolaas van der
painting was com pleted in 1012, the year 111 which Horst), N.de Bocr Foundation, Am ster­
it was commissioned. He inters this from the fact dam (Fig. 124); black chalk, 425 x 415 m m.
that Rubens received a first payment in 1614, but
. Sir Joshua Reynolds (1723-1792);
p r o v
this cannot be regarded as conclusive. In M ols’s
own texts we read that the triptych was completed from the estate of Anton W .Mensing,
in 1614 ( M o ls , 5725, fol.90), and delivered (A lo is, Am sterdam , l i t . B. |. A. Renckens, 'En­
57.Î5, fols. 114-115) or placed on the altar (M o ls ,
kele notities bij vroege werken van Cor-
5725, fol.56 recto and verso) in the same year.
to. The Grand D u k e ’s name is not given, and the date nelis Saftleven’, Bulletin M useum Boym ans-

177
CATALOGUE N O . 54

van Beuningen, XIII, 1962, 2, p.67 n.14, N0.48, repr.; J.M üller Hofstede, op. cit.,
fig.21 (as R ub en s ); J. Müller Hofstede, op. p. 304; (2) A painting by JCornelis Saft-
cit., pp,300-304, fig.215 (as R ub en s ); (3) leven, Antwerp, Museum Mayer van den
Drawing, retouched by Rubens, M.Jaffé, Bergh, Inv. N0.479; panel, 42.7 x 60.8 cm.
Cam bridge (No.54a; Fig. 122). p r o v . Acquired by Mayer van den Bergh
(4), (5), (6), (7) (8) before 1902. l i t . O ldenbourg, R ubens, p.95
: M ensaert, Peintre, I, p.98;
l it e r a t u r e
(as a copy fro m the m iddle o f the ijt h century) ;
D escam ps, Voyage, p.52; Sm ith, Catalogue B.J.A.Renckens, op. cit., pp.66-69, fig.20
R aisonné, IX (Supplement), p.260, N0.70; (as Cornelis Saftleven); J.de Coo, M u seum
R ooses, I, pp.160, under N0.129 n.2, 162, M a yer van den Bergh. C atalogus 1. Schilde­
under N0.129; A.Henne and A.Wauters, rijen, verluchte handschriften, tekeningen,
H istoire de la V ille de Bruxelles, Brussels, Antwerp, 1978, p p .154-155 (as after R u ­
1975. 3. p.132; O ldenbourg, R ubens, pp.94- bens, c .i6 jo ) ; (3) An anonymous painting,
95, fig.48; B.J. A.Renckens, ‘Enkele noti­ c. 1630-1635, Job Im portuned by his W ife,
ties bij vroege werken van Cornelis Saft- w ith M em bers o f the F raternity o f Saint Job
leven’, Bulletin M u seum Boym ans-van B eu­ at Saint-O m er, Saint-Omer, Notre-Dame;
ningen, XIII, 1962, 2, p.67 n.14, fig.2.1 ; canvas, 180x220 cm. p r o v . Placed in
J. M üller Hofstede, op. cit., pp.300-303, 1635 in the chapel o f the fraternity o f St
figs.215, 216. Job in Notre-Dame Cathedral, Saint-
Omer. l i t . Descam ps, Voyage, p.326 (as
D e C rayer ); Chanoine Bled, ‘ Enlèvements
From the catalogue o f paintings by Ru­ de l ’argenterie des églises et chapelles du
bens, compiled by Smeyers and copied diocèse de Saint-Omer’, B ulletin de la So­
by Mols,1 (see p.i7iff.) we know that the ciété des antiquaires de la M orinie, Saint-
centre panel o f the Job triptych, form erly Omer, 1922, p.681; Chanoine Coolen, ‘La
in St Nicholas's Church in Brussels, de­ Confrérie de Monsieur Saint Job’, Bulletin
picted the patriarch sitting on a dunghill, de la Société des antiquaires de la M orinie,
pointing to heaven with one hand and Saint-Omer, 1946, pp.302-303; J.Foucart,
with the other holding a potsherd to Cat. Exh. Paris, 1977-78, pp.204-205,
scrape the pus from his sores, while he is No. 157, repr. (as ‘A nonym e vers 1620 -1640 ,
being scolded by his wife and put to the s'in spiran t de R u b en s’ ); (4) A painting by
test by his friends. The composition of the Gaspar de Crayer, Toulouse, Musée des
scene can only be deduced from the three Beaux-Arts, Cat. N0.438 (Fig. 126); canvas
m ore or less exact copies mentioned (originally rounded at the top), 263 x
above (an engraving and two drawings, 191 cm. Signed and dated, below on the
one o f which was finished by Rubens and right: G .d .C r a y e r 16 19 . l i t . H.Vlieghe,
was probably the design for an engraving) G aspar de Crayer, sa vie et ses œ uvres, Brus­
and from particular works by masters sels, 1972, p.81, N0.A7, fig.io (with the
who were evidently inspired by Rubens. previous literature); (5) A drawing by
The chief o f these are: (1) A painting by Abraham van Diepenbeeck (a design for
Gerard Seghers, Prague, National Gallery, the title-page o f the book Job E lucidatus
Inv. N0.302 (Fig. 123) ; canvas, 192 x by Balthasar Corderius, engraved by
242.5 cm. l i t . J. Sip and O.J.Blazicek, La C. Galle the Younger and published by
p ein tu re Jlam ande au X VIIèm e siècle à la Balthasar Moretus in Antw erp in 1646),
G alerie N ationale de Prague, Prague, 1963, Leningrad, Hermitage, Inv. No.25322

178
 CATALOGUE NO. 54

(Fig.127); black chalk, pen and brown ink, support for this hypothesis in the fact
heightened with white, traces of needle that three of the works inspired by Ru­
for transfer, 300 x 195 mm. p r o v . Prince bens (those by Gerard Seghers, ?Cornelis
W. Argoutinsky-Dolgoroukoff (Paris, 1875 Saftleven and the anonymous artist,
to 1941). Acquired by the Hermitage in c. 1630-1635) are of such format. In that
1929. l i t . J.M üller Hofstede, op. cit., case it must be assumed that in the three
p.304, fig.216; J,Kuznetsov, Cat. W estern copies, for unknown reasons, the centre
E uropean D raw ing. The H erm itage , Lenin­ panel was changed from a horizontal to
grad, 1981, N o.142, repr. a vertical format. But it is also possible
that the side panels were fairly narrow
and that the compositional field was en­
In all three copies Job is placed centrally larged for Vorsterman's engraving— in
with his wife to the right and his friends that case probably after a modello by Ru­
to the left,2 so we may assume that this bens— so as to give it a ratio between
W'as also the case in Rubens’s original ver­ height and width in accordance with that
sion: it is supported, moreover, by the usual for prints in a vertical format.5 It is
w om an’s emphatic argumentative ges­ not impossible to have a vertical centre
ture with her right (not her left) hand.3 panel with relatively narrow side panels;
It is noteworthy that in none of the copies in that case the original proportion might
nor in the works inspired by Rubens is after all have been respected in the
Job engaged in scraping the pus from his copies.
sores, as Smeyers describes. However, In MS Hnglish, Catalogues o f Picture Sales
this action is indicated in the drawing in England, II, f.1700, p.22 (Victoria and
worked up by Rubens (see No. 54a: Albert Museum Librarv), a Job on the
Fig. 122) and in the works by ?Cornelis D u n g h ill, R ubens appears as lot 42 in Mr
Saftleven, the anonymous artist (r.1630- John Vereist’s Sale o f Pictures, [London],
1635), and Abraham van Diepenbeeck, j 717—1718. Johannes Vereist, painter, is
where potsherds are seen at Job’s fee t. mentioned in London as a witness in
Job’s wife in Rubens’s painting was cer­ 1691.6
tainly inspired by the illustration to Das
Buch Job 4 in Tobias Stim m er’s N eue K ü n st­
liche Figuren Biblischer H istorien, where she
appears in a similar attitude and with her
hand on her hip, as here.
A problem arises as to the ratio be­ 1. Alois, 57.J.L loi. 145 recto and servo.
tween the height and width of the centre 2. This is also the case in the works inspired by Ru­
panel. As it was part o f a triptych with bens, except those by ’ Cornells Salderen and Cas­
par de Crayer, which hare Job's rrite on the lelt
folding doors, it must have been twice as and his friends on the right.
wide as each door. We do not know .5. In the works by ?Saftleven and de Crayer she makes
what the right panel looked like, but the this gesture with her left hand.
4. Basle, 1576; edit. G .Ilirth Verlag, Munich, 1923.
left one is known from a print by Lucas No. 108.
Vorsterman (see No.55), and its ratio of 5. This is Rooses' supposition (Mooses. I, p. 102).
height to width is such as to im ply that 0. C.K ram m , D e leven s en w erken d er I lolla n d seh e en
Y la a m sch e k u n stsch ild er s, b eeld h ou w ers, graveurs' en
the centre panel o f the triptych was hori­ bouw m eesters, VI, Am sterdam , iHos, p.i7o8; O u d -
zontal in format. There is some slight b lo llu n d , XIV, 1890, p.112.

179
CATALOGUE N O S . 54 a ~ 54 b

54a. Job Seated on a Dunghill hand. The work is probably a design for
between his Wife and his Three an engraving that was never made.
Friends : Retouched Drawing (Fig. 122)

Upper corners rounded. Grey body-colour

54b, Head of a Bearded M an (Fig. 125)
and brown ink, heightened with white,
over preliminary work in black chalk;
Oil on panel; 38 x 31 cm.
445 x 365 m m. Below on the left, m ark
W hereabouts unknow n.
of the collection o f Sir Thomas Lawrence
(L.2445).— Verso: m ark of the collection p r o v e n a n c e : Thomas Agnew & Sons,
o f H.S.Reitlinger (L. S u p p l.ix j 4a). London (1942); Julian Singer, London
Cam bridge, Collection o f M .Ja ffé. (1948); Fernand Houget, Verviers (1949).

: Sir Thomas Lawrence

p r o v e n a n c e

(London, 1769-1830); Henry Scipio Reit-

Burchard, who saw this painting, de­
linger (London, 1882-1950), sale, London
scribed it as follows in a letter o f 23 A u ­
(Sotheby’s), 22-23 June 1954 (bought by
gust 1949 to M .H ouget: ‘La tête est diri­
M.Jaffé, £200).
gée de trois quarts vers la droite et se
e x h i b i t e d : Seventeenth-Century Flem ish détache d’un fond sombre. Les cheveux
et la barbe sont châtain, et le teint est
D ra w in gs and O il Sketches, Fitzwilliam
Museum, Cambridge, 1958, No.39. d’un brun rougeâtre. L ’hom m e est éclairé
en plein sur le visage et lève ses yeux avec
: [M .J a ffé ), C a t. Exh. Seven­
l it e r a t u r e une expression de profonde concentra­
teenth C en tu ry Flem ish D ra w in gs and O il tion. Cette peinture, d’une facture éner­
Sketches, Fitzwilliam Museum, Cam brid­ gique et magistrale, est entièrement de
ge, 1958, p.15, No.39 (as w orked over by la main de Rubens. Elle est m erveilleuse­
R ubens). m ent bien conservée’ (The head, seen
against a dark background, is turned
three-quarters to the right. The hair and
This drawing, based on the centre panel beard are chestnut, and the complexion
o f Rubens’s triptych Job in D istress, for­ reddish-brown. The light falls fully on the
m erly in St Nicholas’s Church in Brussels, m an’s face, and his eyes are raised with
agrees in the main with the engraving by an expression o f deep concentration. This
J.L.Krafft (see N o.54; Fig.121) and with energetic and masterly painting is en­
the black chalk drawing in the N. de Boer tirely by Rubens’s hand and is wonder­
Foundation in Am sterdam (see N0.54; fully w ell preserved).
Fig.124); however, the architectural decor Colin A gnew 1 was the first to connect
o f the latter two is replaced by a rocky this w ork with Job Seated on a D u n g h ill
landscape. The dimensions are approxi­ between his W ife and his Three F riends, the
m ately those of a Lucas Vorsterman print. centre panel o f Rubens’s triptych o f Job
O f the preliminary work in black chalk in D istress, form erly in St Nicholas’s
(perhaps by Vorsterman) practicallynoth- Church in Brussels (see N o.54): he rec­
ing can be seen; the wash with the brush ognized it as a study for the head o f the
in brown and above all the heightening friend nearest to Job. Kurt Badt1 agreed
in white with body-colour reveal Rubens’s with the attribution to Rubens, but

180
 C A T AL O G L ’ E NO. 55
thought it was a fragm ent o f a lost paint­ nungen A nton van D ycks, Brussels, 1962,
ing and not a study. His chief reason for p.236, under No.i66; Renger, R ubens De-
this view was the reddish-brown tint of dit, I, p. 139; Bodart, p.69. No. 123, repr.
the m an’s complexion, which he believed
(2), (3) (4), (5), (6) (7) (8)
to be due to the reflection o f a red drap­
ery in the lost painting. From Smeyers’s catalogue of Rubens’s
Burchard, who inspected the work, paintings, copied by Mols,1 (see p.i7iff.),
noted that the edges o f the panel were we know that the left panel of the trip­
not bevelled and the fibres o f the wood tych of Job in D istress, commissioned in
did not run horizontally, which is unu­ 1612 and form erly in St Nicholas’s Church
sual for a w ork in vertical format. He in Brussels, showed Job ‘scourged with
inferred that the panel was a sawn-off snakes by Satan’. Smeyers considered this
portion o f a larger whole; this, he be­ scene, ‘in which Job’s naked body shows
lieved, was in horizontal format and up clearly against a dark background’, as
comprised two studies o f the same bear­ the finest o f the whole triptych.
ded model. Apart from Job Seated on a D ung hill be­
tween his W ife and his Three Friends (se e
1. This appears from a certificate by Colin Agnew
No.54), this is the only scene of the trip­
dated 3 Decem ber 1942 , a copy o f which Burchard
possessed. tych that is not known merely from a
2. Oral information from Kurt Badt in 1048, noted by brief description but o f which we can
Burchard.
form some idea from one or more copies,
in this case an engraving by Lucas Vors­
terman. Allowance must be made for the
55. Job Tormented by Demons
possibility that it does not reproduce the
and Abused by his Wife
scene with complete accuracy: for in­
stance, its proportions may have been
Form erly in S t N icholas’s C hurch in Brussels.
adapted to those usual for an engraving
D estroyed by fir e in 1695.
in vertical format (see No. 54). It also ap­
c o p y : Engraving in reverse b y Lucas pears from the general orientation of the
Vorsterman (1595-1675) (Fig. 129); 382 x figures o f Job and his wife, and their
256 m m .; title: Homo n atus de m uliere, gestures with the left arm, that the origi­
brevi vivens tempore, repletur m ultis mise­ nal painting is reproduced in reverse.
riis. Q u i quasi fio s egreditur / et conteritur, The naked Job, sitting on a dunghill,
et fu g it velut um bra, et nunquam in eodem is tugged backwards by the hair, by a de­
statu perm anet, lob. 14., and underneath: vil who is about to scourge him with a
P. P. R ubens p in x it and L. Vorsterm an excud. rope; two other devils threaten him with
cu m p riv ileg . l i t . Sm ith, C atalogue R aisonné, a burning brand and with a snake. As if
II, p.54, N o.151; IX (Supplement), p.260, this were not torment enough, his wife
N0.69; V .S ., p.3, N0.17; H ym ans, G ravure, stands by and upbraids him with word
p p .1 7 5 -1 7 6 ; Rooses, I, p.162, under N o.129; and gesture. The m otif o f the central
V, p. 147; H ym ans, Vorsterm an, pp.67-68, character surrounded by three demons is
N0.4; K nipping , Iconography, I, p.230, reminiscent o f St Lawrence and the three
fig.224; Lugt, C at. Louvre, École flam ande, executioners in Titian’s M artyrdom o f St
II, p.37, N o.1129, pl.LVIII; H eld, D raw ings, Law rence in the Jesuit Church in Venice,2
PP-3 7 . Lio, under No.80; H. Vey, D ie Zeich­ a painting that Rubens must have seen

181
CATALOGUE N O . 55

during his stay in Italy, and which he op syn ly f sitten, van Rubbens, groot om ­
made use o f for his own M artyrdom o f trent een elle int vierkant, behalve dat
S t Law rence in Schloss Schleissheim.3 het wat hooger is als dat het breet is’ (The
The design for Vorsterm an’s engraving Patient Job Beset by Tw o D evils, by Rubens,
is in the Louvre in Paris (Fig.128).4 Only about an ell [67.67 cm.] square, but som e­
Van den W ijngaert attributes it to Vor­ what higher than it is wide).6
sterman himself. Most authors (Hymans, The catalogue o f a collection o f paint­
Lugt, Held, Vey) see in it the hand of ings sold in Brussels on and after 18 A u ­
Van Dyck: probably rightly, though one gust 18237 includes as lot 76: ‘Rubens,
may agree with Held that ‘unless some P.P.—Job su r le fu m ier, tourm enté p a r sa
new evidence appears (which is not likely) fem m e et les dém ons. Ce tableau est gravé.
Van Dyck’s authorship will remain a Sur bois. 15 x 11 pouces’ (Rubens, P.P.—
m atter of conjecture’. Smith described Job on the D u n g hill, Torm ented by his W ife
the work as ‘done by a scholar and per­ and Dem ons. Engraved. On panel, 15 x 11
fected by Rubens’, while M üller Hofstede inches [40.6 x 29.8 cm.]).
and Renger suggest that it may be en­ According to Hymans,8 a fine drawing
tirely by Rubens. by Rubens o f ‘J ob tourm enté p a r sa fem m e
Rubens’s Job Torm ented by Dem ons and et p a r les dém ons' was form erly in the col­
A bu sed by his W ife is known from several lection o f Count R.du Chastel Andelot in
other copies, both paintings and engrav­ Brussels.
ings.5 None, however, is directly based on A drawing (black chalk on blue paper,
the original work: they all derive from 350 x 270 mm.), also representing ‘J ob
Vorsterm an’s engraving, which the paint­ tourm enté p a r sa fem m e et p a r les dém ons’,
ings reproduce in the same direction and but ‘ d 'ap rès le tableau de R u b en s’ , and
the prints in reverse. stated to be by Vorsterman, was lot 600
For the figure of Job Rubens used a in the De Vries sale, Am sterdam , 24-25
study from life, now in the National­ January 1922. It had been in the H. Ger­
museum, Stockholm (No.55a; Fig. 130). lings Collection, and attached to it was
Another study from life, also in the ‘ une épreuve de la gravure exécutée d ’après
Nationalmuseum, Stockholm (No.55b; ce dessin’ . This m ay have been the same
Fig.131) was drawn by him for one of drawing as the one that form erly be­
the three demons. longed to Count R.du Chastel Andelot.
Another painting of Job Torm ented by Am ong the paintings in the rich collec­
D em ons and A bu sed by his W ife was for­ tion o f T. Loridon de Ghellinck in Ghent
m erly in the church at W ezemaal near was a Job tenté’ by Carel de Moor. The
Louvain but was destroyed by fire (see collection was sold there by the widow
N o.56). o f S.Somers (s.d.; c.1780). From the de­
Smeyers stated in his catalogue that he scription in the sale catalogue9 it is clear
had seen in Brussels ‘a finished sketch that this was a Job Torm ented by D em ons
which could not be looked at without and A bu sed by his W ife, based on Rubens.
admiration’. W hether it still exists is not
known. 1. M o ts, 5733, fol.145 recto and verso.
In 1706 the tapestry merchants Nau- 2. H .E.W ethey, T h e P a in tin g s o f T itia n , I, London-
N ew York, 1969, pp.139-140, No. 114, pis.178, 179.
laerts and Blom m aert possessed a paint­
3. V liegtte, S a in ts, II, pp .107-108, N0.126, fig.71.
ing o f ‘ V erduldigen J o b , w aar dat 2 duyvels 4. Paris, Louvre, Inv. No.20.316; black chalk, and

182
 CATA I.OC,UH NO. 55a

some red chalk in the face of Job's wife, heightened graving (in reverse to Vorsterman's print); title;
with a few light touches ot white in the body and Jo b s T e n ta tie ; A.S'nwris e.vc. (the same print exists
garm ents o f J o b and his wife; 403 x 1 7 b m m . ; be­ with the title I.eblon d ear.). 111: V S . , p .3 , N0.18;
low on the left, mark o f the L o utre (f.1107) and R o oses, I, p. 162, under No. 12 9 ; (7 ) Anonymous en­
an unidentified paraph (/..2001). p r o v . Ancient Roy­ graving (in reverse to Vorsterman's print); title;
al Collection, rxii. Anluou run Dvcfc, teken in g en en lob P r o p h ète; M a r ie tte e x c u d , two lines o f text: H om o
o liev erfsch etsen , Rubenshuis, Antwerp - Museum n a tu s d e m u liere, brevi viv en s tem pore r e p letu r m u ltis
Boymans-van Benningen, Rotterdam, 1000, N0.21, m iseriis. / l.'h o m m e né de fem m e, viv a n t p eu de tem ps
pl.X (as V a n D y ck ), l i t . S m ith , C a ta lo g u e R a iso n n é, i l , est rem p li d e g ra n d es m iseres, nr. V.M.. p.3, N o. 1 9 ;
p.54, N o .iç j; H y m a n s, V orsterm a n . pp.26-27. 08 , R o oses, 1, p. 162, under No, 129 .
under N0.4; R o oses, V , p.147; F.van den W ijngaen, 6. D en u cé. A r t-T a p e s tr v . p.303.
‘P.P. Rubens en Lucas Vorsterm an', D e G u ld en P a s­ 7. A c o p y o f th is c a t a l o g u e is in th e R ij k s b u r e a ti v o o r
se r , Antwerp, 1045, W ill, p p .170-180; lu g t , C a t. ku nsthistorische D o c u m e n ta tie . T h e Hague.
L o u v re, É cole fta m a m le, II, pp.36-37, under N o.1120. 8. H y m a n s, V o rsterm a n , p.68, under No.4.
p.37, N 0.1129, pl.LVIII; H eh l, D r a w in g s, pp.37, 130. 9 . ‘ C a ta lo g u e d ’ un e très-belle et riche C o llectio n d e T a ­
under No.80; J .M üller Hofstede, 'Z u r Ausstellung b le a u x . . . q u i co m p osen t le ca bin et de M o n sie u r 'I'. L o n ­
von Zeichnungen und Öl.vki//en V a n Dycks in Ant­ d o n d e G h e llin ck d em eu ra n t d a n s le Q u a etd a m à G a n d .
werpen und Rotterdam , Sommer-Herbst 1000', A G a n d c h e z la veuve de R .S om ers, au S a la m a n d r e’ ,
P a n th eo n , XIX, 1961, p.151, tig.2; H.Vey, D ie Z eich ­ p.72, lo t 225: C h a r l e s de M o o r , 'Job te n té, p e in t su r
n u n g en A n to n ra n D y ck s, Brussels, 1002, pp.32-33, toile, h a u t 3 2 , la rge 2 j po uces [80.5 x 07.5 cm .]. J o b est
pp.235-236, N o .166, fig.203; R en g er, R u b en s I k i l i t , I, a ssis su r un e élév a tio n , où il est tenté &■ fr a p p é p a r d e u x
p.139; B od a rt, p.69, under N o.123. d ém o n s, 6 ' in ju r ié p a r un troisièm e, ijui est sa fe m m e
5. (1) Painting by Eugène Delacroix (in the same di­ qu e le p a tien t souff re sa n s se p la in d r e : d e rrière la fem m e
rection as V orsterm an's print), Bayonne. Musée on voit les d écom bres de sa m aison q u i est écr o u lée’ .
Bonität (Cat.1908, N0.70); canvas, 0 2x52 cm. l i t .
B .Ehrlich W hite, ‘ Delacroix's Painted Copies after
Rubens', A r t B u lletin , XL1X, 1907, pp.39,45-46, fig.34
(as D e la c r o ix , g r isa ille a fte r V o r ste r m a n ’s print); 55a. Nude Man leaning back (Job):
L.Johnson, T h e P a in tin g s o f Pu g èn e D e la c r o ix , O x­ Drawing (Fig . 130)
ford, 1981, p.13. N o.15, p i.12 (as Delacroix, g r isa ille
a fte r V o r ster m a n ’s p r in t); (2) A n o n y m o u s painting
(in the same direction as Vorsterm an's print), Paris, Sheet fu lly m ounted, eut off along the
Musée du Louvre (Cat. 1979, p.r22, N0.M.I.968, rig ht edge and restored. W a te rm a rk :
repr.); canvas, 146 x 119 cm. p r o v . Thomas Henry
fleur-de-lis. Black chalk heightened w ith
(commissaire-expert du Musée Royal), sale, Paris
(Hôtel des Ventes Mobilières), 23 May 1830, lot 71 ; b o d y-colou r: 570 x 444 m m . Below to the
bequeathed to the Louvre by Louis La Ca/.e in 1809 right, m a rk of the N ationalm useum ,
(N o tice d es ta b le a u x lég u és a u M u s é e Im p é ria l tin I.o u vre
p a r M . L ouis La C a g e , Paris, 1870, No. 107). 1.1 r. R o o ­
Stockholm (L.1980), and, inscribed w ith
ses, I, p.too, under N o.129; M.Rooses, D e o iu le H ol­ the pen by an eighteenth-century hand,
ländische en V la a m sch e m eesters in den L ouv re en in de R ubens, R ubens Cabinet tie C roça t, n j y
N a tio n a l G a lle r y , Am sterdam , [1902], p.92; H y m a n s,
and 46
G r a v u r e , p p .175-176; L.Johnson, op. cit., p .14, un­
der N o .t5; (3) Anonymous painting (in the same Stockholm , X a tionalm u se tint.
direction as Vorsterm an’s print), Munich, Alte Pina­ Inv. No. 1926-1863.
kothek (Cat. 1908, p. 171, No.805); panel, 33 x 25 cm.
p r o v . Elector Palatine, Mannheim (V e r z e ic h n is d er in provenance: Pierre C rozat (Paris, 1663
den C h u r fiir s tlich e n C a h in etten g u M a n n h eim b efin d ­ to 1740; ?Cat. 1741, N o.836): C o u n t C .G .
lichen M a h lerey e n , Mannheim, 1756, N o.8). l i t . Alt-
ch el, H isto ire, p.304; S m ith , C a ta lo g u e R a iso n n é, II,
Tessin (Stockholm , 1093-1770), Purchased
pp.54, N o.152, 79, No.244; IX (Supplement), under hy the Royal M u se u m in 1733.
N0.69; R o oses, I, p.160, under No. 129; H y m a n s, Vnr.s-
term a n , pp.67-68, under No.4; (4) Anonymous : H elsinki, 19>z—>j. No. 34:
e x h ib it e d
painting (in the same direction as Vorsterm an’s D utch and Flemish D raw ings, N a tio n al­
print), whereabouts unknown; panel (on the back,
m u seu m , Stockholm , 1933, N0.97; A n t­
m ark of the Antwerp guild), 104 x 7 4 cm. p r o v .
Frankfurt am Main, Gottlieb M üller (1927); (5) w erp, 1936, N o.44; A ntw erp, 19 7 7 , N o. 134.
Anonymous painting (in the same direction as
Vorsterm an's print), Berchem-Antvverp, R.W er­
lu ie r atu re: G liick-H ab erdit^ l, N o. 88,
ner (1973); panel, 04 x 4 9 cm .; (b) Anonymous en­ repr. (as R ubens, c. 16/4-1613); B urchard-

183
CATALOGUE N O . 55b

d ’H u lst, Tekeningen, p p .5 3 -5 4 ,N 0 .4 4 , fig.XX from many angles during one o f his stays
(as R ubens, c .16 12 ); H eld, D ra w in gs, p.130, in Rome, probably between 1605 and
N0.80, pl.91 (as R ubens, c .1 6 1 2 -1 6 1 4 )l Bur­ 1608.2
ch a r d -d ’H u lst, D ra w in gs, pp.119-121, No. The present drawing looks forward to
72, repr. (as R ubens, c .16 12 ); J.M üller the figure o f St Lawrence in Rubens’s
Hofstede, Review of B u rch a rd -d ’ H ulst, M a rtyrd om o f St Law rence, Schloss Schleiss-
D ra w in gs in M a ster D raw ings, 4, 1966, heim, o f c. 1615,3 and to the figure o f St
p.447, No.72; J. Kuznetsov, R ubens D ra w ­ John in his A doration o f the M a gi, St John’s
ings (in Russian), Moscow, 1974, N0.41, Church, Malines (Mechelen) of 1617.4
repr. (as R ubens, c .1 6 1 2 ); H eld, D raw ings,
1. As J. M üller Hofstede (loc. cit.) has pointed out, this
1986, p.101, N0.80, fig.74 (as R ubens,
study was probably not made in preparation for
c. 16 12 -16 14 ). T h e M a r ty r d o m o f S t L a w ren ce and afterwards used
for the J o b triptych, as supposed in B u r c h a r d -d ’H u ls t,
D r a w in g s (loc. cit.), but was executed directly for
J o b T o rm en ted by D em o n s a n d A b u s e d by his W ife.
A full-length figure o f a young man, illu­ 2. V.H .M iesel, 'Rubens' Study Drawings after A n ­
minated from the right and from below. cient Sculpture’, G a z e tte des B e a u x -A r ts , Sixth Series,
LXI, 1 9 6 3 , p.311; B u r c h a r d -d ’ H u lst, D r a w in g s, pp.31
He is leaning backwards and turned to
to 33, N0.15, repr.; F u b in i-H e ld , p p .1x3-141, figs.6,
the right, the eyes looking up. The right 8, 9, p l.I.
arm and leg are pulled back, the left 3. V lieg h e, S a in ts, II, p p .107-108, No. 126, fig.71.
4. K .d .K ., p. 165, left.
arm is raised above the head. Rubens in­
dicated an alternative, slightly bent left
arm in a low er position. As the sheet was
55b. A Tormenting Demon: Drawing
not big enough, he drew the whole left
(Fig. 1 31)
arm separately on the right. An alter­
native position o f the left leg is lightly
Buff paper, slightly stained. A narrow
indicated.
strip o f paper along the right edge, which
This study from life was made for the
widens towards the lower corner, has
principal figure in Job Torm ented by D e ­
been cut away. Black chalk, heightened
m ons and A bu sed by his W ife (see N o.55),
with white; 416 x 272 m m . Below on the
the left panel o f the triptych of Job in D is­
left, m ark o f the collection o f J.G .de la
tress, commissioned in 1612 and form erly
Gardie (L Suppl. 2722“).
in St Nicholas’s Church in Brussels.1 If we
Stockholm , N ationalm useum .
assume that Vorsterm an’s print (see
No.55; Fig. 129) is an essentially faithful p r o v e n a n c e : Count Jacob Gustavus de
reproduction o f the left panel (in reverse), la Gardie (Löberöd, Sweden, 1768-1842). In
then Rubens must, in the painting, have 1799 he inherited the collection o f paint­
considerably modified the figure o f Job as ings and drawings of his father-in-law,
drawn in this study from life : for in the Count Gustaf A d olf Sparre, and, as Swe­
painting Job raises his right and not his dish Minister to Vienna, he received in
left arm, while he stretches out the left 1801, as a parting gift, a parcel o f draw­
arm horizontally and inclines the head ings from Duke Albert o f Saxony-Teschen
further back. which the Duke had acquired at the
The pose o f Job clearly reveals the in­ Prince Charles de Ligne sale (Vienna,
fluence o f the principal figure of the Lao­ 4 Novem ber 1794); Count Pontus de la
coon group, which Rubens had drawn Gardie (Borrestad, Scania, Sweden).

184
 C A I A LO G IE N O . Çf>

l it e r a t u r e : B u rch a rd -d 'H u lst, D raw ings, in light. The presumed date of the draw­
pp.171-172, No. 107, repr. (as R ubens, ing is c, 1612.1
c. 16 14 -16 1 3) ; J. M üller Hofstede, ‘ Beiträge The demon also appears, modified, in
zum zeichnerischen W erk von Rubens’, a painting which was formerly in the
W allraf-R ichartç-Jahrbuch, XXVII, 1965, church at W ezemaal, near Louvain, and
p.301 n.112); Id., Review of B u rch a rd - is reproduced in an anonymous engrav­
d 'H u lst, D raw ings in M a ster D raw ings, 4, ing (see No.56; Fig.132). There he is not
1966, p.450, No. 107 (as R ubens, c.16 12 ); behind Job but to his right, gripping Job’s
B.Magnusson, ‘The De la Gardie (Borre- shoulder with his left hand while holding
stad) Collection o f Drawings’, N ational­ in his raised hand a viper with which he
m useum Bulletin, VI, 3, 1982, pp. 113-140. is about to whip the virtuous man; his
raised right arm and his head, however,
are differently posed.
The drawing is a study from life o f a Rubens used the present study again,
young man, naked except for a loincloth. though modified, for Lucifer in St M ichael,
His right leg, bent at the knee, and his a painting in the Baron Thyssen-Borne-
right arm are raised: his left arm is misza Collection, Castagnola, Lugano* and
stretched downwards. His gaze is fixed once more, in reverse and also modified,
upon his victim (not represented in the for a young man (? an angel) causing one
drawing), whom he grips with his left o f the Damned to fall over his knee, in a
fist, while he prepares to deliver a blow black chalk drawing o f 7 'Iie Fall o f the
with his right. O nly the upper part o f his D am ned in the possession of the Van
left leg is indicated, the rest o f it disap­ Reghen family, Am sterdam .5
pearing behind the victim. The pointed
1. J. M üller Hofstede (re\it-\\ of H u r c h a r d -d T ln ls l,
ear and clawed foot m ark him as a de­ D r a w in g s , loc. tit.) right Iv argues that the date of
mon. The light falls from the right. r. 1014-1015 suggested by Burehard-d'Hulst is too
This study was made for one of the late, and that there is no reason to suppose, as sug­
gested by Oldenbourg (O ld e n b o u r g , Rufans, p.s>6),
three demons in Job Torm ented by Dem ons that the left panel o f t h e Jo b triptych was painted
and A bused by bis W ife, the left panel of later than the centre panel. But he is mistaken in
the triptych o f Job in D istress, commis­ plating the drawing c.to ii on the authority of
Mols (see p.i7.t), who states that the triptych was
sioned in 1612 and form erly in St Nicho­
co m p leted in 1612. In fact the lirst o f the sources used
las’s Church in Brussels. As shown by by Mols states that the triptveh was commissioned in
Vorsterm an’s engraving (see N o.55; Fig. 1612 (it says nothing about completion), while in
the second source the completion date of t o n is
129), which, we may assume, reproduces
inferred from the fact that the lirst instalment of
the essential elements o f the left panel the fee was paid in 1613; but this cannot be re­
(in reverse), Rubens’s painting did not garded as conclusise proof
2. Cat. 1060, No,268, p i.128. See \ lieglw , S a in ts, II.
conform exactly to the study. In the
p p .1.10-131, N o.136, lig.oo.
painting, the demon seizes Job by the 3. V lieg h e, S a in ts, I f p p .123-124, No. 133, fig.88.
hair with his left hand, but the position
o f his right arm is different, while his
raised leg has been transferred to another 56. Job Tormented by Demons
demon. The play o f light and shade is the and Abused by his Wife
same as in the drawing: the breast in
dark shadow, the face in half-shadow, the Form erly in the church o f W ezem aal, near
shoulder and extended left arm bathed Louvain. Destroyed bv fire.

185
CATALOGUE N O . 56

c o p y : Anonymous engraving (Fig. 132); ters, one o f them clutching a snake. To

165 x190 mm. (without the text above the right o f Job is his wife, upbraiding
and below); title: S. IOB PROPHETA, / him with arms akimbo, and one o f his
WESEMALIENSIS ECCLESIÆ PATR O ­ friends. A t his feet are potsherds and a
NUS. X. M a ij; inscription above: IN NI­ dung-fork; in the background his house
DULO M EO MORIAR ET UT PALM A is collapsing in flames. The main group
MULTIPLICABO DIES, Iob 23; inscrip­ of Job and the demons is in reverse to
tion below: D om inus dedit. D om inus abstu­ Vorsterm an’s print and thus in the same
lit : sicut D om ino placu it, / ita fa ctu m est: sil direction as in the left panel o f the origi­
nom en D om ini benedictum . Iob. 1. / Si bona nal triptych in Brussels (see No.55;
suscepim us de m anu D ei, m ala quare non Fig. 129); in the latter, however, Job’s
suscipiam us. Iob. 2; without the name of wife was on the left instead o f on the right,
the painter, the engraver or the publisher. and none o f his friends was present.
l i t . V .S ., p.3, No. 20; Rooses, I, p.162; There is no copy to be found anywhere
V. Denis, ‘Saint Job, patron des musi­ of a centre panel (Job Seated on a D u n g h ill
ciens’, R evue belge d ’archéologie et d'histoire between his W ife and his Three Friends) or
de l ’art, XXI, 1952, 4, p.287, pl.XIX. a right-hand panel (Job R eceiving N ew s o f
(2) his M isfortu n es) that m ight have been in
the church at W ezemaal, and after
According to Smeyers (see p. 173), there Smeyers they are no longer explicitly
were form erly in the church at Weze- mentioned. The question arises whether
maal near Louvain ‘schoone copyen’ (fine Smeyers made a mistake and the church
copies) o f the centre and side panels of possessed a copy o f only one scene, Job
Rubens’s triptych o f Job in D istress, which Torm ented by D em ons and A bu sed by his
had been in St Nicholas’s Church in Brus­ W ife.3 This would m ake it easier to ex­
sels until destroyed by fire in 1695. The plain the horizontal format o f the anony­
copies, Smeyers believed, had been exe­ mous print, at least if we m ay assume
cuted by a skilled master, more than a that its author respected the proportions
century before his time. According to o f his model.
Rooses,1 the existence o f such paintings in Burchard4 believed that the painting
the church at W ezemaal, and the cele­ form erly at W ezem aal was a different
brity they had enjoyed, was confirmed by version from the left-hand panel o f the
local tradition. They were, it appears, same title in Brussels, and he had no
subsequently destroyed by fire ; the church doubt that it was executed by Rubens
still possesses a painting o f Job ( C . 1 7 5 X himself. He argued this not only from the
150 cm.), but it is o f no artistic value. general composition but also from the
An old anonymous print o f which there fact that the figure o f Job’s wife repro­
is a copy in the Rubenianum in Antw erp2 duces in reverse a pen-and-ink drawing
(Fig. 132), clearly relates— as shown by its by Rubens, form erly in the collection of
title, S. IOB PROPHETA, W ESEM A­ C. Fairfax Murray. This drawing, as was
LIENSIS ECCLESIÆ PATRONUS— to a shown by Lugt,5 is a copy o f a woodcut
painting form erly at W ezemaal. It repre­ ( ‘D a s Buch J ob ’) in Stim mer’s Bible. H ow­
sents the naked Job, half sitting and half ever, as Burchard cannot have seen the
lying on a dunghill, being ill-treated by painting at W ezem aal and had to base
three demons with the heads o f mons­ his argument on the anonymous print,

186
 CATALOGUE NO. 57

his opinion must be treated with some ton (bv descent), sale, London (Christie’s),
reserve. He did not express any view 19 June 1882, lot 80, bought by Duncan;
as to whether the painting formed part Christopher Beckett Denison, sale, Lon­
o f a triptych. don (Christie’s), 13 June 1885, lot 92.5,
In the Municipal Museum Van der bought by Jamieson; 1jth Duke o f Ham ­
Kelen-Mertens at Louvain is a painting ilton, sale, London (Christie’s), 6 No­
(canvas, 120 x209 cm.; Fig.133)6 by a vember 1919, lot 57. bought by Kearly ;
weak, unknown hand which closely re­ ist Viscount Cow d rav; 3rd Viscount Cow-
sembles the anonymous print. All the dray (by descent), sale, London (Bon­
figures in the print are found in this paint­ ham ’s), i August 1963, lot 25, bought be­
ing in the same attitudes. However, while fore the auction bv J.Weitzner; with
in the print there is only one male figure Knoedler & Co., 1964; acquired by the
behind Job’s wife, in the painting there National Callerv of Art in 1965.
are three, representingjob’s three friends.
It can thus be deduced that it was not co ptes : (1) Anonymous painting. Church
painted after the print but that both at Codshill near Rvde, Isle o f W ight; can­
works are based on another, now lost. vas, 223 x 334 cm. p r o v . Presented in the
early seventeenth cent tin by the Harl of
1. R o oses, I, pp.ihi-162. (i.Hcnschenius (ioo[ - 1081) Yarborough, his Countess being niece and
states in the A d a Stiiutoritm (|.Bollaudus and
heir to Sir Richard Worslev Bt„ of Appel-
G.Henschenius, May, second volum e, nth edn.,
Paris-Rome, 1800, p.any) that pilgrimages to We/.e- durcomb. Isle o f Wight. This Worsley
ntaal took place on to May. which was Job’s feast- had inherited the picture from his father,
dav.
Sir Thomas Worslev. u t . M.Rooses in
2. Another copy is in the Printroom of the Biblio­
thèque Nationale, Paris (Portfolio C.C.34A, p .<55). R uhens-B ulletijn, 1, p.200; Rooses, I, p .163,
i. It is true that Baert (Rijksarchief, Brussels. No. under N0.130:Jaffé, A m sterdam , 1 9 t ) , p.59
15.705-70) also mentions a J o b triptych at Weze-
11.5; Jaffé, W ashington, 1970, pp.17, 31
maal; hut it is not certain that his text is indepen­
dent o f Smeyers’s. n.35; (2) Anonymous painting, where­
4. B u r c h a r d -d ’ H u lst, D ra w in g s , p p .171-172, under abouts unknown; 44.5 x54 cm. p r o v .
N o.107.
Jacques de Roore, sale. The Hague, 4 Sep­
5. L u g t, R u b e n s a n d Stimmer, p.ion, figs. 16, iX.
0. On loan from the Openbaar Centrum voor Maat­ tem ber 1747, lot 50. l i t . H oet-Terw esten,
schappelijk W elzijn (Public Centre lor Social W el­ II, p.204, N o.50; Rooses. I, p. [64, No.i jobis
fare), Louvain.
(as sketch): (3) Anonymous painting,
E.Abresch, Neustadt an der Weinstrasse,
Rheinpfalz (1943). l i t . Evers, N eue For­
57. Daniel in the Lions’ Den
schungen, p.375; Jaffé, W ashington, 1970,
(Fig-1 3 4 )
pp.31-32 n.35; (4) Anonymous painting,
M elville Hall, Fife. l it . Jaffé, Washington,
Oil on canvas; 224 x 330 cm.
19 70, p.31 n.35; (5) Anonymous painting,
W ashington, D .C ., N ational (lallerv o f A rt,
Mrs Roper-Lumley-Holland, Lynstead
A ilsa M ellon Bruce Fund 196).
Park, Kent, sale, London (Sotheby’s),
p r o v e n a n c e ; Sir Dudley Carleton (ist 6 July 1927, lot 82 (withdrawn); canvas,
Viscount Dorchester), who acquired the 84x135 in. L11. Jaffé, Washington, 1970,
painting from Rubens in 1618, and pre­ p.32 n.35; (6) Anonymous painting, sale,
sented it to Charles I o f England; ist London (Christie’s), 20 July 1934. lot 66,
Duke o f Hamilton; 12th Duke o f Hamil­ bought by S.Hartveld, Antwerp; canvas,

187
CATALOGUE N O . 57

215 x336 cm. l i t .J a ffé, W ashington, 1970, ing, M r A.E.Lam m ans-de Haes, Reuver,
p.32 n.35; (7) Anonymous painting, Holland (1982); canvas, 83 x127.5 cm.;
Kunsthistorisches Museum, Vienna, No. (20) Anonymous drawing, Albertina,
1267. l i t . R ooses, V , p.314, N0.130; (8) Vienna, Inv. N0.8.312; pen in brown ink
Anonymous painting, ‘Collection o f Pic­ on white paper, 350 x2 19 m m .; lower
tures made by Messrs Hadfield and Bur­ right inscribed with the pen P. P. R ubens
rows during their tour through Flanders, f e l, and with chalk P . P. R ubens ; lower left,
France, Germany and H ollan d...’, sale, with pencil 18. p r o v . Antoine Rutgers,
London (Greenwood), 10 May 1785, lot 77 sale, Am sterdam , 1778. l i t . Rooses, V,
(as V a n D yck), repr.; (9) Anonymous p.226, No. 1426, pl.406 (as R u b en s ); F.M.
painting, Copenhagen, Collection o f Con­ Haberditzl, ‘Über einige Handzeichnun­
sul Hans W est; canvas, 5 1x 6 4 cm. lit . gen von Rubens in der Albertina’, D ie
R aisonneret Catalog over C on su l W est’s G rafischen K ünste, XXXV, Vienna, 1912,
Säm ling a f M a le r ie r ... lid g ivet o f hem selv, p.12 (as copy after R ubens); Jaffé, W ashin g­
Copenhagen, 1807, pp. 138-139, N0.75; ton, 1970, pp. 17, 32 n.37, fig.20 (as Theo-
(10) Anonymous painting, M r Georges door van T hulden); M itsch, R ubensçeichn un -
De Zuttere, Essen, Belgium (1935); (n ) gen, p.216, N0.112, repr. (as copy after R u ­
Anonymous painting, Private Collection, bens). The drawing shows ten lions and a
Stockholm (1947); canvas, 127 x185 cm.; dog. O f the lions, eight are copied after
(12) Anonymous painting, C.W .O xley the Washington painting; two others, in
Parker, London, sale, London (Sotheby’s), the centre, are copied after Rubens’ M a r ­
18 February 1953, lot 146 (bought by riage o f H enry I V and M a ria de’M ed ici (R oo­
H.Terry-Engel); panel, 48 x 65 cm. p r o v . ses, III, 1890, pp.230-231, N0.736). As Jaffé
Sale, London (Christie’s), 28 June 1890, remarked, five o f the lions appear at the
lot 46 (as a fin ish ed sketch; bought by Sir left o f Theodoor van Thulden’s Presenta­
W illiam Farrer, grandfather o f C .W .O x­ tion o f the Stadholdership o f the Seven P rov­
ley Parker), e x h . W in ter Exhibition, New inces to Prince Frederick H enry, signed and
Gallery, London, 1899-1900, No. 105. l i t . dated 16j i , a painting to go over the
M. Rooses in R ubens-B ulletijn, V , p.286, doorway to the Oranjezaal o f the Huis
No.i3obis; Jaffé, W ashington, î ç j o , p.31, ten Bosch near The Hague. In his opinion,
N0.34; (13) Anonymous painting, sale, the seated greyhound at the left o f the
Brussels (Palais des Beaux-Arts), 5-7 May Albertina drawing suggests a connection
1965, lot 397; panel, 30 x 4 1 c m .; (14) with Van Thulden’s Huis ten Bosch deco­
Anonymous painting, Mrs W alz, St Bla­ ration, where a profile o f a similar dog
sien, Germany (1966); (15) Anonymous appears, in reverse, standing at the right.
painting, sale, London (Christie’s), 24 Feb­ A copy after this drawing, but without
ruary 1967, lot 117; panel, 52 x70 cm.; the sketched head o f a lion at the top, and
(16) Anonymous painting, sale, Brussels without the dog, is in the Kunsthalle,
(Palais des Beaux-Arts), 22 May 1973, Bremen (Inv. N o.1938/79; pen, 369 x
lot 17, pl.VI; canvas, 120 x203 cm.; (17) 253 m m . ; inscribed with the pen, lower
Anonymous painting, sale, Cologne (Lem- right, R ubens); (21) Anonymous drawing,
pertz), i i May 1977, lot 180, pi.21; panel, Printroom, Copenhagen, ‘Rubens Can-
30.5x41 cm.; (18) Anonymous painting, too r , N0.VI.93; black chalk, 132x
Mr H .de Grijs, Beek, Holland (1978); pa­ 265 m m .; showing four o f the lions; (22)
nel, 48 x65 cm .; (19) Anonymous paint­ Tw o anonymous drawings, Collection

188
 (, \ I A I . U O l ' E N O . 157

John Nicholas Brown, Providence, Rhode London, 1820, I, p.246; Sm ith, Catalogue
Island (1959); red chalk. One shows the Raisonné, 11, p. 162, No.562; IX, pp.304-
five most prominent lions o f the left half 305, No.222; W aagen, Treasures, II, p.477;
of the painting, the other the two snarl­ Rooses, I, pp.163-164. N o.130, pi.40;
ing ones from the right half. l i t . Held, R ooses-R uelens, II, p.224; Ja fje, Am sterdam ,
D raw ings, p. 131, under No.83; (23) Htch- K ))j, pp.59-67, fig.6; O.M illar, Abraham
ing by W. P. de Leeuw, in reverse (Fig. 136) ; van der D o orl's Catalogue o f the Collections o f
inscribed: P .P .R u b e n s Inventor and IV.P. Charles I, W alpole Society, 1058-1960, p.4;
Leeuw fecit, l i t . V .S ., p.9, No.72; Rooses, I, H eld, D raw ings, p. 131, under N0.83; Bur­
p .164, under N o.130: Van den W ijngaert, ch a r d -d ’H ulst, D raw ings, p p .175-176,
Pren tkunst, p.69, No.390; J a jfe, W ashing­ under N o.110; K .Garas, ‘ Die Entstehung
ton, J970, p.32 n.36: (24) Etching by der Galerie des Erzherzogs Leopold
R.Strieker, in reverse, l i t . V .S ., p.9, W ilhelm ’, Jahrbuch der kunsthistorischen
N0.73; Rooses, I, p. 164, under No. 130: Sam m lungen in W ien, 63, 1967, p.72; Jaffé,
Jaffé, W ashington, 1970, p.32 n.36: (25) W ashington, 1970, pp.7-18, fig.i ; J.S.Held,
Anonymous engraving published by P .P .R u b en s, The Leopards, s.l., 1970, pp.i,
A.Blootelingh, with Daniel and four 2, 4, 5, 14-15 n.30; M .Jaffé, 'Rubens and
lions, in reverse, l i t . V .S ., p.9, No.74; Snyders: A Fruitful Partnership', Apollo,
D u tu it, p.35, No.32; Rooses, 1 , p.164, under XCIII, N.S., 109, 1971, p. 189ft': J a ffé, R u ­
N0.130; V an den W ijngaert, Pren tku nst, bens and Italy, pp.40-41 ; C. Kruvt hooft and
p.29, N o.19 ', Jaffé, W ashington, 1970, p.32 S.Buys, 'P.P.Rubens en de dierenschilde­
11.36; (26) Engraving by Francis Lamb. ring’, Zoo, Antwerp, July 1977, pp.66-69,
lit V .S ., p.9, N0.76; Rooses, 1, p.164, tin­
. repr. p.67; H.M ielke in M ielk e-W in n er,
der No. 130; Jaffé, W ashington, 1 9 7 0 , p.32 pp.41-43, under No.8; A.Balis, Facetten
n.36; (27) Engraving (mezzotint) by van de Vlaam se dierenschilderkunst van de
W .W ard. l i t . V .S ., p.9, No.77; Rooses, 1, t jd e tol de 17de eeuw , in Gat. Exh. Het
p.164, under N0.130; J a fje, W ashington, A ard s Paradijs, Zoo, Antwerp, 1982, p.45,
1970, p.32 n.36; (28) Engraving by Wenzel fig.29.
Hollar, showing six of the lions, in reverse
(Fig. 138); inscribed: P . P aulus R ubens p in ­
x it, W .H o lla r fecit 16 4 6 . l i t . G. Parthey, The Jewish captive Daniel, appointed
W en zel H ollar, Berlin, 1853, P -H 1- No. viceroy by King Darius, aroused the
2098; Rooses, 1 , p. 164, under No. 130; J.S. jealousy of the lesser princes, who by a
Held, P .P .R u b e n s, The Leopards, s.l., 1970, stratagem persuaded the King to have
p.2, fig.3; R. Pennington, A descriptive himcastinto the lions’ den (Danielo: 1-17).
catalogue o f the etched w ork o f W enceslaus The painting show's him as a youth of
H ollar, 1 6 0 J - 1 6 J J , Cambridge, 1982, p.328, heroic stature sitting in the midst of ten
N0.2098. (29), (30), (31), (32), (33), (34), lions, none o f which is threatening him.
(35), (36), (37), (38), (39), (40), (41) He raises his clasped hands in prayer, and
e x h ib ite d : W orks o f the O ld M asters,
looks up to heaven. The blue light of
Royal Academy, London, 1873, No. 131.
early morning is seen through an open­
l it e r a t u r eDescam ps, Vie, I, p.326;
: ing in the stone vault rool of the cave
M ichel, Histoire, p.323fr, ; G ilp in 's Scotch above his head. The bones of one o f the
Tour, 1776, pp.56-64; S.H.Spiker, Travels lions’ victims are scattered in the fore­
through England, W ales and Scotland, 1X16, ground.

189
CATALOGUE N O . 57

To the Early Christians Daniel saved what earlier, since in another w ork by
from the lions was a symbol of the soul Jan Brueghel, The A nim als Entering N oah’s
preserved from evil, and also of Christ A rk , dated 16 13 and now in a private
rising from the sealed grave. Medieval collection in the USA,3 we find the
theologians also regarded the lions’ den standing lion in the centre of the Daniel
as an image o f hell : seven hungry lions painting and also the foreshortened
represented devils corresponding to the lioness on the right. This shows that Ru­
seven deadly sins. In art, however, Daniel bens had at least made studies for the lions
was usually depicted with an even num ­ by 1613.
ber o f lions, as is the case here.1 The work is a landm ark in the history
This painting, with eleven others, was of animal painting: the lions are for the
offered by Rubens in 1618 to Sir Dudley first time faithfully depicted as majestic
Carleton, the English Minister at The and dangerous creatures, full of life, their
Hague, in exchange for the latter’s collec­ ferocity contrasting with the gentleness
tion o f antique marble statues. In the list of the praying Daniel. A somewhat earlier
attached to Rubens’s letter o f 28 April 1618 D aniel in the Lions' D en, in which the wild
to Carleton it is referred to as ‘Daniel fra beasts’ friendly attitude towards the
m olti Leoni, cavati dal naturale. Origi­ prophet contrasts with their m onum en­
nale tutto de mia mano; 8 x 12 piedi; fio- tal strength, can be seen, as Held pointed
rini 600’ (Daniel among many lions, taken out,6 in a woodcut by Tobias Stimmer7
from life. Original, entirely by my hand; (Fig. 137), many of whose woodcuts were
8 x 12 feet; 600 fl.).2 Agreem ent was copied by Rubens in his youth. It is pos­
reached, and the exchange took place in sible that Rubens recalled this example
the same year, 1618. From a letter of and that it played a part in the genesis of
7 August 1619, addressed by Lord Dan­ his painting.
vers to Sir Dudley Carleton, it appears Presumably Rubens made one or more
that D aniel in the L ion s’ D en was already oil sketches for this elaborate composi­
in Carleton’s possession at that date.3 tion, but hitherto none has been found.
Although Rubens declared that it was Some preparatory drawings are known,
entirely his own work, studio assistance however: one for the figure o f Daniel
cannot be wholly excluded. It is note­ (No.57a; Fig.141) and one for a sleeping
worthy that in the list enclosed in Ru­ lion (No.57b; Fig.142), both in the Pier­
bens’s letter to Carleton of 28 April 1618 pont Morgan Library in New York; one
‘Daniel among many lions’ is priced at with studies o f lions, in the Paul W allraf
the same amount (fl.600) as the larger Collection in London (No.57c; Fig. 143);
‘Leopards with Satyrs and Nym phs’, as one o f a sleeping lion, whereabouts un­
to which he writes that the landscape was known (No.57d; Fig. 144); one o f a lioness,
painted by an assistant. whereabouts unknown (No.57e; Fig. 145);
The work is neither signed nor dated, two o f a retreating lioness, seen from the
and we do nor know' when or for whom rear, respectively in the Rijksprenten­
it was painted. It can be seen on the left kabinet, Am sterdam (No.57f; Fig.i49)and
wall in Jan Brueghel’s A llegory o f Sight, the British Museum, London (No.57g;
dated 161 j , now' in the Prado in Madrid,4 Fig. 148); one of a standing lion, in the
and was therefore completed in that year National Gallery o f Art in Washington
at the latest. It probably dates from some­ (No. 57h; Fig. 151); and one o f a recum ­

190
 ( A I A I, () G V H N O . 57

bent lion in the British Museum (No.571; self praying in their midst, by Rubens,
Fig.150). At this time Rubens also made two varas [yards] wide and just over one
a drawing o f a lion asleep, facing right, vara high).“ The inventory of the estate
whereabouts unknown 8 (Fig. 139), which, of Jan Brant ( 1 5 5 9 - 1 9 3 9 ) , 12 Rubens’ father-
however, is only known from a repro­ in-law-, also mentions a D aniel in the
duction and was not used for the paint­ Lions' D en (but without author), and the
ing. Antwerp painter Jeremias Wildens pos­
There exist several versions of D aniel sessed such a painting in 1653.13 Dezallier
in the Lions' D en which all represent the d ’Argensville speaks ol ’an outstanding
prophet in a different pose from the little painting’ that he had seen in the
Washington version: instead o f lifting up Jesuit Congregation in Antw erp.'4 Tw'o
his clasped hands in prayer, he rests one drawings may also be bv Rubens: the first
hand on the rock and raises the other was successively in the Tersmitten and
(Fig. 135).9 Some o f these differ from the Gérard Hoet collections in the latter half
painting in other ways also : for example, o f the eighteenth century,1' while the
the opening in the roof of the cave is second wras in the collection o f Thomas
semicircular; a separate dungeon-like Thane (London, 1782-1840).''’
area is seen in the left background, with A drawing in the possession o f Mr and
an iron grating and an extra pair of lions; Mrs J. Augustijns-Goedleven, Brasschaat,
the skull and bones in the foreground arc- Belgium'7 represents An Angel freein g
absent or differently arranged. None of D aniel from the Lions' Den (Fig. 140).18 A l­
these works are by Rubens, but the exist­ though certainlv not bv Rubens, its style
ence of so many suggests that their au­ is such that it may reflect an original com ­
thors were inspired by a prototype of the position of his, now- lost.
master’s. They may all be based on a
painting (panel, 39 x 60 cm.) mentioned
in the inventory (1 September 1632) of the
Milanese senator Luigi Malzi, which re­
mained in his family until 1835 and was
in an unknown private collection in 1972. 1. H.I'eldbusch 111 R e a lle x ik v n . m l . 1047; R éa ii, leono-
According to Giulio Melzi d’Hril'0 this g r a p h ie. II, i, pp.401-404.
2. R o o s e s -R u e le n s , II, p. 140, N o.CL.W l; Aliigiini. I d ­
work bore the signature P . P a ulus R . be­ le r s, pp.59-61, 441, No.28.
tween Daniel’s legs, and below on the .1. R o o se s-R u e le n s, II, p.224, No.CXCIII.
left that o f Jan Brueghel, Brueghel fecit 4. D ia - P a d r o n , C a t. P r a d o , pp.40-40 No. 1444, p i.28;
l i e h t , D r a w in g s , (p.142, muter No.85) was the first
A ntw erpen A nn o 1 6 17. As 1 have not seen to record this obsersation.
it, t cannot judge its authenticity. 5. Panel, 87 x 54.5 cm. ; signed and dated BR
Several paintings o f this subject arc- F P .C .i m j (K.Krt/., Ja n B rueg hel d. i., D ie G em iih le,
Cologne, 1979, p.604, No.274, ligs.48, 407).
mentioned in documents, which may 01- o. P .P .R u b e n s , T h e L eop a rd s, s.I.. 1970, p p .14-15 n.40,
may not be Rubens’s work. Thus the 1655 tig. lb.
inventory o f the collection o f the Marqués 7. Tob ia s S tim m e r's B ibel. Basle. 1570 (C .tlirth Verlag,
Munich, 1424, N o .114).
de Leganés, Madrid, mentions ‘325. Un 8. Black chalk, touches ol brown and white chalk,
Daniel en la cueva con los leones y el on laded blue paper, with an old attribution .11
en medio orando, de mano de Rubens, the upper left, and with the pen in brown: 4 . vim
Dvcfe. 854; 174x 490111111. the drawing was sold
de dos baras de ancho y poco mas de una in London (SothebVs) 011 in October 1940 from
de alto’ (a Daniel in the lions’ den, him ­ the collection of Mrs Charles M urras, Couldoran,

19 1
CATALOGUE NO. 57 *

Strathcarron, Ross-shire (lot 35, repr.), and again 57a. Study for Daniel: Drawing
at Sotheby’s on 25 June 1070 (lot 69, repr.).
(Fig, 141)
y. The most im portant of these versions are: (1) Phi­
ladelphia, Pa., Max A.Krankel (1924); canvas, 137
X 183 cm. p r o v . Bought at a sale in Frankfurt am Fully mounted. Narrow strips cut away
Main in 1908. i.rr. P.Farina, D a n iel in the L io n s' D en .
A n a ly tic a l C o m p a r a tiv e S tu d y o f R u b e n s ' W o r k s, pri­
on all sides. W aterm ark: ?a snake. Black
vately printed, Philadelphia, Pa,, 1924;J a ffé , W a s h ­ chalk, heightened w ithw hite body-colour,
in g to n , it ) 70, p.32 11.35; (2) Vienna, Kunsthisto­ on pale grey paper; 500x299 m m.
risches Museum, Inv. N0.1095 (Fig. 135); panel,
48x63 cm, l i t . R o o ses, V, p.314, No. 130; R.H.
Below on the right, partly cut off,
Wilenski, Flem ish P a in te r s, 1430-1S30, London, m ark of the collection of W. Bates
i960, p.679, lig.526 (as th e V ien n a D a n ie l Painter)-, (L.2604).
J a ffé , W a sh in g to n , 1 9 70, p,32 11.35; K u n s th is to r is c h e
M u s e u m W ien . V e r ze ich n is d e r G em ä ld e, 1973, p .149;
N ew York, Pierpont M orga n Library.
(3) Sale, Am sterdam (Paul Brandt), 17 May 1983, Inv, N0.I.232.
lot 32A, repr.; panel, 51.5x69.5 cm. p r o v . Sale,
Brussels (Palais des Beaux-Arts), 27 April 1954, p r o v e n a n c e : W illiam Bates (Birming­

lot 324, repr.; (4) Simferopol, Russia, Count Mou- ham, 1824-1884), sale, London (Sotheby’s),
ravieff (1903); panel, 43 x 65 cm .; (5) Belgium , pri­
19 January 1887, possibly a part o f lot 337,
vate collection (1977); panel, 65 x 102 cm. p r o v .
Sale, London (Sotheby’s), 24 October 1973, lot 73; ‘P. P. Rubens. Various Studies and Sketch­
(6) Düsseldorf, J.H. Petersen (1982). A painting of es (7)’ (to Robinson fo r£ i 8s), or a part
this kind is depicted, above left, in Jan van Kes-
of lot 242, ‘Large Drawings by Old Mas­
sel’s A lle g o ry o f S ig h t (panel, 7 1.5 x 115cm .; sale,
London (Sotheby’s), 19 April 1972, lot 24). There ters (12)’ (to Robinson for£i 18s); Sir John
is also a print with this composition by Antonio Charles Robinson (London, 1824-1913);
Locatclli, dated 1S34 ( V .S ., p.9, N0.75; R o o ses, I,
acquired through exchange by Charles
p .164; under N o . i j o ; J a ffé , W a sh in g to n , 1 9 1 0 , p.32
11.36). Fairfax Murray (London, 1849-1919), on
10. ‘Il capolavoro di una collezione milanese del secolo 3 March 1890 (according to the manu­
XVH’, Aevum, CLVI, 1972, pp.123-126, fig. 1.
script preserved at the University o f Texas,
11. M.Rooses, ‘La galerie du Marquis de Leganès’,
R u b e n s-B u lle tijn , V, p. 170; J a ffé , W a sh in g to n , 1 9 70, at Austin, Texas); J.Pierpont Morgan
p.31 n.35; M .Craw ford V olk, ‘N ew Light on a (New York, 1837-1913).
17th-Century Collector: The Marquis o f Leganès’,
A r t B u lletin , LX 1I, 1980, p.267. e x h i b i t e d : D etroit, 1936, N0.4; A r t o f
12. P .Génard, ‘Het testament van Jan Brant en Clara
de M oy‘, R u b e n s-B u lle tijn , IV, p.232: ‘Een groot
Europe, X V Ith and X V IIth C en tu ries, Worces­
stuck schilderije van D a n ie l in d en C u y l d e r leeuw en ; ter, Art Museum, 1948, N0.41; Seventy
op doeck, olieverve, in lijste'. M a ster D raw in gs: P a u l J, Sachs A nn iversary
13. D en u cé, K o n stk a m ers , p .160: ‘Eenen Daniel in den
Exhibition , Cambridge, Fogg A rt Museum,
cuyl der Leeuwen, naer Rubbens, n0 26i'.
14. A b r ég é de la vie des p lu s fa m e u x p e in tr e s, Paris, 1762, 1948, N0.30; M asterpieces o f D raw in g, Phi­
p.299 (‘Rubens, Daniel dans la fosse aux lions, petit ladelphia, Philadelphia Museum of Art,
tableau précieux').
1950-1951, N o.51; C a m brid g e-N ew York,
15. W hereabouts unknown; black and red chalk,
brown wash and heightened, p r o v . Tersntitten, N0.14; Treasures fr o m the P ierpon t M organ
sale, Am sterdam , 1754, N0.444 (‘has been en­ Library, New York, The Pierpont Morgan
graved’); Gérard Hoet, sale, The Hague, 25 August
Library, and elsewhere, 1957, N0.90;
1760, N0.457 (bought by Rottetnont, 80 Fl.). l i t .
R o o ses, I, p .164, under N o.130 bis; V, p .148. M asterpieces, New York, Wildenstein and
16. W hereabouts unknown, p r o v . Thomas Thane, Co., 1961, N0.66; R ubens before 1620,
sale, London (Sotheby’s), 19 June 1846, lot 78 (‘ Ru­
Princeton, 1972, N0.12; London, 1977,
bens, an admirable drawing'; bought by N ewton,
£ ö ). N0.69; P a ris-A n tw e rp -L o n d o n -N e w York,
17. Red chalk, 281 x 204 m m .; on the low er left, in j 979-80, No. 12; European D raw in gs, 1.373-
pencil, R u b e n s. - V erso : in pen and browrn ink,
1823 (T he P ierpon t M orga n Library) , New
ru ben s.
18. R é a u , Ico n o g ra p h ie, 11, i, p.404. York-O xford-Toronto, 1981, No.59.

19 2
 CATALOGUE N O . 57a

l it e r a t u r e : M ichel, R ubens, p.190; indicates— intense piety. His spiritual and

C. Fairfax M urray, C ollection o f D raw ings physical energy are admirably expressed
by the O ld M a sters fo rm ed by C . F a irfa x in his upraised countenance and the
M u rra y , I, London, 1905-1912, N0.232; clenched hands, which are typical of
J.J.Tikkanen, D ie Beinstellungen in der seventeenth-century Catholic Baroque.
Kunstgeschichte, Helsinki, 1912, pp,i82- The painting follows the study in all es­
183; G lü ck -H a b erd itçl, p.41, N0.97, repr.; sentials: only the hair is longer and more
G oris-H eld , p.41, N0.95, p i.104; H.Tietze, luxuriant, the hands slightly closer to the
European M a ster D raw in gs in the U .S.A ., face, and the loincloth slightly modified.
New York, 1947, p.122, N0.61, repr.; Although Rubens certainly drew the
F.Stampfle in O ne H u nd red M a ster D ra w ­ figure o f Daniel from life, it is probable,
ings, ed. by A.M ongan, Cambridge, Mass., as Jaffé pointed out,1 that he posed his
1949, p.70, repr.; Jaffé, A m sterdam , l y j j , model with clasped hands and crossed legs,
pp.64-67, fig.8; H eld, D raw ings, pp.131- in imitation of the figure o f St Jerome
132, No.85, pl.95; B u rch a rd -d 'H u lst, D raw - in a drawing by Girolamo Muziano in
ittgs, pp.175-176, N0.110, repr.; M.Jaffé, the Louvre in Paris.2 M uziano’s drawing,
‘Rubens as a Collector o f Drawings’, which Rubens m ay have owned, is a
M a ster D raw in gs, 1964, pp.384-385; study for The Pen iten t St Jerom e in the Pina-
A. Stubbe, Peter P a ul R ubens, 1966, p.86, coteca in Bologna, an altarpiece that he
repr. p.38 ; Jaffé, W ashington, 1970, pp.16- m ay have seen during his stay in Italy.
17, fig. 18; D.W .Steadm an, in R ubens be­ Another possibility is that Rubens was
fo re 1620, ed. by J.R. Martin, Princeton, inspired by Cornelis C ort’s engraving
1972, pp.137-138, 140, 168 (N0.12, repr.); after Muziano,3 which shows the same
J. Rowlands in Cat. Exh. London, 1977, figure o f St Jerome, albeit in reverse,
pp.68-69, No-69, repr. ; J affé, R ubens and and which Rubens must have known or
Italy, pp.40-41, fig.99; Bernhard, p.283, even possessed.
repr.; C.Kruyfhooft and S.Buys, ‘P.P. The crossed-legs m otif is also found in
Rubens en de dierenschildering’, Zoo, other works by the master, such as N ep ­
Antwerp, 1977, pp.66-69, repr. p.14; F. tune and A m phitrite, form erly in Berlin
Stampfle in Cat. Exh. P a r is-A n tw e r p - and now destroyed,4 or The H oly Fam ily
L o n d o n -N ew York, 1979 -8 0 , pp.55-56, in Antw erp.5 It also occurs in a drawing
No. 12; H eld, D ra w in gs, 1986, p. 105, N0.92, in the ‘Rubens Cantoor’ in Copenhagen,6
fig.85 (as R ubens, c .16 14 -16 15 ). which, as Burchard observed, is copied
from the left-hand portion of Pythagoras
w ith Three P u p ils, a painting in Bucking­
A naked youth, three-quarter length, ham Palace, London.7
with flowing hair, sits with legs crossed,
1. J a ffé , A m ste r d a m , i ç j s , pp.04—e>7; Ja ffé , R u b e n s a n d
hands locked in prayer, and head thrown Ita ly , pp.40-41.
back. His lips are parted and his eyes gaze 2. L u g t, C a t. L o u v re, É cole fla m a n d e , II. p.53, No. 1214.
upward in supplication. 3. Dated if y ; Le B lan c, M a n u e l, II, p .52, No.202; J C .J.
Bierens de Haan, l'Œ u v r e g ra v é d e C o r n elis C o r t, The
A study from life for the painting D a ­ Hague, 1948, pp.127-128, No.i 17; JaJJé, A m ster d a m ,
niel in the Lions’ D en in the National Gal­ 19S5, pp.64- 05, iig.9-
lery o f Art, Washington (No.57; Fig. 134). 4. K .d .K ., p .108.
5. K .d .K ., p.284.
Rubens endowed the youth with great 6. ‘Rubens Cantoor', No.IV, 4.
physical strength and— as the Bible story 7. H e ld , D r a w in g s , p .132, under No.85.

193
CATALOGUE NO. 57b

57b. Lion Asleep, facing left: Drawing now in the National Gallery o f A rt in
(Fig.142) Washington (No.57; Fig. 134) as ‘Daniel
fra m olti Leoni, cavati dal naturale’. Given
Black chalk, heightened with white chalk, the num ber o f these animals which ap­
on pale grey paper; 250 x420 m m . W a­ pear in his painting in the most varied
term ark : none. Below on the right, w ith poses, there can be no doubt that he
the pen in a later hand : snijders. made studies o f lions ‘from life’ . A part
N ew York, P ierp on t M orga n Library. from the present drawing, examples
Inv. No. 1977.41. are: Studies o f Lions, Paul W allraf Col­
lection, London (N0.57C; Fig.143); Lion
p r o v e n a n c e : A .Paul Oppé, London; A sleep, fa cin g right, whereabouts un­
H.Eisemann, London; Stefan Z w eig,Lon­ known (No.57d; Fig.144); Lioness, fa cin g
don and N ew York; H erbert N.Bier, left, whereabouts unknown (No,57e; Fig.
London; Peter Claas, London; Victor 145) ; and possibly also R etreating Lioness,
Koch, London. Purchased in 1977 from seen fr o m the rear, Rijksprentenkabinet,
the Schaeffer Galleries, N ew York, by the Am sterdam (No.57f; Fig. 149). On the ba­
Fellows Fund, w ith the special assistance sis o f such studies ‘from life’ Rubens pro­
o f a num ber o f Fellows and Trustees of duced some m ore elaborate drawings in
the Pierpont M organ Library in honour a m ore com plex technique, such as R e ­
o f Miss Felice Stampfle. treating Lioness, seen fr o m the rear, British
Museum, London (No.57g; Fig. 148); Lion
e x h ib ite d : Birds and Beasts and Flowers, Standing, fa cin g le ft, National Gallery of
London, Peter Claas Gallery, 8-28 June Art, Washington (N0.57I1; Fig.151); or
1954, N0.17; P a ris-A n tw erp -L o n d on -N ew Lion in R epose, fa cin g right, British M u­
York, 1979-80, N0.13. seum, London (No.57i; Fig. 150).

l it e r a t u r e : B u rch a rd -d 'H u lst, D ra w ­ The present drawing is one o f the finest

ings, p .i76, under N o .n o (as R ubens); known studies executed by Rubens in
J. M üller Hofstede, Review o f B u rch a rd - front o f a lion’s cage. The animal evi­
d ’H u lst, D ra w in gs, in M a ster D ra w in gs, 4, dently m oved its left forepaw in its sleep,
1966, p.450, under N o.i 10 (as rather a poor as is shown by the repetition in the draw­
w ork by a p u p il); J a ffé, W ashington, 1970, ing; the repeated forepaw was partially
pp.16, 31 n.27, fig.15 (as R ubens); M.Win- cut off, probably by a later owner o f the
ner in M ie lk e-W in n e r, pp.41-43, under sheet. Rubens paid attention above all to
No.8; P ierpon t M orga n Library, Eighteenth the lion’s shaggy head and its right fore­
R eport to the Fellow s, 1975-1977, pp.23,243, paw, raised slightly from the ground by
290; M. Jaffé in Cat. Exh. P a r is-A n tw e r p - the pressure o f the head. These two ele­
L o n d o n -N ew York, 1979-8 0 , N0.13, repr.; ments alone were used, from a slightly
C. W hite, Review o f P a r is-A n tw e r p - different angle, in the left h alf o f the
L o n d o n -N ew York, 1979 -8 0 , in M a ster painting; the rest o f the animal’s body is
D ra w in gs, 18, 1980, p.172. hidden by other lions.

Rubens used the lion’s head, with the

paws in a different position, for S t Jerom e
In his letter o f 28 April 1618 to Sir Dudley in the W ild ern ess in the Gemäldegalerie,
Carleton Rubens describes the painting Dresden.1

194
 CATALOGUE NOS. 5 7C -5 7C I

i. K .d .K ., p.97; V lieg h e, S a in ts, II, pp.99-101, N o .121, firm strokes; (2) the lion’s mask, caught
fig.66. Sec J .M üller Hofstede, 'Vier Modelli von
Rubens’, P a n th eo n , XXV, 1967, pp.440-442, fig.9;
frontally; (3) on a smaller scale, a rapid
J a ffé , W a sh in g to n , 1970, p p .16, 31 nn.28, 29, figs.râ, outline sketch o f a retreating lioness or
17 . lion.
Subsequently, in the calm of his studio,
Rubens combined the study o f the fore­
57c. Studies of Lions: Drawing parts of the lion in three-quarter view
(Fig- 143) with the tail and hindquarters of a Lion
A sleep, fa cin g right,
whereabouts un­
Black chalk on pale grey paper; 250 x known (No.57d; Fig. 144), which he had
410 m m . Below on the right, with the also sketched from life in its cage, to
pen in a later hand: snijders, (partly form the drawing o f a Lion in Repose,
scratched out). fa cin g right in the British Museum (No.
London, Paul W a llra f Collection. 57i; Fig.150): a carefully elaborated study
executed in black and coloured chalk,
p r o v e n a n c e : Parsons, London; Victor
wash and watercolour, heightened with
Koch (London), sale, London (Sotheby’s),
white. In that study he twisted the lion’s
29 June 1949, lot 104 (£28, bought by
head a trifle more towards us and cleared
Rothman).
the tail o f the hind leg, giving it extra
: H elsinki,
e x h ib it e d 19 5 2 -53 , N0.47; length and elegance of line. It is in this
R ubens, Sketches, D ra w in gs, P rin ts, Musées pose that the lion appears, below
des Beaux-Arts, Brussels, 1952-1953, left, in the painting in the National
Gallery o f Art in Washington (N0.57;
N0.47.
Fig. 1 3 4 ).
l it e r a t u r e : F.Baudouin, ‘Nota’s bij de
tentoonstelling “ Schetsen en Tekeningen
van P.P.Rubens’” , Bulletin K oninklijke 57d. Lion Asleep, facing right:
M u sea voor Schone K unsten, Brussel, June Drawing (Fig. 144)
1953, No.2, p.53 (states his doubts o f the
authenticity o f this drawing); B u rch a rd - Black chalk, heightened with white on
d ’H u lst, D ra w in gs, p .176, under N o .n o pale grey paper; 245 x 400 mm.
(as R u b en s ); J. M üller Hofstede, Review W hereabouts unknow n.
o f B u rch a rd -d ’ H u lst, D raw ings, in M aster
p r o v e n a n c e : Victor Koch (London),
D raw ings, 4, 1966, p.450, under N o .n o (as
sale, London (Sotheby’s), 29 June 1949,
rather a poor w ork by a p u p il ) ; J affé, W ash­
lot 105 (bought by Silas); Mrs Rita John­
ington, 1970, pp.13, 31 n.24, fig. 12 (as R u ­
son (State o f Iowa, U.S.A.), sale, London
bens); M .W inner in M ie lk e-W in n e r, pp.41
(Christie’s), 29 March 1906, lot 213 (6 guin­
to 43, under No.8.
eas, bought by Jacobs).

lite r a tu r e : B u rch a rd -d 'H u lst, D ra w ­

The sheet comprises three studies ‘from ings, p. 176, under N o .n o (as R ubens);
life’ : (r) a recumbent lion, its foreparts J. M üller Hofstede, Review' of B u rch a rd -
drawn in outline: the dignified head with d ’ H id st, D raw in gs, in M aster D ra w in gs, 4,
its flowing mane is shown in three-quarter 1966, p.450, under No.i 10 (as rather a poor
view and vigorously summarized with w ork by a p u p il); J a ffé, W ashington, u j j o ,

195
CATALOGUE N O . 57e

pp.13, 31 n.25, fig.13 (as R ubens); M .W in­ (N0.57; Fig. 134) does not include a lioness
ner in Midfee-W inn er, pp.41-43, under in the pose o f this drawing ‘from life’.
N0.8. However, the drawing played a part in
the genesis o f the snarling lion in the
low er right corner, for which no finished
This drawing o f a sleeping lion was exe­ study is known: the set o f his head,
cuted ‘from life5 and used by Rubens in shoulders and forepaws is manifestly
his painting in the National Gallery of based on it. As Jaffé wrote,1 ‘The appal­
A rt in Washington (N0.57; Fig. 134) for ling hatred which distorts the mask o f
the lion asleep in the centre at Daniel’s the lioness which he drew is reflected in
feet. However, in the painting the lion’s the almost audible snarl o f the lion which
head is twisted m ore towards the specta­ she becomes’. The drawing itself reflects
tor, while his tail and hindquarters are an earlier study by Rubens in pen and ink
concealed by another lion next to him. after a small Padua bronze Pantheress
Rubens also used this drawing for an­ a ll’antica dating from the first half o f the
other lion in the painting: the one below sixteenth century, on a sheet in the Vic­
on the left (see N0.57C). toria and A lbert Museum in London
(Fig.147).2 He must have had that study
in mind when preparing to depict the
lion in the painting. He could not induce
57e. Lioness, facing left: Drawing
a captive lion or lioness to adopt the pose
(Fig-i 4 5 )
o f the bronze or anything closer to it
than the sketch o f the lioness here dis­
Black chalk on pale grey paper; 237 x
cussed. Hence he was obliged to w ork
410 m m . Below on the right, with the
from this sketch, which was the fruit o f
pen in a later hand: sn ijd ers (partly
patience and exact observation as w ell as
scratched out).
o f the knowledge he had acquired years
W hereabouts unknow n.
earlier when studying the bronze, prob­
pr o v e n a n c e : Victor Koch (London), ably in Italy.3
sale, London (Sotheby’s), 29 June 1949,
lot 106 (bought by Hardy).

l it e r a t u r e : B u rch a rd -d ’H u lst,
D ra w ­
ings, p .176, under No. 110 (as R ubens); 1 . J a ffé , W a sh in g to n , 1 9 7 0 , p.16.
J. M üller Hofstede, Review o f B u rch a rd - 2. Dyce Collection, N o.524; brown ink and pen on
w hite paper, 117/94 x 206 nun. As jaffé points out
d ’H u lst, D ra w in gs, in M a ster D ra w in gs, 4, (J a ffé , W a sh in g to n , 19 7 0 , p.30 n.19), this sheet, com ­
1966, p.450, under N o.i 10 (as rather a poor prising two studies o f a Padua bronze P a n th ere ss,
w ork by a p u p il); Jaffé, W ashington, 1970, originally formed a whole with another sheet, now
in the Berlin Printroom (see under No.57f), which
pp. 16, 31 n.26, fig. 14 (as R ubens); M .W in­ comprised tw o studies o f another Padua bronze
ner in M ie lk e-W in n e r, pp.41-43, under P a n th ere ss; the com plete sheet was cut in tw o at a
N0.8. later date. See also H e ld , D r a w in g s , p. 131, under
N0.83; M .W inner in M ie lk e - W in n e r , pp.41-43, un­
der N0.8.
3. For the dating o f Rubens’s studies in the Victoria
and A lbert M useum , London, and in the Berlin
The painting D an iel in the Lions’ D en in
Printroom, see M .W inner in M ie lk e - W in n e r , p.43,
the National Gallery o f Art in Washington under N o.8.

196
 CATALOGUli N O . 57 f

57f. Retreating Lioness, seen from R etreating Lioness, seen from the rear in
the rear: Drawing (Fig. 149) the British Museum, London (No.57g;
Fig. 148).
Black chalk; 257 x 348 m m . Below on the Jaffé, who first published the present
left, the marks o f Jacob de Vos Jb2n drawing, included it among studies ‘from
(L.1450), the Rijksmuseum, Am sterdam life’ and called it ‘perhaps the only au­
(L.2228“), and the ‘Vereniging Rem ­ thentic study by Rubens that we possess
brandt’, Am sterdam (L.2135), also an in­ o f a wild animal observed directly in
scription in pen and brown ink by a later m otion’,1 while adding that ‘the know­
hand: R ubbens; below in the middle, in ledge o f forms of appearance, acquired in
chalk by a later hand, R ubens, P .P .R u b ­ m aking drawings after the inanimate
bens, 19; below on the right, in chalk, bronze, may have been Rubens’s uncon­
A . 1388 .— Verso: Sam son Breaking the Jaw s scious guide in the choice and reproduc­
o f a Lion. tion o f a so seldom attempted view o f the
A m sterdam , R ijksprentenkabinet. living anim al’.2 The reference here is to
Inv. No. A .1388. a sheet in the Berlin Printroom (Fig.146)3
on which Rubens copied a small Padua
Jacob de Vos Jbzn (Ams­
p r o v e n a n c e :
bronze of a S trid ing Panlheress4 dating
terdam, 1803-1882), sale, Amsterdam,
from the first half of the sixteenth cen­
22-24 May 1883.
tury, from behind and in a side view. The
close resemblance between the forepaws
e x h ib it e d : A m sterdam , 1933, N0.66.
as they appear in the Padua bronze and
l it e r a t u r e : Jaffé,
A m sterdam , 1955, PP- in the present drawing led Held to doubt
59-64, fig.2; H eld, D ra w in gs, p. 131, under whether the latter 'was made from na­
N0.83 ; H. G. Evers, ‘Rubens und der Löwe. ture’.5 It is certainly true that Rubens had
Zu einer Zeichnung in Am sterdam ’, Fest­ the ability to convert the recollection of
schrift E duard T rautscholdt, Hamburg, a prototype into his own idiom, and it
1965, p.130 J affé, W ashington, 1970, pp.9- was the easier in the present case as he
13, fig.5; J. S. Held, P. P. R ubens, The Leo­ possessed a copy drawn by his own hand.
p a rd s, sd., 1970, p .ii, hg. 10; Cat. Exh. However, it should also be noted that in
London, 1977, p.69, under No.70; M .W in­ Studies o f Lions in the Paul W allraf Col­
ner in M ie lk e -W inn er, pp.41-43, under lection in London (No.57c; Fig. 143) there
N0.8; C.K ruyfhooft and S.Buys, ‘P.P.Ru- is a rapid sketch ‘from life’ o f a lioness
bens en de dierenschildering’, Zoo, A nt­ (?lion) in retreat.
werp, 1977, pp.66-69, repr. p.66. The drawing dates from 1613 at the
latest (see N o.57).

This rapid study o f a lioness seen from 1 . J a ffé , A m ste r d a m , 19 5 5 , p .50.

behind bears witness to Rubens’s admi­ 2. J a ffé , A m ste r d a m , i<m, pp.03-64.
rable skill in depicting m ovem ent and 3. Inv. N0.KdZ1.t601; brown ink and pen on white
paper, 110x263111111. See M.Winner in Mie lk e -
foreshortening. Executed for the painting Winner, pp.41-43, No.«, repr.
D an iel in the L ion s’ D en in the National 4. J.Rosenberg, P a n th er n . VII, w ii, p.iosff.
Gallery o f A rt in Washington (N0.57; 5. H eld , D r a w in g s, p .131, under N0.83. H .G .livers (op.
cit., p.130) and M .W inner (A Iir/te-Winner, p.4r,
Fig. 134), it invites comparison with the under N0.8) also doubt whether Rubens’s lioness
larger and m ore finished drawing o f a in Am sterdam was drawn 'from life*.

197
CATALOGUE N O S . 57 g ~ 57 h

57g. Retreating Lioness, seen from A highly finished sketch in a rich tech­
the rear: Drawing (Fig.148) nique, executed at leisure in the studio,
for the lioness at the extrem e right in
Cut irregularly in the upper left corner. D an iel in the Lions’ D en in the National
Black and yellow chalk, with grey wash, Gallery o f A rt in Washington (N0.57;
heightened with white body-colour; Fig. 134). It is based on a rapid sketch in
396 x 235 mm. black chalk in the Rijksprentenkabinet in
London, British M useum . Am sterdam (No.57f; Fig. 149). Once Ru­
Inv. N0.N.G.853-0, 1973 U.1344. bens had decided to place the lioness in
the lower right corner o f his composition,
pr o v e n a n c e : J.Barnard (London, d. it was natural to m ake use o f the Am ster­
1784), sale, London, 21 February 1787, dam drawing in reverse. However, the
lot 61; Sir Thomas Lawrence (London, modification obliged him to deviate from
1769-1830); Sir Robert Peel; National that drawing in another respect: despite
Gallery, London ; transferred to the Brit­ the reversal o f the pose it is again the left
ish Museum, 1935. forepaw which is lifted up, while the right
one, visible between the hind legs, is
e x h ib it e d A Catalogue o f O ne H undred
: resting on the ground.
O riginal D ra w in gs by Sir P. P . R ubens, C ol­ The animal seen here is less supple and
lected by S ir Thom as Law rence, S. and spontaneous in m ovem ent than that in
A.W oodburn Galleries, London, 1835, the Am sterdam drawing, but is more
N o.54; London, 1977, N0.70. monumental and impressive. As the
w ork is m ore finished, the texture of the
l it e r a t u r e : R ooses, V, p.227, N o.1428; pelt is strongly emphasized; Rubens
G lttck -H a b erd itçl, p.41, N0.99, repr. would certainly not have been able to
(as R ub en s, c. 16 14 -16 18 ); A.E.Popham , produce such a tactile effect if he had
‘Drawings by Rubens and Van Dyck from not previously observed lions in a live
the National Gallery’, British M u seum state.
Q uarterly, X , 1, 1935, p. 18; R. A.M .Steven­ The drawing dates from 1613 at the
son, R ubens, Paintin gs and D ra w in gs, Lon­ latest (see N0.57).
don, 1939, N0.92 ; Jaffé, A m sterdam , 1955,
pp.59-61, fig.4; H eld, D ra w in gs, p .131,
N0.83, pl.96 and Frontispiece, Vol.II (as 57h. Lion Standing, facing left:
R ubens, c .16 14 -16 15 )', Jaffé, W ashington, Drawing (Fig. 151)
19J0, p.9, fig.3; J.S.Held, P .P .R u b e n s, The
Leopards, s.l., 1970, p .n , fig .n ; J.Kuznet­ Some losses in the lower corners. Black
sov, R ubens D ra w in gs (in Russian), chalk, heightened with white, the back­
Moscow, 1974, N0.42, repr. (as R ubens, ground tinted with pale yellow ochre, on
c.16 14 to 1615); C.Kruyfhooft and S.Buys, white paper; 254 x 282 m m. Inscribed on
‘P.P.Rubens en de dierenschildering’, the backing paper, C ette belle étude des­
Zoo, Antwerp, 1977, pp.66-69, repr. sinée p a r rubens a servi p o u r le sujet de da-
p.68; M. W inner in M ie lk e - W inner, niel dans la fo sse a u x lions, elle a été achetée
pp.41-43, under N0.8; H eld, D raw ings, ch eç le M a rq u is de gouvernay, p a r M . N ou rri
1986, p.106, N0.93, repr. (as R ubens, de la V ente duquel, elle est passée en m ains
c. 16 14 -16 15 ). du Conseiller St. M a urice (pen, unidentified

198
 C A I A I. O G UH N O . 57Î

late eighteenth- or early nineteenth- A d a m and Eve in Paradise (with the colla­
century hand). boration o f Rubens), Mauritshuis, The
W ashington, D .C ., N ational G allery o f A rt, Hague,2 as well as The A nim als Entering
A ilsa M ellon Bruce F u nd 1969. N oah’s A rk , The Wellington Museum,
Apsley House, London, dated /61 j,3 and
Marquis de Gouvernet,
p r o v e n a n c e :
the same subject in a private collection
sale, Paris, 6-io Novem ber 1775; Conseil­
in America, dated 161jA
ler Nourri, sale, Paris, 24 February-
14 March 1785; Conseiller de St Maurice, 1. J a ffé , W a sh in g to n , p.iS.
sale, Paris, 1 February 1786; George Fen- 2. K . d . K . , p .iiy .
wick-Ovven, Lether Melton, near Wood- 3. K.Ertz.ym t B rueg hel d e r A lle r e ( i jftS-U ujj, Die G'e-
m ä ld e, Cologne, 1070. p.605. N0.2K7, lig.311a.
bridge, Suffolk, who bought it c.1930 in
4. Ibid., p,603, No.273, figs.48, 307.
a mixed lot at Sotheby’s; sold by his wife
Mrs Denise Fenwick-Owen, London (So­
theby’s), 27 March 1969, lot 86, repr.
57L Lion in Repose, facing right:
(bought by Agnew).
Drawing (Fig. 150)
l i t e r a t u r e : Jaffé, W ashington, 1970,
pp.9, 32. (nn.15, 38), fig.4; J.S.Held, P.P. Black and yellow chalk and brown wash
R ubens, The Leopards, s.l., 1970, p .u n.27, with, on the left, a touch o f green
fig. 12; M. W inner in M ie lk e-W in n e r, pp.41 watercolour, heightened with white body-
to 43, under N0.8; J. Rowlands, Cat. Exh. colour; 281 x 427 mm.
London, 1977, p.68, under No,68; M aster London, British M useum . Inv. No.Oo.9-35.
D ra w in gs fr o m the Collection o f the N ational
: G.knapton, Esq. (d.1778),
p r o v e n a n c e
G allery o f A n and Prom ised G ifts, Washing­
bequeathed to General Morrison, sale,
ton, 1978, p.63, repr.
London (T. Philipe), 1 June 1807 (Lugt,
R épertoire, 7253), lot 745 (to R. Payne
Knight, £42); R. Payne Knight (London,
Study for a standing lion, above in the
1750-1824), bequeathed bv him to the
centre o f the painting D aniel in the Lions’
British Museum, 1824.
D en in the National Gallery of Art,
Washington (No.57; Fig. 134). It may have c o p ie s : (1)
Anonymous drawing, Vienna,
been executed ‘from life’, but the use of Albertina, Inv. N0.8311; sanguine and
different materials seems to indicate that traces o f black chalk on white paper, 263
it was at least finished in the studio. x 356 mm., inscribed in pen and ink O pus
Jaffé1 has pointed out that Rubens was m anu p r o : Petri Pauli R ubenii. l it , Rooses,
fascinated by the ferocious strength of V, p.227, N0.1427; M.Rooses in R ubens-
lions and that he not only reproduced Bulletijn, IV, pp.293-294, under No. 1427;
their zoomorphic appearance but also J a ffé, W ashington, ig jo , p.31 n.23, fig.22
rendered them appropriately fabulous, a (as Jordaens, c .161^-20)-, M itsch, R ubens-
transformation by which they seem to çeichnungen, p.218, N o.113, repr.; (2)
have assumed something human in their Anonymous drawing, Darmstadt, Lan­
appearance. The present drawing is an desmuseum, Inv. N0.AE558; black grease
eloquent example of this. crayon and white chalk on blue paper,
This standing lion appears in a number 190 x268 m m .; inscribed in red chalk,
o f paintings by Jan Brueghel, including P .S . l it . Jaffé, W ashington, 1970, p.31 n.23;

199
CATALOGUE N O . 58

(3) Anonymous drawing (T en Lions and 58. Susanna and the Elders (Fig. 15 2)
a D og), Vienna, Albertina, Inv. N0.499;
pen on white paper, 350 x220 m m .; in­ Oil on canvas; 94 x 67 cm.
scribed in i n k P .P .R u b b e n s fe '. l i t . Rooses, R om e, M u seo e G alleria Borghese.
V, p.226, No. 1426, pl.406; Jaffé, W ashin g­ Inv. N0.277.
ton, 1970, p. 17 n.37; fig.20; M itsch, R ubens-
: It is possible, but not cer­
p r o v e n a n c e
çeichnungen, p.216, N o.i 12, repr.
tain, that a paym ent made to Annibale
e x h ib it e d ; London, 1977, N0.68. Durante in 1622 ‘per una cornice per il
quadro dové Susanna’ (for a fram e for the
l it e r a t u r e ; Sm ith, Catalogue Raisonné,
Susanna picture) relates to this painting.
II, p.329, N0.1243; M.Rooses, in R u b en s-
B ulletijn, IV, pp.293-294, No. 1427; H in d, In any case, the painting was unquestion­
ably in the Borghese collection before
R ubens, II, p.36, N0.117, pl.XVII; G lü c k -
1650 (mentioned by Jacomo Manilli, V illa
H a b erd itçl, p.41, N0.98, repr.; H eld, D ra w ­
ings, p. 131, under N0.83; Jaffé, W ashin g­ Borghese fu o r i di Porta Pinciana, Rome,
ton, 19JO, p.13, fig. 11 ; C.Kruyfhooft and 1650, p. 107).
S.Buys, 'P.P.Rubens en de dierenschilde­ e x h ib it e d : A n tw erp , 1977, N0.8; Cologne,
ring’, Zoo, Antwerp, July 1977, pp.66-69, 1977, N0.5.
repr. p.68; M .W inner in M ie lk e-W in n e r,
pp.41-43, under N0.8. : G.Baglione, Le vite d e’ p it ­
l it e r a t u r e

tori, scvltori et architetti. D a l Ponteficato di

Gregorio XIII. del 15 ]2 In fin o a ’ tem pi d i
Study for a recumbent lion, below left in P apa V rbano O ttavo nel 1642, Rome, 1642,
the painting D aniel in the Lions’ D en in the p.363; J. Manilli, V illa Borghese fu o r i d i
National Gallery o f Art in Washington Porta Pinciana, Rome, 1650, p.107; A.M a-
(No.57; Fig. 134). Held believes that it may nazzale, Itinerario di R om a, Rome, I, 1817,
well have been made ‘from life’ ;1 how­ p.243; A .N ibby, R om a n ell’ anno 1838, Ro­
ever, the combination o f different m ate­ me, II, 1841, p.601; X.Barbier de Mon-
rials, such as black and coloured chalk, tault, Les M u sées et G aleries de R om e, 1870,
brown wash, watercolour and body-col­ p.364; Piancastelli, MS 1891, p.399; A. V en­
our, indicates that Rubens executed it in turi, Il M u seo e la G alleria Borghese, Rome,
the studio. As Jaffé has pointed out,2 this 1893, p. 145, N0.277 (as ‘ Scuola di R u b en s’);
lion in fact consists o f two parts, borrowed F.M .Haberditzl, ‘Studien über Rubens’,
from studies made ‘from life’ ; the fore­ fa h rb u ch d er K unsthistorischen Sam m lungen
quarters from Studies o f Lions in the Paul in W ien , 1911-1912, p.267 (as R ubens,
W allraf Collection, London (N0.57C; C.160J); O ldenbourg, R ubens, pp.35, 55 , 66
Fig. 143), and the hindquarters and tail (as R ubens); R.Longhi, Precisioni nelle G al-
from a Lion A sleep, fa cin g right, where­ lerie Italiane, I.R . G alleria Borghese, Rome,
abouts unknown (No.57d; Fig.144). 1928, p.201 n.276 (as ‘ R ubens, secondo sog-
giorno rom ano’); K .d .K ., p.19 (as R ubens,
c. 1606-1608); G lück, R ubens, V an D yck, p.16
(as R ubens, c . 1603); A .D e Renaldis, La G a l­
leria Borghese in R om a, Rome, 1935, p.35;
1. H e ld , D r a w in g s, p .131, under N0.83.
2. J a ffé , W a sh in g to n , 19 7 0 , pp .13, 31 nn.24, 25, figs.12,
D. A. Schmidt, S tu d i s u ll’arte d ell’ E uropa
13. O ccidentale, III, Leningrad, 1949, pp.35-41 ;

200
 CATALOGUE N O . 58

L. Van Puy velde, La p eintu re flam an d e à sanna was a symbol o f the soul’s salva­
Rom e, Brussels, 1950, pp.150-152, fig.58; tion. Later, like the Virgin Mary, she
H eld, D raw in gs, p .102, under N0.20 (as came to symbolize the Church, while the
R ubens, fr o m the early years in Italy); slanderous Elders stood for its Jewish and
B u rch a rd -d ’H u lst, D ra w in gs, p.35, under heathen persecutors. To medieval theo­
N0.16 (as R ubens, c. 1606-1608); J, M üller logians and lawyers the acquittal o f Su­
Hofstede, ‘An Early Rubens “ Conversion sanna was an illustration o f divine justice :
o f St. Paul” . The Beginning o f his Pre­ God does not forsake his own, but pun­
occupation with Leonardo’s “ Battle of ishes those who betray him. Thus the
Anghiari’” , Burlington M a g a zin e, CVI, story was often depicted in town halls
1964, p.96 n.3 (as R ubens, c.1602); L.Van where magistrates and those seeking jus­
Puyvelde, Cat. Exh. Brussels, 1965, p .170, tice could appeal to it in support o f the
under No. 183 (as R ubens, shortly before parries’ rights, duties and responsibili­
1608); della Pergola, p.7; M a as, pp.65-66, ties.1 In the art o f the Renaissance and
76-87; Jaffé, R ubens an d Italy, pp.78, 90, later centuries interest was confined to
98-99, 102, pl.VIII (as R ubens, 1606-1607); the bathing scene and the erotic element
Liess, p.356 (as R ubens). o f the old m en’s lust. The themes o f sal­
vation and the defence of the innocent
were relegated to second place, and the
A m ong the Jews in exile in Babylon was Bible story was increasingly a pretext for
a rich man named Joakim. His wife, the the depiction o f attractive female nudes.2
pious and beautiful Susanna, used to walk In the Borghese painting— which, in
daily in the garden o f their house. There view o f its size and execution, may be
she was noticed by two Elders, who were regarded as a cabinet piece— Rubens does
appointed judges that year, and who were not represent Susanna between the two
inflamed by lust for her. One day, when Elders, as sixteenth-century Flemish pain­
she had gone to bathe in the orchard, ac­ ters generally did,3 but adopts the Italian
companied by her maids, the Elders style whereby they approach her from the
spied on her from a hiding-place. When same direction: thus, thematically and
the maids had gone, they assailed her compositionally as well, they form a
with indecent proposals and threats. Su­ counterweight to the heroine.4 Although
sanna remained steadfast, however, and Susanna is centrally placed and in her
her cries forced the Elders to take flight. beauty dominates the composition, the
(Daniel 13: 1-24). By way o f revenge they main stress is on the dramatic confron­
swore that they had seen her com mit tation with the Elders: her dynamic pose
adultery with a young man, for which expresses the emotion of a frightened
she was condemned to death. However, wom an surprised in her nakedness. The
the young Daniel, who doubted their drama is enhanced by the harsh Caravag-
honesty, questioned them separately and gesque lighting, which throws heavy
found their story to be a lie. Thereupon shadows on Susanna’s body and leaves the
they were put to death by the people’s Elders in semi-darkness. The figure of
will (Daniel 13: 25-62 in the Vulgate; the Susanna is derived from the antique Spi-
History o f Susanna is an apocryphal addi­ nario (Palazzo dei Conservatori, Rome).
tion to the Book o f Daniel). Rubens most probable saw that sculp­
In Early Christian art the chaste Su­ ture, and we may assume that he made

201
CATALOGUE N O . 59

a careful drawing of it, though no such 2. R é a u , Ico n o g ra p h ie, II, i, pp.393-398; H.Schlosser, in
L e x ik o n d e r ch ristlich en Ik o n o g ra p h ie, IV, cols.228-231.
copy is preserved. There is a sheet by
3. See e.g. W illem Key (M. Friedländer, E a r ly N e th e r ­
Rubens in the British Museum in Lon­ la n d ish P a in tin g , XIII, Leiden-Brussels, 1975, p.95,
don5 showing the boy in two positions N0.269, pl.132), or the print by Hans CoUaert after
M aarten de Vos (H o llste in , IV, p.211).
based on the Spinario, but these are modi­
4. See e.g. Veronese (Madrid, Vienna; T.Pignatti,
fications o f Rubens’s invention and per­ V ero n ese , Venice, 1976, No,262, fig.601, N0.301,
form the function o f nude studies. The fig-659). Tintoretto (Vienna; R.Palluchini and
P. Rossi, T in to r e tto , I, Milan, 1982, pp. 173-174, No.200,
Susanna figure is similarly due to inven­
figs.202—264), or the print by Annibale Carracci
tion, but is marked by greater dynamism. (D.De Grazia Bohlin, P r in ts a n d R e la te d D r a w in g s
Rubens has differentiated the two El­ by the C a r ra cc i F a m ily , W ashington, 1979, pp.444
to 445, N o .14, repr.).
ders by their age and behaviour. The older
5. B u r c h a r d -d ’ H u ls t, D r a w in g s, pp. 34-35, N o.16, repr.
one m erely lays a finger on his lips to 6. M a a s , pp.76-87.
warn Susanna to keep silent, while his 7. K .d .K ., pp.20, 455 -

companion adopts a m ore aggressive and

persuasive attitude.
The predominance o f the figures in the 59. Susanna and the E ld ers (Fig. 153)
composition leaves little room for a de­
piction o f the surroundings. To the left Oil on panel; 198 x 218 cm.
of Susanna, who is seated at the edge of M a d rid , R eal A cadem ia de Bellas A rtes de
a pool o f water, is a fountain ornamented San Fernando.
by a young satyr playing on a pipe; be­
: Collection o f Prince Pio,
p r o v e n a n c e
hind it, a landscape with a path leading
Rome. Bought by the Academia as an
into the distance between rows o f cypres­
authentic Rubens on 18 January 1778.
ses, reminiscent o f an idyllic Venetian set­
ting. A tree with abundant foliage forms c o p y : A print by Maria Galvan y Can­
a background to the actual figures. dela, inscribed R ubens P°, G alva n d° y g°;
No essentially Flemish elements are illustrated in P. de Madrazo, C u a d r o sselec­
present in this work, which was painted tos de la R ea l A cadem ia de Bellas A rtes de
under antique and Italian influence.6 It San Fernando, N 0.7.
is stylistically close to The Entom bm ent —
e x h ib it e d : Pedro Paulo R ubens, Palacio
also in the Galleria Borghese7 and also on
de Velazquez, Madrid, 1977-1978, No.80.
canvas— and was probably painted in
1601-1602 during Rubens’s first stay in lite r a tu r e : Ju n ta s particulares, III, 18-
Rome. It is not known who commis­ 1-1778, MS Real Academia de Bellas Artes
sioned it. One m ight think o f Cardinal de San Fernando; Antonio Ponz, Viaje
Scipione Borghese (1578-1633), founder of de Espagna, 1772-1794, V, p. 307; Nicolas
the Galleria Borghese and a great art de La Cruz y Bahamonde, Conde de
lover. He was Director o f the Institute for Maule, Viaje de Espana, Francia e Italia, XI,
the protection o f German and Nether­ Cadiz, 1812, p.31 (as Jordaens ); P.de M a­
lands artists and was thus probably in drazo, C uadros selectos de la R eal Academ ia
contact with Rubens. However, he did de Bellas A rtes de San Fernando, N0.7; R oo­
not become a cardinal until 1605. ses, I, p. 165, N0.131 (as w orkshop, retouched
by R u b en s ); V, p.314 (as R ubens, executed
i. J.H .A . De Ridder, G erech tig h eid sta fcrelen voor S che­
p e n h u iz e n in V la a n d e r e n in d e 14 d e, 14 d e , en 16de
in Italy or d u rin g his fir s t stay in Spain) ;
eeu w , (Diss., Ghent University, 1986), MS, I, p .117. W. von Bode, ‘Kritik und Chronologie der

202
 C A T A L O G U E NO. 59

Gemälde von Peter Paul Rubens’, Zeit­ small cabinet piece painted by Rubens in
schrift f ü r bildende K unst, N.F., XVI, Leip­ Italy and now in the Galleria Borghese,
zig, 1905, p.202 (as R ubens c. 160 9 -16 10 ); Rome (N0.58; Fig.i^a). Instead of the Su­
P.Lafond, ‘ 1 ’Academie San Fernando à sanna figure predominating, the three
Madrid’, Les A rts, Paris, 1917, p p .1-4, characters are equally prominent; the
No. 159 (as R u b en s); K .d .K ., p.32 (as R u ­ horizontal format also makes it possible
bens, 16 0 9 -16 10 ): O ldenbourg, R ubens, pp.8, to lay emphasis on the developm ent of
72, 152 (as R ubens, 16 0 9 -16 10 ); E.Torm o, the action from right to left (see N o.58).
C atdlogo del M u seo de la R eal Academ ia de In the painting in the Galleria Borghese
Bellas A rtes de San Fernando, M a d rid , M a­ the essential element is Susanna’s reac­
drid, 1929, p.34 (as probably R ubens, Italian tion to the appearance o f the Elders, so
period ); A. von Schneider, Caravaggio und that her figure is dominant and theirs are
die N iederländer, M arburg an der Lahn, secondary. Here, on the contrary, we are
1933, pp.92-93 (as R ubens, 160 9 -16 10 ): shown the action and reaction between
Held, D raw ings, p.102, under No.20 (as the woman and her would-be seducers,
after R u b en s’ return from Italy, but it is not and the emotions of all three are treated
im possible that it still belongs to the end o f w’ith equal emphasis. In this respect there
R u b en s’ Italian period ); B u rch a rd -d ’H ulst, is a resemblance to the treatm ent of the
D raw ings, p. 117, under No.70 (as R ubens, same subject by Domenichino at Schloss
early A n tw erp period) ; A. H. Pérez Sanchez, Schleissheim.1 Another wav in which the
R eal A cadem ia de Bellas A rtes de San Fer­ present work m ay have been influenced
nando. Inventario de las Pin turas, Madrid, by Roman paintings of the story o f Susan­
1964, p.63, No.688 (as R u b en s ); F.Labrada, na (such as that by ?Annibale Carracci in
R eal A cadem ia de Bellas A rtes de San Fer­ the Galleria Doria-Pamphili in Rome)2 is
nando. Catalogo de las P in tu ras, Madrid, the typical presence of a balustrade over
1965, pp.74-75, No.688; L. Van Puy velde which one o f the Elders is climbing, and
in Cat. Exh. Brussels, 1965, p.170, under which separates the elegant, w'ell-kept
N o.183 (as shortly after Rubens’s return to garden from the area in which Susanna is
A ntw erp); della Pergola, p.8 (as R ubens, bathing.
16 10 -16 12 ); M a as, pp.36, 43-44. 87-98; The Elders, not content with admiring
J. S. Held, ‘Zw ei Rubensprobleme. Die or accosting the naked beauty, engage in
Kekropstöchter’, Z eitsch rift f ü r K u n st­ physical contact. One of them lifts up the
geschichte, XXXIX, i, 1976, p.44 (as R ubens); garm ent with which Susanna tries to
Liess, pp.63-64, 113, 127, 177, 210, 224, 247 cover herself and gazes at her greedily
to 248, 250, 320, 328-330, 334, 356 (as R u ­ with open mouth, while the other touches
bens); H eld, O il Sketches, p.599, under her back. Neither o f them can spare a
N0.432 (as R ubens, c.1609); J. S. Held, R u ­ glance for Susanna’s face: what interests
bens an d his C ircle, Princeton, N.J., 1982, them is her naked body. The frightened,
pp.163-164; H eld, D raw in gs, 19X6, pp.321- helpless Susanna tries to escape by stand­
322, under No,233. ing up and starting to one side in an un­
stable attitude. The gap that thus arises
between her and the Elders is bridged by
This large painting, in which Susanna and their outstretched arms, so that the
the Elders are represented life-size, affects m otif o f grasping becomes prominent.
the spectator quite differently from the Susanna’s diagonal pose, parallel to the

203
C A T A L O G U E N O . 59

group formed by her attackers, intensi­ Bathsheba Receiving D avid ’s Letter in the
fies the physical and spiritual dynamic of Gemäldegalerie in Dresden (N0.44; Fig.
the incident. The fervent morality o f her 98), and D iana and Actaeon in the Boy-
attitude, which is a m ajor elem ent in the mans-van Beuningen Museum in Rotter­
conflict, is emphasized by her throne­ dam .8 A ll these works exhibit the theme
like chair on a pedestal beside the foun­ o f a naked wom an surprised while bath­
tain : this is covered with a velvet mantle ing, and it must therefore be assumed
trim m ed with ermine, a sym bol o f fidel­ that the dolphin and Cupid were not
ity and virtue.3 m erely a favourite ‘prop’ but possessed
In this painting Rubens combines an iconographie significance. It is in fact a
northern realism with his own Dionysian m otif borrowed from antiquity, and was
tem peram ent; however, in many respects generally used to symbolize the ardour
his pictorial language evidences a debt to and impatience o f love.9 It is noteworthy
the South, to classical and Italian art. The that in the composition o f his paintings o f
figure o f Susanna is clearly related to that Susanna, Rubens always represents the
o f Laocoon in the group o f that name, fountain as a ‘pendant’ to the Elders, thus
which was in the Belvedere in Rubens’s creating an analogy in terms o f content.
time and is now in the Vatican Museum.4 On stylistic grounds this painting may
In both figures the most strikingly dy­ be dated c.1609-1610. It is not known for
namic feature is the diagonal from the w hom it was executed. A preparatory
right hand to the left foot. Nor is the drawing is in the Musée A tger at M ont­
resemblance purely form al: both o f them pellier (No.59a; Fig. 154).
express pain and anguish, which may be 1. M a a s , pp.43-44, 88; R.E.Spear, D o m en ich in o , N ew
both spiritual and physical. The Elder H aven-London, 1982, pp.149-151, N0.29, fig.49.
seen in profile, with curly hair, recalls 2. M a a s , pp.36, 38; D.Posner, A n n ib a le C a rra cci. A
S tu d y in th e R e fo r m o f Ita lia n P a in tin g a r o u n d 1590
Michelangelesque models; as Held point­ (N a tio n a l G a ller y o f A r t : K r ess F o u n d a tio n -S tu d ies in
ed out, it is based— with some modifica­ th e H isto r y o f E u r o p ea n A r t ) , London-N ew York,
tions, especially as regards the incidence 1971, II, p.58, N0.131A, fig.i3ia (as t G io v a n n i L a n -
fr a n c o ; t a fte r A n n ib a le C a rra cci).
o f light— on Rubens’s study o f the Head 3. M a a s , pp.91-93.
o f a Bearded M a n in the Galleria Nazionale 4. Rubens drew several studies after the Laocoon
( B u r c h a r d ~ d 'H u ls t,D r a w in g s ,pp.31-33, N0.15, repr.;
d’Arte Antica in Rom e.5 The other grey­
F u b in i-H e ld , p p .123-141, figs,8, 9, pls.1-4); M a a s ,
beard echoes an antique bust o f ‘Socrates’
p.97.
and antique sculptures o f Sileni with 5. H e ld , O il S k etch es, p.599, N0.432, pl.421.
which Rubens was familiar. The colouring 6. A. von Schneider, C a ra v a g g io u n d d ie N ie d e r lä n d e r ,
M arburg an der Lahn, 1933, pp.92-93.
and touch are unthinkable without Ti­ 7. K .d .K ., p .133.
tian and Veronese; while the contrasts of 8. K .d .K ,, p.350.
light and shade point to the influence of 9. W . Sauerländer, 'Über die ursprüngliche Reihen­
folge von Fragonard’s “ Am ours des Bergers’” ,
Caravaggio6 and contribute greatly to the M ü n c h n e r J a h r b u ch d e r b ild en d en K u n s t, X IX , 1968,
dramatic character o f the scene. p.134; M a a s , p.89. Rubens seems to have had a
The dolphin with the winged Cupid on fountain w ith a dolphin and putto in his own gar­
den: it can be clearly seen in the background o f
its back is one o f Rubens’s favourite m o­ R u b e n s a n d H élèn e F o u r m en t W a lk in g in th eir G a rd en
tifs for fountain sculpture. It is found here in the A lte Pinakothek in Munich ( K .d .K ., p.321).
for the first tim e in his work, and was It must be borne in m ind, however, that that w ork
is probably overpainted in part (E v er s, N e u e F o r ­
later used in Cimon and Iphigenia in the sch u n g en , pp.336-341 ; U .Krem pel in Cat. A lte P in a ­
Kunsthistorisches Museum in Vienna,7 ko th ek M ü n c h e n , 1983, pp.435-436, N o.313, repr.).

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 C A T A L O G U E NO. 59a

59a. Susanna and the Elders: Drawing p.301 (as R ubens); M .van der Meulen,
( F ig '154) 'Rubens and the Antique Sculpture Col­
lections in R om e’, Gentse Bijdragen tot de
Pen and brown ink and brown wash; K unstgeschiedenis, XXIV, 1976-1978, pp.
216 x 157 m m . Below, m ark o f the Atger 154-156.
Museum, M ontpellier ( 1 . 38), and, in­
scribed with the pen by a later hand, R u ­
bens fe cit, S u za n n e au bain and P .P .R u b ... Susanna is seated on the brink o f a pool
— V erso : D avid Slaying G oliath; pen and of water, her legs to the front, the upper
brown ink; 216 x 15 7 m m. Below, mark part o f her body turned to the right, and
of the Musée Atger (L.38) and, inscribed bent forward. With her raised left hand
by a later hand, D avid et G oliath (pen she holds a linen cloth which she presses
and brown ink), 2-, and P .P .R u b en s fecit against her thigh with her lowered right
(chalk), (Fig.84). arm. Looking over her shoulder, her
M ontpellier, M u sée A tger, Faculté de M éd e­ head is turned to the left in the direction
cine. o f one o f the Elders whose figure, only
p r o v e n a n c e : Xavier Atger (Paris, 1758— partly visible, appears in outline on the
1833); bequeathed by him between 1813 extrem e left, his arm stretched forward
and 1829 to the Faculty o f Medicine o f (see No.58).
Montpellier, his native town. The figure of Susanna is clearly related,
in reverse, to that of Laocoon in the
A ntw erp, 1956, No.38; D es­
e x h ib it e d ;
antique sculptural group of that name,
sins du M u sée A tger, M ontpellier, Paris,
which was in the Belvedere of the Vatican
Louvre, 1974-1975, No. 58.
in Rubens's time and which he copied
l i t e r a t u r e : Dr Kühnholtz, N otice des there.1 Like Laocoon, Susanna is seated
dessins sous verre, tableaux, esquisses, recueils and bent forward; like him, she feels the
de dessins et estam pes réunis à la Biblio­ presence o f a threat and starts to one
thèque de la Faculté de M édecine de M o n tp el­ side to avoid it. Both figures thus take
lier, 1830, p.79, N0.247; I.Q .van Regteren on a strongly dynamic character, espe­
Altena, in A m sterdam , 1933, under N0.68 cially marked by the diagonal from the
(as R ubens ); B u rch a rd -d ’ H ulst, Tekeningen, raised arm to the outstretched leg.
p.50, No.38, pl.XV (as R ubens); H eld, This is a compositional sketch, to be
D raw in gs, pp.ioi-102, N0.20, p i.17 (as dated c.1609-1610, for Rubens’s Susanna
R ubens, c .16 0 8 -16 12 ); B u rch a rd -d ’H ulst, and the Elders in the Real Academia de
D raw in gs, pp.x 16-117, N0.70, pi.70 (as Bellas Artes de San Fernando in Madrid
R ubens); M a as, pp.94-96 (as R ubens); J.I. (No.59; Fig. 153). That painting, however,
Kuznetsov, R ub en s D raw ings (in Russian), shows the scene in reverse, and is in hori­
Moscow, 1974, No.34, repr. (as R ubens); zontal instead o f vertical format. Both
Cat. Exh. D essins du M u sée A tger, M o n t­ works have strong side-lighting and show
pellier, Louvre, Paris, 1974—1975, pp.35-36, the recoiling Susanna with one arm raised
N0.58, pl.XXIX and cover (as R ubens); above her head; in both works, further­
Varshavskaya, R ubens, pp.68-72, under more, appears the horizontally extended
N0.4, repr. p.71 (as R ubens); A.-M.Logan, arm o f one o f the Elders reaching for the
Review of J. I. Kuznetsov, R ubens D raw ings young woman. A comparison with the
(in Russian), in M aster D raw ings, 14, 1976, painting makes it possible to identify the

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C A T A L O G U E NO. 6o

vague forms on the right o f the drawing W hile it can be accepted that the com ­
as the basin o f a fountain with water position o f the painting in the Hermitage
pouring over the edge. is partly based on Rubens’s drawing at
Varshavskaya has pointed out that Montpellier, and perhaps also on other
there is in the Hermitage in Leningrad a models painted or drawn by him and now
painting o f Susanna and the Elders (Fig. 155 )2 lost, in view ofits weak execution the paint­
which should also be connected with the ing cannot be regarded as by his hand.3
drawing. As in the painting in Madrid, so 1. B u r c h a r d -d ’ H u ls t, D r a w in g s, pp.31-33, N o.15, fig .i5;
in Leningrad the Elders are not content F u b in i-H e ld , pp.123-141, figs.8, 9, pls.1-4.
with spying on Susanna, but attem pt to 2. Inv. No.7080; oil on panel, 123 x 108 cm. e x h . R u ­
bens a n d F lem ish B a roqu e (in Russian), Hermitage,
touch her as well. One o f them has a leg Leningrad, 1978, p.20, No.20, repr. p.21. l i t . M. V ar­
over the balustrade and tries with one shavskaya, loc. cit.; A.-M .Logan, loc. cit.
hand to pull off the linen cloth with 3. Varshavskaya agrees that the execution is weak and
that the w ork is not by Rubens; but she has some
which she seeks to cover her nakedness ;
doubt as to Susanna’s head, and does not exclude
the second Elder follows, looking on the possibility o f its being by Rubens.
avidly. They have surprised her bathing
in a grotto beside a fountain. The inci­
dent takes place in the foreground and is 60. Susanna and the Elders (Fig. 1 56)
seen di sotto in su ; nothing is seen of the
distant background. In contrast to the Oil on panel; 66 x 5 1 c m .; signed and
horizontal form at o f the Madrid painting, dated P . P .R u b e n s F. 1.6 .1.4 .
in which the Elders and Susanna are Stockholm , N ationalm useum . N0.603.
equally prominent, the Leningrad paint­
p r o v e n a n c e : Probably the painting
ing is in vertical form at and Susanna do­
(height c. 2 feet 3^ inches, width 1 foot
minates the composition, as she does in
9 inches) which Pierre Willemssens sub­
the present drawing and in Rubens’s
mitted for assessment on 3 October 1733
painting o f the same subject in the Galle­
to the deans o f St L uke’s guild in A n t­
ria Borghese, Rome (N0.58; Fig.152).
werp, who certified it to be by Rubens
The drawing and the Leningrad paint­
(‘R esolutieboek’ , II, fol.iov; Rooses, I, p.172,
ing represent the action in the same di­
under N o.136; P .Rolland, ‘Inventaris op
rection; both are illuminated from the
het A rchief van het Oud Sint Lucasgild
side and show the recoiling Susanna with
en van de Oud Koninklijke Academie van
one arm above her head, clutching the
Antwerpen’, Jaarboek van A n tw erp en ’s
linen cloth which one of the Elders is
O udheidkundige K ring, XV, 1939, p.57,
trying to pull off her with outstretched
N0.82); Count C.G.Tessin (1695-1770);
arm. However, there are also some dif­
Louisa Ulrika (1720-1782), Queen o f Swe­
ferences, especially in the figure o f Su­
den; Gustavus III (1746-1792), King of
sanna: in the painting the lower part of
Sweden, after whose death the painting
her torso, and her lower limbs, are turned
became the property o f the Swedish
m ore to the right, so that one leg is in
State.
full profile. The same pose o f the limbs
is later seen in other versions o f Susanna c o p ie s (1) Anonymous painting, where­
:
and the Elders by Rubens, such as that of abouts unknown; panel, 66 x 5 1 c m .
1614 in the Nationalmuseum in Stock­ p r o v . Sale, Bern (Dobiaschofsky Gallery),

holm (No.60; Fig.156). 25-28 April 1978, lot 602 (as School o f R u -

206
 C AT A L O G U E NO. 6 1

bens); (2) Anonymous drawing (Susanna mia de San Fernando in Madrid (No.59;
only), Munich, Staatliche Graphische F ig .i53), the garden with its llower-beds
Sammlung, Inv. N o.1123; red chalk, 263 is at a lower level than the protagonists.
x 181 mm. l it . W.Wegner, Kataloge der Susanna is in a cave-like, enclosed bath­
Staatlichen G raphischen Sam m lung M ü n ­ house, her feet in the pool of water flow­
chen. I. D ie niederländischen H andçeichnun- ing from a fountain in the form of a dol­
gen des ij.-i8 .J a h r h u n d e r ts , Berlin, 1973, phin.2 Startled by the noise of the Elders’
p.122, N0.8Ó4 (as 'nach R u b en s’). approach, she turns her head to see who
it is, at the same time trying modestly to
e x h ib ite d : Paris, 1 936, N o. 56; Brussels,
cover her naked lap. The Elders have just
î ÿ j j , No.6; Brussels, 1 963, N0.183; A n t­
appeared in the doorway ; Rubens shows
w erp, 1 9 ] ] , N0.33; R ubens i Sverige, Stock­
only their heads and hands, but their atti­
holm , Nationalmuseum, 1977-1978, No.2.
tudes fully express their different charac­
l it e r a t u r e : Rooses, 1, pp.169-170 (No. ters. The older one, with white beard and
136), p.172; G.Göthe, N otice descriptive des thinning hair, eyes Susanna’s face with a
tableaux du M u sée N ational de Stockholm , gentle smile. The other, who is consider­
Stockholm, 1893, 1 , p.276, N0.603; F. M. ably younger, with short black hair and
Haberditzl, ‘Studien über Rubens’, J a h r­ a healthy complexion, can scarcely con­
buch d er Kunsthistorischen Sam m lungen in tain him self and stares with open mouth,
W ien, 1911-1912, p.267; K. d. K ., p.75 ; O ld en ­ not at the heroine’s face but at her naked
bourg, R ubens, p.98; M. Grandberg, C ata­ body. Thus Rubens establishes an oppo­
logue d escrip tif des collections de p eintures du sition between the older m an’s quiet ad­
M u sée N ational, Stockholm, 1928, p.125, miration o f Susanna’s beauty and the
N0.603; H eld, D raw ings, p.108, under younger one’s sensuality.
No.32; B u rch a rd -d ’H ulst, D ra w in gs, p.131, This painting is signed and dated 1614;
under No.78; delta Pergola, p.7; M aas, it is not known who commissioned it.
pp.98-104; G.Cavalli-Björkman, ‘Mälnin-
1. The resemblance to the Borghese painting was first
gar av Rubens i Nationalmuseum’, in noticed by Haberditzl, loc. eit. H eh l, D r a w in g s, loc.
R ubens i Sverige, Stockholm, 1977, p p -ii- cit., and B u r c lia r d -d ’ l h d s l , D r a w in g s, loc. cit., rec­
12, 32-34, repr. p.33; Renger, p.74, under ognize the connection and also point out the simi­
larity to the Bmltsfu'lw drawing in Berlin (No.at;
N0.45; Liess, pp.224, 247, 250, 328-331, Fig.9 7 ). M a a s , lo c . cit., emphasizes the difference of
3 3 7 , 356-358 (as R ubens). theme between the two paintings.
2. For the fountain, which also occurs in Susanna a n d
the lild e r s in the Academia de San Fernando in Ma­
drid, see N o.59.
This cabinet piece is in many ways similar
to the version o f Susanna and the Elders
painted c. 1601-1602 and now in the Gal­
61. Susanna and the Elders
leria Borghese, Rome (No. 58; Fig. 152).
Both works are o f small size, executed in
Technique and measurements unknown.
a bo^etto-like style with the use of local
W hereabouts unknow n; presum ably lost.
c o lo u rin g, and the figure o f Susanna is
centrally placed, dominating the compo­ c o p i e s : ( i ) Anonymous painting, where­

sition. Her chaste attitude is also similar abouts unknown (Fig. 137); canvas, 208 x
to that in the Borghese painting.1 As in 218 cm. p r o v . Frederick II of Prussia,
the painting of 1609-1610 in the Acade­ bought by him in June 1766 from Gutz-

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C A T A L O G U E NO. 6 1

kowsky for 2500 thalers; Berlin, Pots­ tout p u issa n t Conserve sa chasteté. D aniel
dam, Schlossgalerie Sanssouci, Inv. No. c h .t j. l i t . V .S ., p .n , N0.92; Rooses, I,
GK L7573; disappeared since 1945. l i t . pp.167-168, under N0.153; V an den W ijn -
Sm ith, Catalogue R aisonné, II, p .105, No.344 gaert, P ren tku nst, p .66, No.355bis; Lugt,
(as R u b en s ); P. Seidel, ‘Friedrich der Cat. Louvre, École flam an d e, II, p.37,
Grosse als Sam m ler von Gemälden und N0.1130, p.38, under N0.1131; H .Vey,
Sculpturen’, Jahrbuch der preussischen op. cit., p.237, under N o.167; M aas, pp.68
K unstsam m lungen, XV, p.55 (repeated in to 69; R enger, pp.74, under N0.45, 100,
R ubens-B ulletijn, IV, pp.201-203; as R u ­ under N0.67; (5) The same engraving by
bens) ; E. Henschel-Simon, D ie G em älde u nd Michel Lasne (Fig. 160); below on the
Sku lp tu ren in der Bildergalerie von San s­ right, his monogram, and below in the
souci, Berlin, 1930, p.30, N0.97, fig.97; centre: P . R ubens p in x it ; dedication: Lec­
Bernhard, Verlorene W erke, p.56; della P er­ tissimae V irg in i A nn ae R oem er Visschers il­
gola, p.io; (2) Anonymous painting (show­ lu stri Batavia Sideri, m ultarum A rtiu m peri-
ing only the upper half o f the composi­ tissimae, / Poetices vero studio, su p ra sexum
tion as seen in the Sanssouci painting), celebri rarum hoc Pudicitiae exem plar, P etru s
collection o f Charles E.T.Stuart-Linton, P a ulus R ubenu s. L .M .D .D . l i t . V .S ., p .n ,
N ew York (1945); canvas, 114 x16 0 cm . N0.93; Hym ans, G ravure, pp.85-87; Rooses,
p r o v . H .R.H .Adolphus Frederick, ist I, pp.167-168, under N0.133; V an den
Duke o f Cambridge (brother o f George W ijngaert, Pren tku nst, p.66, No.355; Lugt,
IV) ; Charles Alfred George Stuart-Linton ; C at. Louvre, École flam an de, II, p.37, under
Adolphus Frederick Stuart-Linton, Ca- N0.1130, p.38, under N o.1 131 ; H .Vey, op.
barston House, Hove, Sussex, England. cit., p.237, under No. 167; della Pergola,
l it . G.H .M cCall, A Catalogue o f Paintings p. 11 ; E. Op de Beeck, ‘Suzanna en de twee
in the Collection o f Charles E .T .S tu a rt- ouderlingen. Rubens’ gravures voor Anna
Linton, privately printed, New York, 1944, Roemers Visscher ’ Ja a rb oek K on in klijk M u ­
pp.12-13; (3) A. van Dyck, drawing, Paris, seum voor Schone K unsten, Antwerp, 1973,
Louvre, Inv. No. R.F,o2.o52 (Fig. 158); pp,207—221, fig.i; M a as, pp.68-69; R enger,
black chalk, washed with Chinese ink, R ubens D ed it, XVI, p.133; XVII, pp.200,
with some touches o f brown wash, in­ 203-204; Bodart, p.63, N0.114, fig.114; R en ­
dented for transfer, 262 x 220 m m . p r o v . ger, pp.74; under N0.45,100, under N0.67;
?Prince Galitzin; presented to the Louvre (6) Engraving by Quirin Marcx (Fig.161);
by P.Houette, 1897. l i t . V .S ., p .11, under below on the right: gravé p a r Q uirin
N0.91; Rooses, I, p .168, under N0.133 (as M a rcx : titled : Susanne avec les V ieillards /
R ubens); Lugt, Cat. Louvre, École flam an de, G ravé d ’après le dessin original de R ubens
II, p.38, N0.1131, pl.LIX (as ‘attribué au tiré d u C abin et de M r le / Prince de G a litçin
je u n e V an D y ck’); H .Vey, D ie Zeichnungen M in istre P lén ip re de R ussie à la C ou r Im p le
A n to n van D ycks, Brussels, 1962, p.237, et R oyale, l i t . V .S ., p .u , N0.91; Rooses, I,
No. 167, fig.206 (as Van D yck); M a as, pp.68 p.168, under N0.133; Lugt, Cat. Louvre,
to 69; Bodart, p.63, under N0.114; (4) En­ École flam an d e, II, p.38, under N0.1131;
graving by Michel Lasne, in reverse (Fig. della Pergola, p. 10; M a as, pp.68-69.
159); below on the right, his m onogram (7)
(M and L joined together) and P. P. R ubens
P in x it ; titled: Susanne surprise p a r d eu x Like Susanna and the Elders in the Acade­
V ieillards, dans un Jard in , / P a r la vertu du mia de San Fernando in Madrid (N0.59;

208
 C A T A L O G U E NO. 6l

Fig. 153), this version belongs iconographi- painting Susanna’s right thigh is covered
cally to the ‘aggressive’ type: the two by a linen doth, which is not the case in
Elders do not m erely gaze at Susanna or the Sanssouci painting, the drawing, or
accost her, but attem pt to touch her body the prints by Lasne and Marcx.
as well (see also No.58). Lasne, a Frenchman, stayed only a
On the right, in a grotto with a satyr short time in the Southern Netherlands:
herm, is a fountain with a Cupid astride he received permission trom St L uke’s
a dolphin, pouring water into a basin. guild in Antwerp to work there for two
Susanna, about to bathe, stands with one months, some time between September
foot on the ground and the other on a 1617 and September 1618.2 As, in addition
stool. One o f the Elders, wearing a velvet to Susanna am i the Uhlers, he engraved
hat, looks at her fixedly and pulls off her other separate prints as well as title-
garm ent with one hand, laying the other prints after Rubens,3 we may suppose
on her shoulder; his companion, younger that his stay in Antwerp exceeded that
and stronger, m erely touches her back. period. In any case, according to Mariette
Susanna turns round in surprise and cov­ he was back in France in 1621,4 and his
ers her bosom with both hands, in the engraving must therefore date from be­
painting form erly at Sanssouci (Fig. 157) tween 1617 and 1621. Hence Rubens’s
there is in the background a landscape original model, from which the print
with a pergola next to a building, only was made in reverse, must have been
the façade o f which can be seen. In the executed between those dates at the
print engraved after it by Lasne (Fig. 159) latest.
the background consists o f an arbour di­ Anna Roemers Visscher, to whom Ru­
rectly adjoining the grotto, together with bens dedicated Lasne’s engraving, was a
a few trees; the drawing in the Louvre celebrated Dutch poetess; born in A m ­
(Fig. 158) and the print by Marcx (Fig.161) sterdam in 1583, she died at Alkm aar in
leave the background vague. In the paint­ 1651. O f a Protestant family, she con­
ing, the drawing and the prints, some verted to Catholicism probably in about
vessels and a cloth lie on the ground in 1640. Her poetic talent and general cul­
front; in the painting and in Lasne’s print ture were widely admired. She renounced
there is also a necklace and a comb. the prospect of marriage in order to look
Hitherto all authors' have been o f the after her sick father, and was therefore
opinion that the drawing in the Louvre also celebrated as a model o f chastity:
and the prints by Lasne and Marcx are this is why Rubens refers to her as ‘rarum
based on the painting in Stockholm (Inv. hoc Pudicitiae exem plar’5 in his dedica­
N0.596; see No,63; Fig. 164). However, tion, which was probably the fruit o f per­
this is clearly not the case. In the drawing sonal acquaintance. She seems not to have
and prints in question, as in the painting been in Antw erp before 1640, but Rubens
form erly at Sanssouci, it is only the Elder may have m et her during his early visit
in the velvet hat who pulls off Susanna’s to Holland in 1612.6 She for her part ad­
garm ent and lays a hand 011 her shoulder. mired Rubens greatly; she copied his
In the Stockholm painting, on the other Virgo laclans, which was in Holland in
hand, both Elders pull at the garment 1621, and wrote a complimentary poem
and neither of them touches her shoulder. about him. Rubens repeated the same
It may be added that in the Stockholm dedication w'ord for word on another

209
C A T A L O G U E NO. 6 l

Susanna print, this time the w ork of Lu­ sche Vriendenkring van Anna Roemers Visscher',
in D e M o r e tu sse n en h u n k r in g , Antw erp, 1928,
cas Vorsterman (see N0.62).7
pp.53-77; J.G.van Gelder, ‘Rubens in Holland in
The drawing in the Louvre, which Lugt8 de zeventiende eeuw ’, N e d er la n d sch K u n sth isto r isc h
and Vey9attribute to Van Dyck, probably Ja a r b o ek , 1950-1951, p.120; R en g er , R u b e n s D e d it,
XVII, pp.203-204.
rightly, is indented for transfer, probably
8. L u g t, C a t. L o u v re, É cole fla m a n d e , II, p.38, N o ,ii3 i.
by Marcx for the purpose o f his engra­ 9. H. Vey, loc. cit.
ving.10The latter reproduces the drawing 10. It m ight be supposed that the drawing in the
Louvre was made as a m odel for Lasne's prints.
in the same direction; its title states that it
These differ from it, however, as regards the
was made after an original drawing by Ru­ background and especially the objects on the
bens, form erly in the possession o f Prince ground beside the fountain. In Lasne’s engravings,
as in the painting form erly in the Schlossgalerie
Galitzin, but it is possible that the draw­
at Sanssouci, these include a necklace and a com b,
ing was m erely from Rubens’s studio. which are not found in the Louvre drawing or in
Since the print must have originated be­ M arcx’s print.

fore 1811, the year of M arcx’s death, and

the indented drawing did not reach the
Louvre until 1897, it is chronologically 62. Susanna and the Eldets
possible that Prince Galitzin’s drawing
and the drawing in the Louvre are one Technique and measurements unknown.
and the same. Whereabouts unknow n; presum ably lost.
p r o v e n a n c e : Probably one o f the paint­
1. R o o ses, V a n d en W ijn g a e r t, P r e n tk u n s t, L u g t, C a t.
L o u v r e, É cole fla m a n d e , H. Vey, loc. cit., M a a s , Be­
ings that Rubens delivered in 1618 to Sir
darf. Dudley Carleton (1573-1632) in exchange
2. ‘Item ontfangen van Michiel Lasne, plaetsnider, for the latter’s collection of antique
fransman, voir de vriheit onim e alhier te moegen
wercken den tyt van twey maenden, ontfangen
sculpture.
gul.6-0’ (Item, received from Michiel Lasne, en­
graver, a Frenchman, for permission to w ork here
c o p y : Engraving by Lucas Vorsterman
for the space o f tw o months, received fl.6-o) (Fig. 162); inscribed below on the left,
(P.Rombouts and T. van Lerius, D e L ig g eren en a n ­ P. P. R ubens p in x it; below on the right,
d ere h istorisch e a rch iev en d e r A n tw e r p sc h e S in t L u ca s-
g ild e , I, Antwerp, 1864, pp .540-541).
Lucas Vorsterm an sculp. / et excud . A0 1620;
3. V.S., p p .i i (N0S.92, 93), 78 (No,37), 82 (N0.68), 88 below in the middle, C um privilegijs, R egis
(No.123), 98 (N0.35), 99 (N0.42), 196 (No.24), 200 C hristianissim i, P rincipum Belgarum et O r­
(Nos.48, 49); H y m a n s, G r a v u r e , p.83ff. ; V a n den
W ijn g a e r t, P r e n tk u n s t, pp.66-67, Nos.355-369.
dinum Bataviae; dedication: Lectissim ae
4. A r c h iv e s d e l’a r t fr a n c a is , I, p.44. V irg in i A n n a e Roem er Visschers illu stri Ba­
5. This phrase makes it clear that Rubens’s reason taviae Sijderi, m ultarum A rtiu m peritissim ae,
for dedicating a S u sa n n a a n d th e E ld e rs to Anna
Roemers Visscher was that it could thus pass as an
Poetices vero studio, su pra sexum / celebri,
allegory o f chastity. This does not by any means rarum hoc Pudicitiae exem plar, P etru s P a u ­
im ply that he regarded the subject as exclusively lus R ubenu s. L .M .D .D . l i t . V .S ., p.io,
or even mainly a biblical illustration o f virtue: no
N o ,8 4 ; H ym ans, G ravure, pp.153-154, 170,
more than other artists did he choose the them e
for the purpose o f giving a m oral lesson. See 180-182; Rooses, I, p. 166, under No. 132,
E. McGrath, ‘Rubens's “ Susanna and the Elders” pl.41; R ooses-R u elens, II, p p .195-212; H y ­
and m oralizing inscriptions on prints’, in Wort u n d
B ild , Erfstadt, 1984, pp.81-85.
m ans, Vorsterm an, p.68, No.5 ; O ldenbourg,
6. R.D e Smet, ‘Een nauwkeuriger datering van Ru­ R ubens, p.ioo, fig.56; H in d, R ubens, II,
bens' eerste reis naar Holland in 1612', J a a rb oek p.145, under N o .i; C.Sterling, ‘Manet et
K o n in k lijk M u s e u m vo or Sch on e K u n ste n , A n tw e r p e n ,
Rubens’, l ’A m o u r de l’A rt, 1932, p.290,
1977, pp. 199-220.
7. R o o ses, L ife, pp.276, 418; M .Sabbe, ‘De A ntw erp­ fig.50; V a n den W ijngaert, Pren tku nst,

210
 CATALOGUE NO. 62

p .io i, N0.710; V an Puyveläe, R ubens, light in Susanna’s beauty. The other,

p .1 17; della Pergola, p p .n , 13-16, fig.4; younger man is not content to look,
R.E.Krauss, ‘M anet’s Nym ph Surprised’, but bends over Susanna and cautiously
Burlington M a g a zin e, CIX, 1967, pp.622- touches her breast with his hand. Susanna’s
627, fig.18 (detail); J.S.Held, ‘Rubens and reaction is noteworthy: her gaze is not
Vorsterm an’, A r t Q uarterly, XXXII, 1969, directed at the Filders but at us, the spec­
pp. 111—113 ; E.Op de Beeck, ‘Su z a n n a en tators, as if calling us to witness and in­
de twee ouderlingen. Rubens’ gravures volving us in the event. In the background
voor Anna Roemers Visscher’, Jaarboek are trees and grass, growing freely and
K on in klijk M u seu m voor Schone K unsten, not as part of a garden.
A ntw erpen, 1973, pp.207-221, fig.3; M a as, As in the painting in the Galleria Bor­
pp.70-71, 111-120; Bodart, pp.68-69, No. ghese in Rome (No.58; Fig. 152), the gen­
122, fig.122; R enger, pp.99-101, N0.67, eral attitude o f the figure o f Susanna re­
fig.39. calls the antique Spinario: the arms cross­
ed over her bosom, on the other hand,
Rooses, I, p p .166-167, un­
l it e r a t u r e :
are reminiscent of an antique V enus p u ­
der N0.132; V, p.314, N o.132; della P er­
dica. Susanna’s physical beauty, and the
gola, pp. 15-16.
toilet articles beside her, belong to the
iconography of The Toilet o f Venus. This
Copy (2)
association goes back to the Venetians,
Iconographically this version o f Susanna especially Tintoretto, who made such ar­
and the Elders belongs to the ‘aggressive’ ticles an essential part of his treatment of
type (see N0.58): the old men engage in Susanna and the Elders, for instance the
physical contact, though less violently work now7 in Vienna.1 Also o f Venetian
than the burly, primitive figures in the origin are the Elders’ costly robes, of
painting in the Academia de San Fernando richly ornamented material, as they are
in Madrid (No.59; Fig. 153). The rough­ seen, for instance, in Veronese.2
ness o f their appearance has given way to The original work by Rubens, now lost,
a more refined and subtle characteriza­ is known only from the print by Vorster­
tion, typical o f Rubens’s figures from man, w'hich gives it in reverse. Rubens
onwards.
C. 1615 had the figures facing left, as appears
The action takes place at the entrance from Vorsterm an’s preparatory drawing
to a large grotto built o f rusticated stones. in the British Museum, London (Fig.163).3
Susanna is seated in front o f a fountain, In that drawing, the younger m an’s shod
on a stone bench forming the edge o f a foot is seen beside the fountain.4 The foot
large bath with three steps leading down was originally engraved in the copper­
to it. She has laid her garment, hair-band plate (now in the Louvre in Paris), but
and comb on the bench, and her jewels was later erased; traces of it, hou'ever,
and scent-flask on one of the steps. One can still be seen in the print.
piece o f jewellery, a string of pearls, is Together with the print o f Susanna and
still round her neck. W ith crossed legs the E lders, dated 1620, eight other prints
and one foot in the water, she tries to by Vorsterman after Rubens were pub­
cover her nakedness with a linen cloth. lished in that year, and some are also
One o f the Elders, behind her, attempts inscribed 1620.} This does not mean, how­
to pull this off, his face reflecting his de­ ever, that the nine prints were engraved

211
C A T A L O G U E NO. 62
in that year. Rubens probably delayed to Carleton, as appears from the form er’s
their publication till he had obtained the letter o f 1 June i 6 i 8 .u
necessary privileges to protect his copy­ Vorsterm an’s print is dedicated to
right: for France on 3 July 1619; for Bra­ Anna Roemers Visscher. The same dedi­
bant on 29 July 1619, extended to the catory inscription appears below Michel
whole o f the Spanish Netherlands on Lasne’s engraving o f Susanna and the
16 January 1620; for Holland, on 24 Feb­ Elders, also after Rubens (see No.61 ;
ruary 1620.6 Although Vorsterman did Fig. 160). This repetition o f text and sub­
not become a citizen o f Antw erp until ject in two different prints is most un­
1620,7 in which year he also became a usual and indeed inexplicable. It is clear
master in St Luke’s guild,8 we may as­ that Rubens’s dedication to the chaste
sume that he was working for Rubens Anna Roemers Visscher is only to be ex­
from 1618 onwards at the latest. Indeed, plained on the ground that he thought
in a letter o f 23 January 1619 to Pieter Susanna and the E lders could pass as an
van Veen,9 Rubens already speaks of ‘ de allegory o f chastity. However, in a letter
jon ge graveur die onder zijn leiding to Carleton o f 12 May 161815 he refers to
w erkt’ (the young engraver [Vorsterman] the painting he is offering as a ‘galanteria’ ,
working under his direction). In the same and Carleton in a letter o f 22 May 1618
letter he gives a list of prints in the course expresses the hope that Rubens’s Su­
o f being made, including a Susanna and sanna would prove ‘beautiful enough to
the E lders;10 it may therefore be assumed enamour the Elders’.16 Rubens must thus
that Vorsterman was already busy with have been w ell aware that the theme
the engraving at that time, and conse­ was essentially a piquant illustration of
quently that Rubens’s original work the favourite Renaissance topic o f Un­
which served as a model was executed in equal Love.17 As McGrath writes, ‘This
1618 or perhaps even earlier. This origi­ was clearly understood by Jan Steen when
nal Susanna and the Elders is in all prob­ he reproduced the Susanna o f Vorster­
ability identical with one o f the paintings m an’s engraving on the w all o f a brothel
that Rubens delivered in 1618 to Sir D ud­ where a pathetic old man is trying to buy
ley Carleton, together with an amount of for him self some youthful love’.18
fl.2,000, in exchange for the latter’s col­ Many paintings with the same com po­
lection o f antique sculpture. In a letter to sition are known.19 They are o f very un­
Carleton o f 28 April 161811 he says that even quality and were executed at dif­
the picture is ‘done by one o f m y pupils, ferent times. Since they are all in the
but the whole retouched by m y hand; same direction as Vorsterm an’s print, we
7 x 5 ft’, and estimates its values at fl.300. may assume that they are copied from it
Carleton’s reply o f 8 May 161812 indicated and not from Rubens’s original. The prin­
that he was only interested in works cipal ones are: (1) Chicago, Museum
painted exclusively by the master him ­ (formerly in the possession o f Mr F. Voltz,
self, but Rubens argued in a letter of M ilwaukee; published as School o f Titian,
12 M ay 1Ó1813 that a work retouched all in K lassischer Bilderschatç, Reber-Bayers-
through by him was hardly to be distin­ dorfer, Munich, III, 1891, N o.334); della
guished from an original. Consequently Pergola, fi.g.5 ; (2) St Etienne (France), M u­
Susan na and the Elders is to be found among sée d’A rt et d’Histoire; canvas, 69 x
the paintings that Rubens finally supplied 55 cm.; (3) Orléans, Musée; canvas, 153x

212
 C A T A L O G U Ü N O . 62

i n cm.; (4) Innsbruck, Ferdinandeum; 3. Black chalk, with slight traces ol white and a lew
touches o f pen and sepia; 377 x 280 m m . pkov.
della Pergola, fig-9; (5) Torralfina, Castello; Sir J.C.Robinson (London, 1824-19131; J.M al­
canvas, 224 x 150 cm. ; della Pergola , fig. r r ; colm (Poitalloch-London, 1805-1X93). Purchased
(6) ?Genoa, Palazzo Reale; della Pergola, by the British Museum in 1895. u r. J.C.Robinson,
Descriptive Catalogue o f drawings by the Old Masters,
fig. 10; (7) Schalkhausen über Ansbach, fo rm in g the collection o f John Malcolm o f Poltalloch,
W est Germany, Prof. W .Schnug (1965); Esq., London, 1869 (2ndedn., 1870),N o.597; Hind,
copper, 36.5 x 29.5 cm.; della Perg ola, fig.7; Rubens, II, p.145, N o .i; Van den W ijngaert, Prent­
kunst, p .io i under N0.710; L.O p de Beeck, op. cit.,
(8) Copenhagen, Mr A.Pasler (1975); can­ pp.211-213, fig.6; Maas, p.71; Hodart, p.69, under
vas, 160 x 150 cm .; (9) Antwerp, M r Op N o .122; Renger, p .io i, under N0.07.
de Beeck; canvas, 140 x 112 cm .; della P er­ 4. In 1937 there was with Colnaghi in London a
draw ing (black chalk, reinforced with the pen)
gola, fig.8; (10) Stockholm, Embassy o f which had previously been owned by the Marquis
Iran, M r Hossein Bozorgnia (1972); 188 x P.de Chennevières (Paris, 1820-1899) and is now
120 cm.; (11) Rome, Mr Gaspari Bassi lost (photograph in British Museum, No.4507).
This was a copy, by a weaker hand and in the
(1968); 145 x 1 10c m .;(12)Nice,M r R.Levy
same direction, of the sheet 111 the British Museum.
(i960); canvas; (13) Lisbon, private col­ The shod foot beside the fountain occurred in
lection (1956); (14) Aachen, sale A.Cren- it, but not the jew els and toilet articles 011 the
step.
ker, 10-11 May 1921, lot 124, repr.; panel,
5. Hymans, Gravure, pp. 1 5 3 - 1 5 4 ; J.S.Held, loc. cit.
42 x 3 1 c m .; (15) Sale, Brussels (Galerie 6. Kooses-Iiuelens, loc. cit.; Hymans, Vorsterman, pp.24
Moderne), 8-9 April 1986, Jot 1 r32 (as to 25; J.S.H eld, loc. cit.
7. Hymans, Vorsterman. p. 13.
‘ École flam an d e, D iane au bain’), pl.XXIII; 8 . Rom bouts-Van Lerius. p.sou.
canvas, 93 x 73 cm. 9. Rooses-Ruelens, II, pp .199-202, No.CLXXXIV; AI<i-
Some prints are also based on Vorster- gurti. U tters, pp.69-70. No. io.
10. In a letter o f 19 June 1022 to Pieter van Veen, Ru­
m an’s:20 (1) Woodcut, by J.Facnion; in
bens wrote o f Vorstcrm an's Susanna and the Elders
the same direction as Vorsterman ( V .S ., that he thought it one ol the best prints made
p .10, N0.85); (2) Engraving, by I.van So­ after a w ork o f his (Rooses-Ruelens, II, pp.444-451;
M agurn, Letters, pp.87-88, No.48).
rrier; in reverse; P.Cooper excu d it (V .S .,
11. Rooses-Ruelens, 11, pp. 135-144; M agurn, Letters,
p. 10, N0.86); (3) Engraving, by J. Simon, pp.59-61, N0.28.
fe e . et e x c .; in reverse (V.S., p .n , N0.87); 12. Rooses-Ruelens, II, p p .145-148; Ahigtim, Letters,
pp.61 -63, N o.29.
(4) Engraving, anonymous ; in reverse and
13. Rooses-Ruelens, II, pp.149-mo; Magum, Letters,
enlarged in width with a view o f a park; pp.61-63, N o,29.
Clém ent de Jonghe excu d it ( V .S . , p. 11, 14. Rooses-Ruelens, II, p p .181-183; M agurn, U tters,
pp.67-68, N o.34.
N0.88). The same engraving, J.C. Vis-
15. Rooses-Ruelens, II, p p .149-100; Magam, U tters,
scher e x cu d it ( V .S ., p .n , N0.89), or Rom- pp.61-63, N o.29.
bout van den Hoeye excud it. 16. Rooses-Ruelens, II, p .165; 'La Susanna h i da esser
bella per inamorar anco li Vecchij’.
Edouard Manet used the figure o f Su­
17. On the them e, see A.Stewart, Unequal Lovers. .4
sanna for his N ym ph Surprised, Museo Study o f Unequal Couples in \'orthern Art, New York,
Nacional de Bellas Artes, Buenos Aires.21 1977.
18. ‘Rubens’s “ Susanna and the Riders" and m oraliz­
However, he reproduced it in the oppo­
ing inscriptions on prints’, H eit und Bild, Erfstadt,
site direction to Vorsterm an’s print, so 1984, p.84; see also della Pergola, p. 17, fig.6 (where,
that the question arises whether he was however, Steen’s picture is called II Vecchio ma­
ton). The painting by Steen (oil 011 panel, 49 x
inspired directly by the print or by one
37 cm.) belongs to the Hermitage, Leningrad, but
o f the reversed copies thereof. has been on loan to the Pushkin M useum , Mos­
cow since 1930 (Cat. Pushkin Museum o f Fine Arts
1. R .P a llu c c h in i a n d P. Rossi, T in to r etto , 1, M ila n , in Moscow. Painting, 1975. p.27, No.25, repr.; as
1982, pp.173-174, N o.200, figs.262-264. Sick O ld M an).
2. M a a s , p .114. 19. See Rooses, I, pp.i6b-to-, under N o.132; V, p.314,

2.13
C A T A L O G U E N O . 63

No. 132; d ella P er g o la , pp. 16-19, figs.5-11; M a a s, d it, XVI, p .145; Bodart, p .102, N0.211,
Pp.70-71.
repr. ; R enger, p.74, N0.45.
20. See V .S ., pp. 10, N0S.85, 86, 11, Nos.87-89; R o oses,
I, p .166, under N o.132; M a a s , p.71.
21. C.Sterling, loc. cit.; R.E.Krauss, op. cit., pp.622-
623, fig.16.
The composition o f this version of Susanna
and the Elders, which belongs iconographi-
cally to the ‘aggressive’ type (see under
N0.58), is similar to that o f Rubens’s lost
63. Susanna and the Elders
version reflected in the painting for­
m erly at Sanssouci (see N0.61; Fig.157)
Technique and measurements unknown.
and in the prints by Michel Lasne (see
W hereabouts unknow n; presum ably lost.
N0.61 ; Figs.159,160) and QuirinM arcx (see
c o p ie s : (i ) Anonym ous painting, Stock­ N0.61; Fig. 161). There are some differ­
holm, Nationalmuseum, Inv. No.596 ences, however. As regards the figures,
(Fig. 164); panel, 222 x 214 cm. p r o v . Col­ the man with the cap is pulling off Su­
lection o f King Gustavus III (1746-1792). sanna’s garm ent with both hands, instead
l i t . Rooses, I, pp.167-168, N o.133 (as copy); o f pulling with one hand and laying the
G.Göthe, Notice descriptive des tableau x d u other on her shoulder. Susanna’s linen
M u sée N ational de Stockholm , Stockholm, cloth is differently disposed, so that her
1893, p.279, N0.596 (as R u b en s’s w orkshop ) ; thigh is not uncovered. As regards the
O ldenbourg, R ubens, pp.98-99 (as copy); décor, in the Sanssouci version the grotto
Lugt, Cat. Louvre, École flam an d e, II, p.37, contained a single satyr herm ; here there
under N0.1130; M a a s, pp.68-70, 10 4 -in ; are two, not in the grotto itself however,
Bodart, p .102, under N0.211 (as School o f but at the entrance to an adjoining per­
R ubens); G. Cavalli-Björkman, ‘Mâlningar gola.
av Rubens i Nationalm useum ’, in R ubens It is noteworthy that in the painting in
i Sverige, Stockholm, 1977, p.32, fig. 17 (as Stockholm (Fig.164) a parrot is depicted
R u b en s’s W orkshop); Cat. Exh. R ubens i beside Susanna perched on the edge o f
Sverige, Stockholm, Nationalmuseum, the fountain. This is undoubtedly an allu­
1977-1978, N0.9 (as R u b en s’s w orkshop); sion to Susanna’s chastity. Hbwever, the
(2) Engraving by Paul Pontius, in reverse parrot does not occur in Pontius’s print
(Fig. 165); inscribed below on the left, or in any o f the numerous other versions
P etru s P a u lu s R ub en ius p in x it / P a ulus P on ­ o f Susanna and the Elders by Rubens, so it
tius scu lpsit; below on the right, Cum p r i­ is presumably an addition by another
v ileges R egis C hristianissim i, Serenissim ae hand.
Infantis / et O rd in u m confoederatorum . A n n o Pontius’s drawing for the engraving is
1624; titled: T u rp e Senilis A m or. l i t . V .S ., in the Louvre in Paris (Fig.166).1 W e m ay
p .ii, N0.90 (mentions also a counter­ suppose that Rubens’s original w ork was
proof); H ym ans, G ravure, pp.252-254; transformed into a vertical form at in this
Rooses, I, p.167, under N0.133, pl.42; V, engraving, as was no doubt also the case
p.148; O ldenbourg, R ubens, pp.98-99, fig. with that made by Lasne. It is noteworthy
54; V an den W ijngaert, Pren tku n st, p.8o, that the surviving painted copies, one in
N0.513; Lugt, Cat. Louvre, École flam ande, Stockholm (222 x2 14 cm .; Fig.164) and
II, p.37, under N0.1130; della Pergola, p .ii; the other form erly at Sanssouci (208 x
M aas, pp.69, 104-111; R enger, R ubens De- 218 cm .; Fig.157), are of about the same

214
 C A T A I, ( ) G Ul i N O . 64

dimensions and are both approximately linen between Susanna’s shoulder and
square ; the same may be said o f Susanna the fountain, which appears in the draw­
and the Elders, by Rubens’s own hand, in ing.
the Academia de San Fernando, Madrid
1, Inv. N o,20.317; black chalk and brown wash, re­
(No.59, Fig. 153 ; 198 x218 cm.).
touched with the pen in brown, oil and grey body-
In Rubens’s versions in Rome (No.58; colour; indented for transfer; x 272 m m . p r o w
Fig.152) and Stockholm, 1614 (N0.60; K.Jabach (Paris, 1007/1010-1005), bought from him
in 1071. ui'. Rooses, V, p.i-tK, tun den W ijngnerl,
Fig.156), where Susanna is in the centre
Prentkunst, p.80, under N o.513; l ugt, Cut. I.ouvre,
o f the composition, it is clear that her Ecoleflam ande, II, pp.37-3«, No.i 130, pi.LIX; M m s,
chastity is the true theme o f the painting. p.69, No.4; Renger, Rubens Dedit, \V L p.145; Rodart,
p.102, under No.211.
This is no longer so obvious in his other
2. Maas, p p .n o - iii.
versions, including the present one, in
which the aggressive Elders are no less
important than their victim. Indeed, the
64. Susanna and the Elders
title o f Pontius’s print— T u rp e Senilis
A m or — shows that an iconographical shift
Technique and measurements unknown.
has taken place and that the old m en’s
W hereabouts u nknow n; presum ably lost.
shameful lust has become part o f the
theme. In view o f the other inscriptions c o p ie s : (1) Anonymous painting, Lenin­
on the print there is no doubt that the grad, Hermitage, Inv. No.496 (Fig. 167);
title was added in Rubens’s time and with canvas, 178.5 x220 cm. pitov. Sir Robert
his knowledge. The change o f emphasis W alpole (1676-1745), Houghton Hall,
away from Susanna’s chastity and towards N orfolk; sold by one of his heirs to
moral disapproval o f the Elders’ action Catherine o f Russia in 1770; in the Im ­
would have been unthinkable in the Ne­ perial Palace at Gatchina at least from
therlands in the sixteenth century, either the middle o f the nineteenth century; in
in literature or in art. In Italian versions the Hermitage since 1925. l i t . V irtu e N ote
o f the subject, Susanna was likewise the Books, V I (S J u ly i j j o ) , W alpole Society,
true centre o f interest. Rubens, with his I 9 j i - t 9 j 2 , 1955, p .177; Horace W alpole,
constant interest in differentiating the A ed es W alpolianae, or a D escription o f the
behaviour o f the two Elders, was the first Collection o f Pictures at H oughton H all, N or­
to involve them in the moral significance fo lk , 2nd edn., London, 1752, p.43 (as R u ­
o f the scene.2 bens); D.A.Schm idt, 'tra v a u x su r l ’a rt de
In the sale o f the Fontaine-Flament l ’E urope occidentale, III, Leningrad, 1949,
collection from Lille, held in Paris (Gale­ pp.35-41 (the Susanna as bv R ubens; the
rie Petit) on 10 June 1904, there appeared Elders as by collaborators); Van Puyvelde,
as lot 68 (repr.) a painting (canvas, 147 x R ubens, pp.117, 205 n.72 (as bv a collabora­
109 cm .; as atelier de R u b en s ) which, in tor a n d retouched by R ubens); della Pergola,
view o f its vertical format, must be based p p .11-14, hg-2 (as R ubens); M aas, pp.73,
either on Pontius’s drawing in the Louvre 120, 123-128; Varshavskaya, R ubens, pp.
or on his engraving. An argument for the 120-122, N o.17, repr. p.21 (as com position
first hypothesis is the fact that the paint­ by R ubens, not by his hand); Gat. Exh. Ru­
ing is in the same direction as the draw­ itens and the Elem ish Baroque (in Russian),
ing; for the second, that neither the paint­ Leningrad, Hermitage, 1078, p.30, N0.57
ing nor the engraving show the piece of (as R u b en s's Studio); (2) Anonymous paint-

215
C A T A L O G U E N O. 64

ing, Turin, Galleria Sabauda; canvas, 177 to 122, under N o.17, repr. p.122; R enger,
x 246 cm. p r o v . Collection o f the M ar­ R ubens D ed it, XVII, pp. 174-177, figs.7, 7a
chese Durazzo in Genoa, which was sold (details); FI.Lehmann-Haupt, A n Intro­
in 1824 to Carlo Felice, King o f Sardinia; d uction to the W oodcut o f the ly th C en tury,
in Turin since 1842. l i t . Rooses, V, pp.314 New York, 1977, pp.80-81, fig-55-
to 315; A.Baudi de Vesme, Catalogo della
R egia Pinacoleca d i Torino, Turin, 1899,
No,265 (as R ubens); O ldenbourg, R ubens, Susanna is seated on a bench in front o f a
p.73 (as R ubens); D .A.Schm idt, op. cit., balustrade at the edge o f a bathing pool
pp.35-41 (as copy); della Pergola, pp. 12,14, in the m iddle o f which is a fountain
fig.3 (as copy); Varshavskaya, R ubens, p.122, crowned with a dolphin on which a putto
under No. 17 (as copy); (3) Anonymous is riding (see Nos.58,59). The Elders ap­
painting, Mannheim, private collection, proach her, one from each side; she has
sold in Munich (Helbing), 12 October no escape, as the balustrade is behind her
1909, lot 50, pl.33; canvas, 115 x 148 cm. and the pool o f water in front. Although
l i t . D. A.Schmidt, op. cit., pp.35-41; (4) she is at the m en’s mercy, they apparently
Anonymous painting, Paris, Messrs Cail- do not intend to attack or touch her, but
leux; l i t . M. Carter Leach, ‘Rubens’ rather to rem ove the cloth from her lap.
“ Susanna and the Elders” in Munich and Rubens has characterized the personality
Some Early Copies’, P r in t R eview , 5, 1976, o f each o f the Elders and in a sense op­
p .122, fig.5; (5) W oodcut by Christoffel posed them to each other. One, who has
Jegher, in reverse (Fig. 168) ; 448 x 580 m m. ; stepped over the balustrade, is bare­
inscribed below in the middle, P. P. R ub . footed, with a turban-like head covering
delin. et exc. j C um Privilegiis, and C h risto f­ and a plain cloak o f coarse stuff, fastened
fe l Jegher sc. l i t . V .S ., p .11, N0.94; H y­ with a simple belt. His russet-brown
m ans, G ravure, p.450; Rooses, I, pp. 170- complexion and the beard that hides
172, pl.44; V, PP.314--315; O ldenbourg, R u ­ most o f his face m ark him as a primitive,
bens, p.73 ; V a n d en W ijngaert, Pren tku nst, satyr-like figure. He attempts with a
p.61, N0.310; B o uch ery-V an den W ijn ­ strong, impetuous gesture to rem ove the
gaert, pp.20—21, 99-103; Lugt, Cat. Louvre, cloth covering Susanna’s body. His com ­
École flam an d e, II, p.38, under N0.1132; panion wears a fur-trim m ed cloak and
D. A. Schmidt, op. cit., pp.35-41; Cat. sandals; his complexion is light, his beard
Exh. Brussels, 196J, p.334, N0.396; M .L. well-kept, and his features are refined.
Myers, ‘Rubens and the Woodcuts o f N ot only his appearance is different, but
Christoffel Jegher’, M etropolitan M u seum so is his behaviour. He approaches Su­
o f A r t B ulletin, X X V , 1966-1967, pp. 15-16, sanna quietly and cautiously, without
figs. 14, 15; L .D e Pauw-De Veen, ‘O p­ haste or special effort. He has not had to
merkingen aangaande de fragmentaire step over the balustrade, and he does not
proefdruk van de houtsnede “Suzanna en seize the cloth to uncover Susanna’s body,
de grijsaards” door Christoffel Jegher naar but deliberately places his hand beside
Pieter Paul Rubens’, Bulletin K oninklijke hers. Thus the two characters are con­
M u sea voor Schone K un sten van België, B ru s­ trasted : one acting emotionally and m ak­
sel, XVI, 1967, pp.23-24, figs.i, 3-4, 7-10; ing straight for his objective, the other a
della Pergola, pp.11-14, fig .i; M a as, pp.72- rational individual subduing his purely
73, 120-128; Varshavskaya, R ubens, pp. 120 sensual impulses. Susanna’s attitude is

216
 C \ T A L O G U E N O . 64

one o f lim p resignation, aware of her like the tree in the late Susanna and the
helplessness: her head, sunk on her E lders in Munich (No.65; Fig. 170).
shoulder, and her downward glance ex­ As appears from accounts which have
press shame and grief at the harm done survived,3 Jegher’s woodcut was printed
to her. A sparse landscape in the back­ on the presses o f the Plantin House in
ground, with three cypresses and a low Antw erp between 1633 and 1636, and we
horizon, echoes and emphasizes her iso­ m ay assume that it was engraved at that
lation.1 time. This does not mean, however, that
This description relates to the scene as Rubens’s original painting on which it is
it is depicted in the work in Leningrad based was executed at that late period.
(Fig. 167), the best of the surviving painted Indeed, it can be inferred from the paint­
versions. W hile there is no doubt that the ing in Leningrad that the original con­
composition is by Rubens, his hand can­ cept was stylistically related to the lost
not be seen in the execution (and the works by Rubens from which were de­
state o f preservation leaves something to rived the engravings by Lasne (see N0.61 ;
be desired).2 Rubens must have painted Figs.159, 160), Vorsterman (see No.62;
the original not very long after his return Fig.162), and Pontius (see N0.63; Fig.165).
to Antw erp from Italy. The composition A drawing in the Louvre in Paris
shows some features that were popular (Fig.169),4 probably made in preparation
with sixteenth-century Flemish painters, for the engraving blit not by Rubens’s
notably the placing o f Susanna between hand, reproduces his original concept, in
the two Elders (see N0.58). However, the same direction, as it is reflected in
Rubens did not, like his predecessors, the Leningrad painting.3 It shows some
arrange the figures parallel to the pic­ retouches with the pen which certain au­
ture surface, but somewhat obliquely, so thors (Rooses, Van den Wijngaert, Ren­
that the scene develops spatially towards ger) attribute to Rubens; we cannot,
the spectator. Susanna’s S-shaped posture however, recognize his hand in them.
resembles that o f one of the daughters Eugène Delacroix, who greatly admired
o f Cecrops in The D aughters o f Cecrops Rubens, made a copy6 after this Susanna
F in din g the C hild Erichthonius in the Liech­ a n d the E lders— n o t from Jegher’s print,
tenstein Collection, which was painted as Ehrlich W hite believed,7 but from a
at the latest in 1616, since it inspired painting. Only the poses of the three fig­
Jordaens’s painting o f the same sub­ ures interested him: Susanna’s physio­
ject, dated 1617, in the Antwerp Mu­ gnom y is only cursorily reproduced, and
seum. that o f the Elders not at all.
Under Rubens’s supervision, Christof-
fel Jegher (1596-1652/53) made a wood- 1. M ans, pp.123-128. The sanr-like physiognomy of
the Elder who has climbed over the balustrade is
cut (Fig. 168) reproducing the present accentuated in Jegher’s print (Pig. 168), thus further
composition in reverse, with an exten­ em phasizing the difference in character between
sion o f the décor on all four sides. Most the two.
2. Burchard did not see the painting, and expressed
notable is the addition o f a formal garden
110 opinion as to its authorship.
with a pergola and an arbour; also an 3. Hymans, Gravure, p.450; M.Rooses, ‘ Petrus-Paulus
architecturally enlarged grotto and, di­ Rubens en Balthasar Moretus’, Kulwns-Bulletijn, 11,
p p .180-182; Bouchery-Van den \V\jngaert, pp.20-21,
rectly behind the figures, a massive tree
IO O -IO I.
which divides the composition in two, 4. I n v . N0. 20. 31 5; bl ac k chal k, retouched with t he

217
C A T A L O G U E N O . 65

pen in brown and heightened w ith w hite; 351 x cabinet de Monseigneur le Duc de Riche­
448 m m . p r o v . Collection o f Louis XIV, King of
lieu’, in D issertation su r les ouvrages des
France, l i t . Rûoses, V, p.i3 6 ,N o .i3i7(as 'modèle pour
Jegher, retouché à l’encre p a r Rubens’); Lugt, Cat, p lu s fa m e u x peintres, Paris, 1681, p.77fF.;
Louvre, École flamande, II, p.38, N0.1132 (as 'dessin Rooses, I, pp. 168-169, No. 134, pl.43 (as
po u r la gravure de Jegher, il est improbable que les re­
touches soient de Rubens'); Van den W ijngaert, Prent­
R ubens, c .1636-1640 ); K .d .K ., pp.411, 470
kunst, p.61, under N0.310 (as retouched by Rubens); (as R ubens, c. 1636-1640 ); L.Hourticq, R u ­
M aas, p.73 (as 'vermutliche Vorlage f ü r den Jegher- bens, Paris, 1924, p. 188, repr. ; Kieser, p. 119;
H olçschnitt'); Renger, Rubens Dedit, XVII, pp. 174-
177, fig.6 (as ‘von Schiilerhand, die Federarbeiten von
E.Hanfstaengl, Les chefs-d'œ uvre de la p in a ­
Rubens' H and’). cothèque de M u n ich , Brussels, 1948, p.39;
5. The painting in Turin is extended on both sides as D. A. Schmidt, ‘Rubens’ “ Susanna and the
compared with that in Leningrad. As the drawing
Elders” in the Hermitage Collections’,
in the Louvre does not show these extensions, it
cannot be based on the Turin painting. Studies o f the D epartm ent o f W estern A r t (in
6. Lille, Musée des Beaux-Arts. Russian), III, Leningrad, 1949, p.35ff.;
7. B .Ehrlich W hite, ‘Delacroix's Painted Copies after
A .M .C etto, K unstw erke der M ü n ch n er M u ­
Rubens’, A rt Bulletin, XLIX, 1967, pp.38-39, fig.29;
M aas, p .128; L.Johnson, The Paintings o f Eugène seen, Berne, 1949, p.76, N0.80; J.Burck-
Delacroix, I, Oxford, 1981, p.219, N0.D5, p i.165. hardt, R ecollections o f R ubens, ed. H. Ger-
son, London, 1950, p.170; B.Teyssèdre,
'Une collection française de Rubens au
65. Susanna and the Elders XVIIIe siècle: le cabinet du Duc de Riche­
(Figs. 170, 173) lieu, décrit par Roger de Piles’, G a le tte
des B eau x-A rts, Sixth Series, LXII, 1963,
Oil on panel; 77 x n o cm. p.24iff.; délia Pergola, pp.7-22; M. Carter
M u n ich , A lte Pinakothek. Leach, R ub en s and the Them e o f Susanna
? ‘Een Susanna op paneel’
p r o v e n a n c e : and the Elders, Master’s thesis, University
is mentioned in the inventory o f Rubens’s o f Delaware, 1973; M a as, pp.74-76, 129-
estate (D enu cé, Konstkam ers, p.6o, N0.99); 138 (as R ubens, c. 163 6-1640 ); M .Carter
‘Churfürstlichen Hofcammer und Com- Leach, ‘Rubens’ “ Susanna and the El­
mercien-Raths’ Joseph von Dufresnes, be­ ders” in Munich and Some Early Copies’,
queathed by him in 1768 to Maximilian P r in t R eview , 5, 1976, pp.120-127, fig. r
Joseph III (1727-1777), Elector o f Bavaria (Tribute to W .Stechow) (as R ubens, late
(1745-1777); m oved from Schleissheim to 1630s); F. A. Dreier, ‘Anm erkungen zur
the Hofgartengalerie in 1781; in the Alte “ Frierenden Venus” von Peter Paul Ru­
Pinakothek since 1836 (Katalog d er Ä lteren bens’, N iederdeutsche Beiträge f u r K u n st­
Pinakothek, Munich, 1936, pp.XVIII-XIX, geschichte, XVI, 1977, p.47, fig-6; [R. an der
212, No.317). Heiden], A lte Pinakothek M ü n chen . E rlä u ­
terungen z u den ausgestellten G em älden,
c o p i e s : ( i ) Anonymous painting, where­
Munich, 1983, pp.441-442, No.317, repr.
abouts unknown; canvas, 78 x10 9 cm .
(as ' R u b en s, M ittelço n e des Bildes ['e ig e n ­
pr o v . Sale, Paris (Drouot), 17 March 1987,
händig] überm alt’); W .A .Liedtke, Flem ish
lot 179, repr. (as ‘A telier de R u b en s’ ) ; (2) Li­
Paintings in the M etropolitan M u seu m o f A rt,
thograph by Ferdinand Piloty (1786-1844).
New York, 1984, p.214.
l i t . Rooses, I, p .169, under N0.134, pl.43.
(3), (4), (5), (6), (7), (8), (9), (10), (11), (12), (13)
: [Roger de Piles], Conversa­
l it e r a t u r e

tions su r la connaissance de la Peinture, Pa­ In Rubens’s versions o f Susanna and the

ris, 1677, pp.136-137; Roger de Piles, ‘Le Elders that we have so far discussed (see

218
 C A T A L O G U E N O . 65

Nos.58-64) the décor was reduced to a at Susanna through the branches o f a

minim um and the them e developed al­ gnarled apple-tree, is too senile to ac­
most entirely by the figures. Here, on the complish his will, while the other, still
contrary, it is notable what an important full o f energy, steps boldly over the ba­
part is played by the décor and in what lustrade towards her. A lapdog rushes to
detail it is elaborated; the m arkedly hori­ aid his mistress and barks at the intrud­
zontal format contributes to this in large ers, while Susanna, who has not yet seen
measure. them, grasps at her cloak to cover her
By placing Susanna at a distance from nakedness. The dog does not appear in
the F.lders, Rubens has clearly divided Rubens’s earlier versions of Susanna and
his composition into two halves. She the Ehlers (Nos.58-64), but can be seen in
crouches on a stool to the left, at the edge similar themes such as the early Rape o f
o f a grotto built o f rusticated stone; a Lucretia, form erly in Sanssouci, Potsdam4
basin in front o f her is replenished by a and the late Bathsheha at the Fountain in the
fountain let into the wall of the grotto, Gemäldegalerie, Dresden (N0.44; Fig.98).5
in the shape o f a simple vase. The proto­ Very probably Rubens borrowed this
type o f the figure o f Susanna is the Venus m otif from Veronese: it is seen, for in­
o f Doidalses or Crouching Venus in the stance, in the latter’s Susanna and the
Vatican. Rubens was acquainted with this Elders, Kunsthistorisches Museum, Vien­
antique m arble sculpture, o f which he na.6
had no doubt seen one of the many repli­ As Maas7 pointed out, Susanna’s strik­
cas in Italy,1 and made use o f the pose ing physical beauty, which, together with
repeatedly. It occurs, for instance, in Ve­ the toilet accessories, arouses an associa­
nus, Bacchus and Ceres, c.1613, in the Kas­ tion with Venus, and likewise the apple-
sel Museum (in reverse),2 and in Venus tree which occupies such a prominent
Chilled, 1614, in the Antwerp Museum.3 place in the picture, evoke the figure of
In each o f these works it is not m erely a Eve, the personification of ever-recurring
question o f copying an external form, but temptation. Carter Leach8 has drawn at­
o f a figure combining physical and psy­ tention to some patristic writers (SS. Hip­
chological qualities. Rubens did not polytus, John Chrysostom and Asterius)
simply copy the figure but adapted it to who drew a parallel between the two
the character he wished to portray, and Old Testament scenes o f temptation, and
this is also the case with the frightened whose writings may have been known to
Susanna. In addition, the pearls round Rubens.
the young w om an’s neck and in her hair, It has hitherto been generally accepted
the toilet articles (a glass scent-bottlc and that the Munich painting, which on sty­
a brush and comb), the ornamental ewer listic grounds is to be dated in the second
and the bowl with vine-leaf decoration half o f the 1630s, came from the collection
on the mosaic floor, are associated with o f Armand-Jean de Vignerod Duplessis,
the them e o f The Toilet o f Venus which duc de Richelieu (1629-1715), nephew
had developed especially in Venetian o f the cardinal. The authority for this
painting (see N0.62). was Roger de Piles,9 who describes a Su­
On the right are the Elders, both eager sanna and the Elders by Rubens, in Riche­
for their prey. They are clearly differen­ lieu’s possession, which broadly corre­
tiated, however. The older one, gazing sponds to the Munich painting. How­

219
 C A T A L O G U E N O . 65

ever, i f his text is examined in detail some fde Rubens, peint sur bois, de 2 pieds
differences come to light. For instance, 5 pouces de haut, sur 3 pieds 4 pouces de
De Piles in his 1682 edition10 gives the large’ (by Rubens, on panel, 2 feet 5 inches
dimensions ‘2 pieds et demi de haut, et high by 3 feet 4 inches wide [78.5 x
trois pieds et demi de large’, i.e. 81.21 x 108.28 cm.]), measurements closely simi­
113.69 cm., whereas the Munich painting lar to those o f the Munich painting.
measures 77 x 110 cm. De Piles, m ore­
1. O ld e n b o u r g , R u b e n s , p.98; R. Lullies, D ie ka u eren d e
over, says o f Susanna: ‘Elle croise les bras A p h r o d ite , Munich, 1954; M. Bieber, T h e S c u lp tu r e
fortem ent sur son sein’ (She crosses her o f th e H e lle n istic A g e , N ew York, 1955, pp.82-83,
arms tightly over her breast), whereas in figs.290-295; W .Stechow, R u b e n s a n d th e C la ssic a l
T r a d itio n , Cam bridge,M ass., 1968, pp.48-49, fig.34;
the Munich painting her right arm is M a a s , p .132; M .Carter Leach, 1 9 7 6 , op. cit., pp.123,
outstretched. Attem pts have been made 126; F.-A. Dreier, 'Anm erkungen zu r “ Frierenden
to explain these anomalies by assuming Venus" von Peter Paul Rubens’ , N ied er d eu tsch e
B eiträg e ç i tr K u n stg esch ich te, XVI, 1977, pp.45-52.
that the w ork was cut down and over­ 2. K .d .K ., p.63.
painted in the eighteenth century. H ow­ 3. K .d .K ., p.70.
ever, a careful technical examination in 4. E v e rs, R u b e n s, pp.112-116, fig.54; M .C arter Leach,
1976, op. cit., p.123.
197311 showed that, apart from the cen­ 5. K .d .K ., p.347; M .Carter Leach, 1976, op. cit.,
tral area, there are no physical signs of p.123.
im portant overpainting. It must be con­ 6. T.Pignatti, V ero n ese , Venice, 1976, p.159, N o.301,
fig.659.
cluded, therefore, that two separate 7. M a a s , p.135; M .Carter Leach, 1976, op. cit., pp.
works are in question. 124-126.
On the assumption that the w ork in 8. M .C arter Leach, 1976, op. cit., pp.124-126.
9. L e ca b in et d e M o n se ig n e u r le d u c d e R ic h e lie u , loc. cit.
Munich had been overpainted, several 10. M. Rooses, ‘Les Rubens de la galerie du duc de
so-called copies12 were form erly believed Richelieu’, R u b e n s-B u lle tijn , V , pp.138-141.
to represent its original state before the 11. M .Carter Leach, 1976, op. cit., p.121.
12. (1) Anonymous painting, Aix-en-Provence, Musée
overpainting. These are all broadly simi­ Granet; panel, 38 x 47 cm. p r o v . Alexandre-Louis-
lar to the Munich painting, but they all Marie de Bourguignon de Fabregoule (1786-1814),
differ in the same way from it in im por­ donated by his son Jean-Bapciste-Marie (d.1863),
in i860. Alexandre-Louis-Marie was a miniaturist
tant details, including Susanna’s pose and m ade a copy o f his picture on ivory (ia x
with arms crossed over her breast 9 cm.), also in the Musée Granet (Cat. 1900, p.237,
(Fig. 171), as in the version owned by the N0.638). l i t . H .G ilbert, C a ta lo g u e d u M u s é e d 'A i x ,
Aix, 1867, p.57, N0.245; H.Pontier, Cat. M u s é e
duc de Richelieu.13 The latter m ay have
d 'A i x , 1900, II, pp. 149-150, No,349 ; M. Carter Leach,
been the model on which they were all 1976, op. cit., p .121, fig.4: (2) Anonymous painting,
based; whether or not it was by Rubens’s N ew York, M etropolitan M useum o f A rt (Fig. 171) ;
panel, 46.4 x64.5 cm. pr o v . Donation o f Henry
own hand14 can no longer be ascertained.
G.M arquand, 1890. l i t . G o r is - H e ld , p.49, No,A4o;
As to the painting in Munich, it may M .C arter Leach, 1976, op. cit., p.121, fig.3; W .A .
be wondered whether it is not identical Liedtke, Cat. F lem ish P a in tin g s in th e M e tr o p o lita n
M u s e u m o f A r t , 1984, pp.213-216, pl.81 (as W o r k ­
with a Susanna and the Elders form erly
sh o p o f R u b e n s): (3) Anonymous painting, w here­
owned by the marquise de Nancré, née abouts unknown; panel, 7 1 x 1 0 1 c m . p r o v . M r
Bertrand de la Bazinière, in Paris, and by Hertogs, Antw erp; M r Sano, Paris, sold by him to
C .V erlat, Antw erp; Giebens Collection, Antw erp,
Count Karl-Heinrich von Hoym (1694-
sale, Antw erp, 1888 (bought by M. Rooses, A n t­
1736, ambassador o f Saxony-Poland in werp). l i t . R o o ses, I, p .169, N o.135; V , p.314,
Paris),15 and purchased by a ‘sieur Jestard’ N0.135; M .Carter Leach, 1976, op. cit., p.121; (4)
Anonymous painting, whereabouts unknown; on
in 1728. This painting appears in the in­
copper, 4 9 x 6 5 .5 cm . p r o v . M m e t .M .d e s C ...,
ventory o f von H oym ’s estate (No.360) as sale, Paris (Drouot), 19 N ovem ber 1928, lot 44;

220
 G A T A I , O GUE NO. 66

sale, Brussels (G.Giroux), 10 May 1930, lot 36, ’ Sale, London (Prestage),
p r o v e n a n c e ;
pl.XVI; M .F.M . Collection, sale, Am sterdam
(A .G .C .de Vries), 14 May 1935, lot 41, pl.7; (5)
1 March 1766, lot 33 (‘The Stoning of the
Anonymous painting, Leningrad, H erm itage; cop­ Elders o f Susannah, painted with great
per, 37.2 x 50.3 cm. l i t . Cat. Hermitage, Lenin­ freedom, clear and tine expression.
grad, 1958, II, p.95, No.8567; V a r sh a v sk a y a , R u b e n s ,
p.250, N0.17; M .Carter Leach, 1976, op. cit., p .ii t
Height 9 inch., width 1 Ft, 1 inch [22.86x
11.4; (6) Anonymous painting, W erfen im Land 33.01 cm.]’); ? Lord Palmerston; ? Lord
Salzburg, M r A.E.H errm ann (1927); panel, 73 x Mount Tem ple, Broadlands, Hampshire;
104 cm .; (7) Anonymous painting, Mexico City,
sale, Lucerne (Fischer), 30 November
Museo de San Carlos (as V a n D iep cn b eeck ); (8)
Anonymous painting, whereabouts unknown; on 1968, lot 3745, p i.52; sale. Lucerne (Fi­
copper, 44.5 x 60 cm . p r o v . Sale, London (Chris­ scher), 12 June 1970, loi 509.
tie’s), 18 January 1963, lot 53; (9) Anonymous paint­
ing (Susanna only), w'hereabouts unknown; panel,
c o p y : Anonymous drawing, New York,
40.5 X 32.5 cm. p r o v . F.Rochmann Gallery, Berlin
(1927); sale, London (Christie’s), t8 July 1932, Mia N.Weiner Gallery (198s); black chalk,
lot 144; (10) Etching (large size) by P.Spruyt pen and brown ink and brown wash,
(Ghent, 1727-1801), in reverse (Fig.172); inscribed
heightened with while body-colour on
below on the left, P. P. R u b e n s P in x it ; below on the
right, P.S. (intertwined) S ch u l11, l i t . B a sa n , pp .io- blue paper; 235 x340 mm. p r o v . H.W.
1 1, N0.37 (as ‘vers 1763'); S m ith , C a ta lo g u e R a iso n n é, Cam pe (Leipzig, 1770-1862; L1391).
II, p.73, under N0.220; IX, p.307, under No.228
(wrongly as b y J .B .S ch iel)', V S ., p .ri, N0.95; R o oses,
I, p,i69, under N o,135; M .Carter Leach, 1976, op.
cit., p .120, fig.2; (11) Etching (small size) by
The two Elders who falsely accused Su­
P.Spruyt, in reverse; S m ith , C a ta lo g u e R a iso n n é, II,
p.73, under N o.220; IX, p.307, under N o.228 sanna o f adultery were unmasked by the
(wrongly as by J.B . Sch iel); V .S ., p .11, under N0.95; young Daniel and put to death by the
R o o ses, I, p .169, under No.13s; M .Carter Leach,
will o f the people (Daniel 13: 21-62; see
1976, op. cit., pp. 120—121 n.3.
13. In the ‘copies’ Susanna is seated on a circular bench No.58).
instead o f a stool, and holds a lock o f hair instead As it was against the Jewish law to exe­
of the cloak w ith which she seeks to cover herself.
cute anyone within the city, the Elders
They also depict a herm and a putto (on the foun­
tain), neither o f which appears in the Munich are being stoned to death outside its
painting. Finally, in the ‘copies’ the drapery hang­ bounds; the crenellated walls are seen on
ing from the tree to the ground conceals the view
the left. The action takes place from left
o f the garden.
14. The etching by P.Spruyt, large size (see n.12) is in­ to right and is depicted in a typically
scribed P .P .R u b e n s P in x it. M .Carter Leach, 1976 Rubensian manner; the m ovem ent de­
(op. cit., p .126) believes that the 'copies' reflect a
velops, step by step as it were, from a
copy freely executed after the Munich painting,
by an artist who did not properly understand Ru­ group o f three spectators to the stone-
bens’s iconographical and c o m p o s it io n a l inten­ throwers and from them to the chief
tions.
characters, who are bound to a tree. The
15. Baron Jérôme Pichon, Vie tie C h a r le s -H e n r y , com te
de H o y m , a m b a ssa d e u r d e S a xe-P o lo g n e en P ra n ce et central figure among the spectators raises
célèbre a m a teu r d e liv r es, 1 6 0 4 -1 7 3 6 . P u b lié p a r la his right hand and extends the other in
Société des B ib liop h iles F r a n ça is, Paris, 1880, II, pp-73,
front o f him as if ordering the execution
82, 87.
to begin. O f the executioners, the one
furthest left is taking off his shirt before
setting to work; the next one, almost in
66. T h e Stoning of the Accusers
right profile, is bending down to grasp
of Susanna: O il Sketch (Fig. 175)
two boulders; the third, more in the
Oil on panel; 24.5 x 35 cm, background, has a stone raised above his
Belgium, Private Collection. head and is poised ready to throw it;

221
C A T A L O G U E NO. 67

while the fourth is already in the act of m orphoses, 1: 313-415). This sketch, now
throwing. The Elders, naked except for a in the Prado in Madrid,3 was executed for
loincloth, shrink away as far as their fet­ a painting intended to decorate the Torre
ters allow. One o f them is bald, with a de la Parada.
tanned complexion and a wound on his Burchard, who pointed out the links
shoulder; the other, with grey hair and with the paintings by Rubens and Van
beard and a pale, sallow complexion, has Dyck, described the present sketch, in a
bloodstains on his forehead. certificate o f 1946, as an authentic w ork
This oil sketch, which is not uniformly by Rubens, which he dated after 1630.
well preserved, shows several p en tim en ti: For that reason it is included in this vol­
for instance, traces o f a head can be seen, ume, but I find it hard to perceive the
half hidden by the face and chest o f the master’s hand in it. It is probably the
executioner lifting up a rock in the back­ work o f a contemporary o f Rubens who
ground. No painting after the sketch is was impressed by certain motifs in his
known, and I have no information as to M a rtyrd om o f S t Stephen, who also knew
its purpose. Rubens’s later w ork and admired and
Several elements o f its composition oc­ imitated its pictorial style.
cur in Rubens’s M a rtyrd om o f S t Stephen,
C.1615, Valenciennes M useum (Fig.174).1 1. K .d .K ., p .158; V lieg h e, S a in ts, II, pp.150-152, N0.146,
fig. 11 2.
There the execution similarly takes place 2. K .d .K ., V a n D y c k , 1 9 3 1 , p .137; B u r c h a r d -d ’H u ls t,
just outside the city walls; characters are D r a w in g s , pp. 147-148.
depicted who are not actually taking part 3. A lp e r s , T o r r e, pp.200-201, No.17a, fig.96; D i a z ? a '
d r i n , C a t. P r a d o , pp.301-302, Inv. N o.2041, p i.192.
in the stoning; and two o f the executio­
ners appear in similar postures— the one
holding a rock above his head (in reverse)
and the one bending down to pick up 67, Th e Finding of the Pagan
stones. Treasures and Judas Maccabaeus’s
A M a rtyrd om o f S t Stephen, Tatton Park, Prayer for the Dead (Figs. 177, 178)
National Trust (formerly the property o f
Earl Egerton),* painted by Van Dyck in Oil on canvas; 310 x 228 cm.
his Italian period, shows some resem­ N antes, M u sée des B eau x-A rts.
blance to the present w ork in the devel­ Inv. N0.D-804-1-1-P.
opm ent o f its composition from left to
right, but is most probably based on Ru­ p r o v e n a n c e : Tournai, Cathedral.
bens’s M a rtyrd om o f St Stephen, from which e x h ib ite d Trésors sacrés. Exposition or­
:
Van Dyck has copied quite faithfully the
ganisée à l’occasion d u V ille centenaire de la
two executioners in the left corner and Cathédrale N otre-D am e de T ournai, Tour­
the figure o f the saint (in reverse). nai, 1971, N0.137; Paris, i ç j ] - y 8 , N0.141.
Apart from religious scenes that in­
volve stoning, Rubens painted an oil lite ra tu re : D escam ps, Vie, I, p.325 (as
sketch of D eucalion and P yrrha, a theme 'R u b en s, M a rtyre des M achabées ’); M en -
from ancient m ythology: the two survi­ saert, Peintre, II, p.75 (as ‘R ubens, M a rtyre
vors o f the Flood throw stones over their des M achabées’); D escam ps, Voyage, p.24
shoulders and the stones turn into people, (as ‘R ubens, M a rtyre des M achabées’); M i­
thus repopulating the earth (Ovid, M eta ­ chel, H istoire, pp. 195-196 (as ‘ R ubens, M a r-

222
 C A T A L O G U E NO. 6 j

tyre des M achabées’ ); Sm ith, Catalogue R a i­ pp.159-161, N0.429 (as ‘ R ubens, Triom phe
sonné, II, p.38, N0.112; A .Van Hasselt, de Ju das M acchabée, c . i ó j q - i ó j ó ') ; K .d .K .,
H istoire de P . P .R ubens, suivie d u catalogue pp.353, 469 (S.353) (‘is R ubens, c . i ó j j ) ;
général et raisonné, Brussels, 1840, p.230, H. Rosenbaum, D er ju n g e Van D yck, Mu­
N0.45 (as ‘R ubens, M a rtyre des M accabées’); nich, 1928, p.49 (as ‘ frühe Kom position des
C.-J. Voisin, ‘Des tableaux de Rubens que R ubens [ i 6 i j ] , die A u sfü h ru n g von Van
possédaient les églises de Tournay’, Bulle­ D y ck’); O. Leduc, Le R ubens et le Jordaens
tins de la société historique et littéraire réclam és p a r T ournai, Tournai, 1929, p.23,
de T ournay, IV, July 1856, pp.266-271; repr.; Id., Les tableaux revendiqués par
Léonce de Pesquidoux, Voyage artistique Tournai. R éponse a u x ‘ A m is des M usées
en France, Paris, 1857, p.60 (as 'R ub en s, R o y a u x ’, Tournai, 25 September 1930,
Triom phe d u g u errier’); Clém ent de Ris, p.31, repr.; C.Terlinden, Les tableau x re­
M u sées de Province, I, Paris, 1859, p.223 (as vendiqués p a r la ville de T ournai. N ote his-
‘ R ubens, Triom phe d ’ un g u errier’); C alen ­ torico-juridique, Brussels, 1930, pp.7-8;
drier de la ville et cité de Tournay, 1775, re­ M â le, A p rès le Concile de Trente, p,6o,
printed with notes by C.-J. Voisin in Bu l­ fig.28; J.Warichez, La Cathédrale de T ou r­
letins de la société historique et littéraire de nai. Seconde partie (A rs Belgica, II), Brus­
Tournay, XI, June 1866, pp. 199-202; Clé­ sels, 1935, under No. 106; K nipping, Icono­
m ent de Ris, Musées de Province, 2nd edn., graphy, II, p.343; A.M ilet, Cat. Rxh. T ré­
1872, p.321 (as ‘ R ubens, Triom phe d ’un sors sacrés. Exposition organisée à l ’occasion
g u errier’); O.Marson, H istoire et descrip­ d u V ille centenaire de la C athédrale N otre-
tion du M u sée de N antes (Inventaire général D am e de T ournai, Tournai, 1971, pp.125-
d ’A r t de la France), 1883, p.129b (as ‘J an 126, N o.137; T.L.Cîlen, R ubens and the
van Boekhorst, Triom phe d ’un gu errier’); C ounter Reform ation. Studies in his Religious
Piot, R apport, pp.58-59. 68 n.i, 305, 339, Paintings between 1600 and 1620. New York,
348, 446, 448; Rooses, I, pp. 172-174, No. 137 1977, p.265; A. P. de Mirimonde, ‘Rubens
(as ‘R ubens, Ju d a s M acchabée pria nt p o u r et la musique’, Jaarboek van het K oninklijk
les d éfu n ts’ ); Rooses, Life, I, p.202 (as R u ­ M u seu m voor Sc/tone K unsten, A ntw erpen,
bens, T rium ph o f the M accabees); K .d .K ., 19 77, pp.167-168; J.Lacambre, in Cat.
edn. Rosenberg, pp. 192, 473 (S. 192) (as R u ­ Exh. Paris, 1977-78, pp. 188-190, N o.141,
bens, c .16 18 -16 2 0 ); W .Bode, R em bran dt repr. (as R ubens, c.t 634-1636); D.Freed-
und seine Zeitgenossen, Leipzig, 1906, p.279 berg, ‘L ’année Rubens, manifestations et
(as ‘ lässt die H and des V an D yck, M ita rb ei­ publications en 1977’, R evue de l ’A rt, 39,
ter von R ubens, erkennen’); A.Hocquet, 1978, p.36; H eld, O il Sketches, I, p.436, un­
‘L ’A rt et la Révolution française à Tour­ der N o.316; C.Souviron, C at. peintures
nai. Les tableaux’, R evue tournaisienne, II, m onum entales, M usée des B eaux-A rts de
1906, pp.78-86; D illon, p.221, pl.CLVIl (as N antes, I, 1983, pp.35-39, No.V, repr. (as
R ubens, c .16 18 -16 2 0 ); M.Rooses, ‘ L’Œ u­ ‘ R ubens, Triom phe de Ju d a s M acchabée’);
vre de Rubens, Addenda et Corrigenda’, Freedberg, Life o f Christ after the Passion,
R ubens-B ulletijn, V , p.286, N0.137 (as ‘tra­ pp.241-245, under No.54.
vail d ’élève, retouché p a r R ubens, c.16 18 ');
J.Warichez, ‘Tribulations de deux ta­
bleaux de P. P. Rubens’, R evue tournaisien­ After defeating Gorgias, Governor o f Idu­
ne, 1910, f'asc.1-5, p.31, repr.; M .Nicolle, maea, Judas Maccabaeus returned with
Catalogue d u M usée de N antes, Nantes, 1913, his men to the battlefield to collect and

223
CATA LOGUE N O . 67

bury the Jewish dead. Under the coats of Trent3 and widely defended by Counter-
the slain they found objects consecrated Reformation writers.4
to the idols o f Jamnia, a city which they Judas Maccabaeus did not occupy a
had recently stormed. As the possession fixed place in medieval iconography,
o f such things was forbidden by the Jew­ where he almost always figured as an
ish law, Judas understood why the men armed warrior: this was because the
had lost their lives; he beseeched the Books o f the Maccabees (I and II) were
Lord to forgive them, and warned his ont finally admitted to the scriptural can­
soldiers not to follow their example. on until the Council o f Trent. Although,
‘And when he had made a gathering from then onwards, Counter-Reforma­
throughout the company to the sum of tion theologians used the text concerning
twelve thousand drachmas o f silver, he his prayer as a decisive argument against
sent it to Jerusalem to offer a sin offering, the Protestants,5 the them e is rare in
doing therein very w ell and honestly, in seventeenth-century painting.6
that he was mindful o f the Resurrection ; The present work, together with an
for if he had not hoped that they that Ascent o f Souls fro m Purgatory, Tournai
were slain should have risen again, it had Cathedral (Fig. 176),7 was commissioned
been superfluous and vain to pray for the from Rubens in 1635-36 by Maximilien
dead' (II Maccabees 12: 39-46). Vilain de Gand, Bishop o f Tournai from
Rubens depicts the hero standing up­ 1615 to 1644, for an altar of the departed,
right, one hand h alf outstretched, the known as ‘de la férié’ , which was to be
other resting on his baton, and with his erected behind the high altar in the choir
eyes raised to heaven in prayer. Behind of Tournai Cathedral. The altar was in­
him is a trophy in which, among other augurated by the bishop on 12 Septem­
objects, a severed head on a spear can be ber 1636, as recorded in the minutes o f a
seen;1 to the left a priest with torch in session o f the chapter on 15 September.8
hand points to a long procession o f war­ Vilain expressly stated in his will that he
riors, musicians and slaves carrying vases had commissioned the two paintings
filled with coins. Soldiers in the foreground from Rubens, as w ell as the altar o f the
are collecting the possessions o f the dead ; departed and the vault beneath it, in
one o f them hands to a priest a liturgical which he wished to be buried,9
vessel form ing part o f the spoil. Another The Ascent ofSouls from Purgatory formed
priest, some warriors and a boy leading a retable above the altar,10 while Judas
the com m ander’s horse form a compact Maccabaeus was placed back to back with
group behind the victorious general. it facing the am bulatory and the Lady
The them e o f the painting is related to Chapel, the axial chapel o f the choir.
the doctrine o f Purgatory:2 Judas’s action Vilain’s m onum ent was erected beneath
in praying for the dead, expressing his the painting o f Judas M accabaeus; it is still
confidence in the Resurrection, was one in situ, with tablets com m em orating the
of the principal arguments used to justify bishops and canons o f Tournai.11
such prayer for the consolation and liber­ Both Judas M accabaeus and The Ascent
ation o f souls. This doctrine was attacked o f Souls from Purgatory were cleaned and
by the Protestants, who regarded the restored several times before the end o f
Books o f the Maccabees as apocryphal, the eighteenth century: in 1686, 1727 (by
but was reaffirmed by the Council o f Jacques Delhaye and Marc-Antoine Le-

224
 C A T A I. O (! U i{ N O . 6 7

rouge), 1740 (by Gilles Desfontaines) and recall Italian models. The idea of show­
1762 (by Frédéric Dumesnil o f Brussels).'2 ing a com mander in arm our addressing
Several early writers m ake it clear that his troops m ay have been borrowed from
the w ork was already in deplorable con­ Giulio Rom ano’s Vision o f Constantine,
dition. In 1753 Descamps13 still described Vatican, Sala di Costantino,18 or Titian’s
it as ‘adm irable’, but in 1769 he found it Allocution o f General del Vasto to his Sol­
com pletely ruined by unskilful restora­ diers, Madrid, Prado,19 which is based on
tion.14 In 1771 Michel also, though less that work.
emphatically, deplored its dilapidated Rubens had acquired from antique
state.15 sculpture a knowledge o f Greek and
When the French occupied Tournai in especially Roman styles of armour, while
1794 they sent the two paintings to Paris, at the principal European courts he had
where they were kept in the ‘Muséum an opportunity of seeing the finest ex­
Central des Arts’. On 14 September 1802 amples of the late Middle Ages and
Judas M accabaeus was assigned to the Renaissance. Although at first sight Judas
newly founded museum at Nantes, where Maccabaeus seems to be accoutred in the
it arrived in 1804 with the designation style of his own period, this is not in fact
‘École de R ubens’ and the notation 'à net­ the case. As was nearly always his prac­
toyer’. After the fall o f Napoleon The As­ tice when depicting armour, Rubens al­
cent o f Souls from Purgatory was returned lowed him self some libert y in combining
to Tournai Cathedral, but not Judas M a c­ antique and Renaissance elements.20
cabaeus, which remained at Nantes despite The procession o f warriors, priests,
repeated attempts to recover it over sev­ musicians and bearers of spoils and tro­
eral years.16 Subsequently it was again phies is reminiscent of those in Rubens’s
several times restored, and remounted Obsequies o f Decius M us, The Entry o f
in 1859 by Mortemar, Testaureur des Henry I V into Paris, and The Trium ph o f
Musées im périaux’. In 1940, when the the Cardinal Infante l :erdinand.2t As La-
museum was occupied by the Ministry o f cam bre22 has pointed out, it would be
Shipping, the painting was being removed unthinkable without the influence of
when it fell down and tore in several Mantegna, Giulio Romano and probably
places; consequently it was again restored also Polidoro da Caravaggio. Rubens had
in 1942 by Jean-Gabriel Goulinat, who two opportunities to study Mantegna’s
patched it in places and cleaned it slightly. Trium ph o f Caesar, a frieze o f nine scenes
Finally, it was thoroughly restored in painted between 148ft and 1494. He must
1977 on the occasion o f the exhibition Le have seen it early in his life at Mantua,
Siècle de Rubens in Paris.17 where the canvases were displayed in the
Although the w ork was very probably Palazzo Pusterla, and again, over twenty
painted with studio assistance and bears years later, in England after they had
the traces o f its subsequent vicissitudes, been acquired by Charles 1 in 1629,23 O f
it clearly shows the hand o f Rubens in Giulio Romano's works he knew, among
places, for instance in the rendering of others, The Trium ph o f Scipio, w'hich he
the play o f light and in certain touches of copied.24 As to Polidoro, whom he also
colour, as in the livid countenance o f the copied,25 he may have drawn inspiration
dead warriors in the foreground. Both for the trophies either from the façade of
the general composition and some motifs the Palazzo Milesi or from the Libro

225
C A T A L O G U E NO. 6 7

de Diversi Trophei di Polidoro, Rom e, faire deux peintures par le fam eux peintre Ru­
bens’ (As to m y body, I choose that it shall repose
1586.26 behind the high altar in the vault I have had
Rubens also used Italian m odels for made, w ith the altar o f the Departed, for which I
som e individual figures, such as the dead have had two paintings m ade by the famous artist
Rubens). Cited by R o o ses, I, p .173 n .i.
m an lyin g on his back in the foreground,
10. The painting now hangs opposite the main altar
w ho is closely related to a crushed giant in the chapel o f the Holy Sacrament in the south
in G iulio R o m an o’s decoration for the am bulatory of the Cathedral.
11. See A .M ilet (op. cit., p .125), J.Lacam bre (op. cit.,
Sala dei Giganti in the Palazzo del T e at p .188) and C.Souviron (op. cit., p.35). In Freed­
M an tua.27 A n oth er exam p le is the sol­ berg, T h e L ife o f C h r is t a fte r th e P a s sio n , the author
dier bending forw ard , also in the fore­ confuses the location o f the two paintings, stating
that ‘the present w ork [ T h e A s c e n t o f S o u ls fr o n t
groun d, w ith a vase in his arm s : this fig­
P u r g a to r y ] was hung facing the chapel o f the V ir­
ure is rem iniscent o f Perim edes in Prim a- gin'.
Ulysses M eeting the Shade o f Tiresias
ticcio’s 12. See M .Nicolle (op. c it.,p.160) and A .M ilet (op. cit.
p.125).
in Hades, a com position that was copied 13. Descamps, Vie, p.325.
b y Rubens.28 14. Descamps, Voyage, p.24: ‘ belle composition, encore
A sm all anonym ous panel representing aussi m al repeinte que le prem ier & entièrement
perdue: c’est grand dom m age’ (a fine composi­
The Finding o f the Pagan Treasures and Ju ­ tion, but as badly repainted as the form er [The
das M accabaeus’s Prayer fo r the Dead, Ban­ Ascent o f Souls from Purgatory] and quite ruined :
bury, N ational T ru st at U pton House,29 is it is a great pity). D um esnil’s unskilful restoration
in Brussels had taken place between 1753 and
obviously a rath er m ediocre copy. It m ay,
1769.
as H eld suggested, have been taken from 15. M ic h e l, H isto ir e, p. 196: 'elle a encore conservé quel­
a lost authentic sketch for the painting in ques beaux restes du grand coloris de Rubens,
mais elle a été aussi malheureuse que la précé­
the N antes M useum .
dente, ayant passé les m êm es et secondaires ver­
ges, tant à Tournai qu'à Bruxelles, où elle se
1. According to J.Lacam bre (op. cit., p.88) and trouva en 1768 [ s ic ] , au m êm e laboratoire, avec le
C.Souviron (op. cit., p.35), the severed head is that ci-devant m arqué P u r g a to ir e ’ (it still shows some
o f Nicanor (II Maccabees 15:30). However, the fine remains o f Rubens’s splendid colouring, but
battle w ith that general took place after the one it has been no m ore fortunate than the other w ork
w ith Gorgias o f Idumaea. Trophies w ith severed [ P u r g a to r y ], having suffered the same ill-treat­
heads occur elsewhere in Rubens's w ork, e.g. in m ent and m ore, both in Tournai and in Brussels,
T h e O b seq u ies o f D e c iu s Mus ( K .d .K ., p.147). where it was in the same laboratory in 1768 [ s ic ]
2. M â le , A p r è s le C o n c ile d e T r e n te , pp.58-65; K n ip p in g , as the aforementioned P u r g a to r y ).
Ico n o g ra p h y , II, pp.337-343 ; F ree d b e rg , L ife o f C h r is t 16. See A .M ilet (op. cit., p.125), J.Lacambre (op. cit.,
a fte r th e P a ssio n , p.242, under N0.54. p .188) and C.Souviron (op. cit., p.35).
3. Sessio X X IV , 3 Decem ber 1564, D ecr etu m d e P u r g a ­ 17. See C.Souviron (op. cit., p.35).
torio . 18. Raffaellino dal Colie, from a cartoon by Giulio
4. M â le , A p r è s le C o n c ile d e T r e n te , pp.59-60; K n ip p in g , Romano, Rome, Vatican, Sala di Costantino
Ico n o g ra p h y , p.339, (F.Hartt, G iu lio R o m a n o , I—II, N ew Haven, 1958,
5. L e x ik o n d e r ch ristlich en Ik o n o g ra p h ie, II, i, col.448. p.47, fig.57). See J.Lacambre, op. cit., p .188.
6. Rubens’s painting at Nantes is the only 17th-cen­ 19. Madrid, Prado, Cat. 1945, p.636, N0.417; K .d .K .,
tury one mentioned by R é a u , Ico n o g ra p h ie, II, i, T it ia n , 1 9 1 1 , pp,89, 253, under S89; H.E.W ethey,
p.304; Pigier, Barocfethemen, 1974,1, p.234; and Lexi­ Titian, I, London, 1971, pp.79, 80, N o.io, figs.57,
kon d e r ch r istlich en Ik o n o g ra p h ie, II, col.449. 58). See J.Lacambre, op. cit., p .188.
7. F reed b erg , L ife o f C h r is t a fter the P a ssio n , pp.241-245, 20. H .D .R odee, ‘Rubens’ Treatm ent o f Antique A r­
N0.54, fig. 173. m or’, A rt Bulletin, XLIX, 1967, pp.223-230.
8. Tournai Cathedral, Archives, A c ta c a p itu la r ia , 21. K .d .K ., p p .147, 317, 371 respectively.
15 September 1636. Cited by A .M illet (op. cit., 22. Op. cit., p .190.
p.126), J.Lacambre (op. cit., p .188) and C.Souvi­ 23. T w o drawings by Rubens after M antegna's
ron (op. cit., p.35). T r iu m p h o f C a esa r are known: T h ree P r iso n e r s o f
9. ‘Quant à m on corps ... je choisis le lieu de son C a esa r , Boston, Mass., Isabella Stewart Gardner
repos derrière le grand autel en la cave que j'ai M useum ( B u r c h a r d - d 'H u ls t, D r a w in g s, pp.40-41,
faict faire, avec la table des Trépassés, où j'ai faict No,21, repr.), and, m ore freely copied, Two C o r s-

22 6
 C A T A L O G U E NO. b j

let-B ea rers, Paris, Louvre (M.Jaffé, ‘ Rubens' D raw ­ 27. See F.Hartt, op, cit., tigs.338, 341 ; J.Lacamhre, op.
ings at A ntw erp’, B u rlin g to n M a g a z in e , XCVIH, cit., p .190.
1956, p.318, pi.34; B u r c h a r d -d 'H u ls t, D r a w in g s ,p.41, 28. Drawing in W eim ar, Schlossmuseum (see B ur-
under N0.21. His R o m a n T r iu m p h , London, Natio­ c h a r d - d ’H u ls t, D r a w in g s, pp.250-253, No. 163, r e p r .).
nal Gallery ( K .d .K ., p.310), is partly a copy after 29. Panel, 64.5x 49.5 cm .; the panel (? or the photo­
Mantegna and partly a p a sticcio in Mantegna's style. graph) appears to have been cropped at the top
24. F.Hartt, op, cit., pp.227-231, figs.474-483. A draw ­ and at both sides. Formerly in the collection of
ing by Rubens alter Giulio Rontano’s T r iu m p h o f Captain A.Cunningham Graham , Isle of Rute,
S cip io is in the Louvre, Paris (L u g t, C a t. L o u v re, Scotland, and Viscount Bearsted (Gat. 1950, No.
É cole fla m a n d e , II, pp.28-29, N0.1081, pl.XLV'III). 166). Exhibited in B ru ssels, 19. r , N o.5, fig, 1 (as
25. For the copies by Rubens after Polidoro, s e e J a ffé , R u b en s). See A.Blunt and MAVhinney, 'The
R u b e n s a n d Ita ly , pp.47-48, fig. 130. N a tio n 's Pictures, London, 1950, p.250 (as R u b en s);
26. See A.M arabottini, P o lid o r o d a C a ra v a g g io , Rome, A.P .de Mirimonde, 'Rubens et la m usique’, J a a r ­
1969: Palazzo Milesi, pp.126-129, 366-369, N o.15, boek va n het K o n in k lijk M u se u m voor Schon e K u n sten ,
pls.CXLVI-CLV ; L ibro de D iv e rs i T ro p h ei d i P o li­ A n tw e r p e n , 1977, pp .167-108, lig.01 (as R u b e n s);
d o r o , p.376, pl.CLX. H eld , Oi( S ketch es, I, p.436, under No.316, fig.460.

227
SOURCES OF PHOTOGRAPHS

A m s te r d a m , L ic h tb e e ld e n in stitu u t: Fig.75 L o n d o n , V icto ria and A lb e r t M u s e u m : Fig.147

A m s te r d a m , R ijk s m u s e u m : Figs.7, 35, 69, L u g a n o , T h y sse n -B o rn e m isz a C o lle c tio n : Fig. 78
121, 149 M a d rid , R ea l A c a d e m ia d e B e lla s A rte s de
A m s te r d a m , S te d e lijk M u se u m : Figs.70, 71 San F e rn an d o : Fig.153
A n tw e r p , M .L o o b u y c k : Fig. 175 M a d rid , M u se o d e l P ra d o ; F igs,39, 60, 100
A n tw e r p , R u b e n ia n u m : Figs.6, 12, 14, 19, 25, M a rb u rg , B ild a rch iv : Fig. 119
47. 48, 54, 62, 63, 66, 73, 79, 80, 85, 90, 91, 93, M ia m i B each , Bass M u se u m o f A r t : F ig .io
94, 118, 120, 122, 124, 125, 132, 138, 140, 143, M u n ich , B a yerisch e S ta a ts g e m ä ld e s a m m lu n ­
144, 145, 162, 165, 167, 16 8 ,1 7 2 g e n : Figs.42, 74, 103, 170, 173
B asle, O e ffe n tlic h e K u n s ts a m m lu n g : Figs.24, M u n ich , S taa tlich e G rap h isch e S a m m lu n g :
30, 137 Fig.88
B e rlin , S taa tlich e M u se e n Preu ssischer K u ltu r ­ N e w Y o rk , M e tr o p o lita n M u s e u m o f A r t :
b e sitz (Jörg A n d e rs): Figs.28, 41, 97, 146 F ig.171
B ru n sw ick , H e rz o g A n to n U lric h -M u se u m : N e w Y o rk , P ie rp o n t M o rg a n L ib r a ry : Figs.14 1,
Fig. 1 13 142
B ru ssels, A .C .L . : Figs.84, 133, 154, 177 Paris, A rc h iv e s P h o to g ra p h iq u e s : Fig.126
C a e n , M u sé e des B e a u x -A rts: F ig.31 Paris, B ib lio th è q u e N a tio n a le : F ig.112
C in cin a tti, A r t M u se u m : Fig.76 Paris, B u llo z : Fig.92
C h ica g o , A r t In stitu te : F ig.77 Paris, D o c u m e n ta tio n P h o to g ra p h iq u e d e la
C o p e n h a g e n , S taten s M u se u m fo r K u n st: R é u n io n des M u sées N a tio n a u x : Fig.13, 15,
Figs.32, 38, 40, 81, 82, iox 29, 36, 67, 87, 128, 158, 166, 169
D a rm s ta d t, H essisches L a n d e sm u se u m : Fig.99 Paris, F o n d a tio n C u sto d ia , In stitu t N é e rla n d a is :
D e tro it, In stitu te o f A rts : Fig.96 Figs.64, 65
D resd e n , S taa tlich e K u n stsa m m lu n g e n : Fig.98 Paris, G ira u d o n : F ig.174, 176, 178
E ato n H a ll, T h e D u k e o f W e s tm in s te r: Fig.23 P asad en a, C a lifo rn ia , N o rto n S im on F ou n d a tion :
E d in b u rg h , N a tio n a l G a lle r y o f S c o tla n d : F ig .43 Fig. 86
F lo re n ce , A lin a ri: Fig.51 P o tsd a m , B ild e rg a le rie Sanssouci: Fig. 157
F ra n k fu rt, S täd elsch es K u n stin stitu t: Figs.45, P ra g u e , N a tio n a l G a lle r y : Fig.123
89, 110 R a le ig h , N o r th C a ro lin a M u se u m o f A r t : Fig.56
G e n e va , C o lle c tio n o f M .Jean P .F ra n ço is: Fig.46 R o m e , G a b in e tto F o to gra fico N a z io n a le : Fig.152
H a a rle m , T e y le r s M u s e u m : F igs.11, 18, 21, 58, R o m e , In stitu to C e n tra le p e r il C a ta lo g o e la
95, 102, 104, 109, 115, 116, 117, 159, 160, 161 D o c u m e n ta z io n e : Fig. 114
Kansas C ity , M isso u ri, W illia m R o c k h ill N elso n R o tte rd a m , M u se u m B o y m a n s-v a n B e u n in g en :
G a lle r y and A tk in s M u se u m o f A r t : Fig.27 Figs.37, 83
K a rlsru h e , S taatlich e K u n sth a lle : Fig.49 Sarasota, Joh n a n d M a b le R in g lin g M u se u m
L e n in g ra d , H e rm ita g e : Figs.22, 34, 127, 155 o f A r t : Fig.9
L o n d o n , B ritish M u se u m : Figs.5, 16, 52, 148, S ch w erin , S taatlich es M u se u m : F ig.17
150, 163 S to ck h o lm , N a tio n a lm u s e u m : Figs.20, 6 1, i n ,
L o n d o n , A . C . C o o p e r: Figs.44, 108 130, 131, 156, 164
L o n d o n , C o u r ta u ld In stitu te G a lle rie s: F igs.i, V a d u z , S a m m lu n g e n des R e g ie re n d e n F ürsten
2, 3, 4 , 8, 53 v o n L ie ch te n ste in : F ig .57
L o n d o n , D u lw ic h C o lle g e P ictu re G a lle ry : V ie n n a , A lb e r tin a : Figs.33, 106, 107, 129, 136
Fig.26 V ie n n a , K u n sth isto risch es M u se u m : Fig. 135
L o n d o n , N a tio n a l G a lle r y : F igs.55, 59, 72 W a s h in g to n , D .C ., N a tio n a l G a lle r y o f A r t :
L o n d o n , S o th e b y ’s: Figs.50, 68, 139, 151 Figs.105, 134

228
ILLUSTRATIONS
 / U rift »
» •J

'

i. R u b e n s , The C re a tio n o f Anim als, 2. R u b e n s , T h ree D iffe re n t T y p e s o f fra m e

d r a w in g ( N o .i). L o n d o n , C o u r t a u l d Institute f o r Scenes o f the L ife o f C h ris t,
o f A r t , Princes G a te C o lle ctio n d r a w i n g (verso o f N o . i)
3. R u b e n s , The Tem p ta tio n o f M a n , 4. R u b e n s , T h ree D iffe re n t T y p e s o f Tru m e
d r a w i n g ( N o . 2). L o n d o n , C o u r t a u l d I n s t itu t e fo r R e lig io u s Scenes, d r a w i n g
o f A r t , P r in c e s G a t e C o l le e rte n (verso o f N o . 2)
5. M a i ' c a n t o n i o R a i m o n d i , The Tem ptation o f M a n ,
e n g ra v in g after R aph ael I
o. R u b e n s , The 'I em p la tio n of M in i ( N o . 3). A n t w e r p , R u b e n s h u i s
7. ’ W i l l e m B u y t e w e c h , C a in S la y in g his B rother A bel, e t c h i n g
8. R u b e n s , C a in S la y in g his B rother A bel ( N o . 4).
L o n d o n , C o u r t , m i d I n s t it u t e o f A r t , P r in c e s G a t e C o l l e c t i o n
 9- R u b e n s , T h e F lig h t o f Lot
an d his F a m ily f r o m S od om ( N o . 5).
Sarasota, Joh n a n d M a b l e R in g l in g
M u se u m o f Art
io. \ f r e r R u b e n s , The f lig h t o f Lot
a n d his F a m ily f r o m Sodom.
M ia m i Beach, Florida,
T h e John a nd Johann a
B ass C o l l e c t i o n
 12. Jacob Jordaens, The flig h t o f Lot
a n d his Fam ily fr o m Sodom . Tokyo,
The National M useum of W estern Art
13- R u b e n s , T h e F lig h t o f L ot a n d his F a m ily f r o m Sodom ( N o . 6). Paris, M u s é e d u L o u v r e
14- A f t e r R u b e n s , T h e F lig h t o f Lot a n d his F a m ily fr o n t Sodom , o il s k e t c h ( N o . 6 a ) . W h e r e a b o u t s u n k n o w n
1 6. M a n t e g n a , The C a lu m n y o f A pelles, d r a w i n g . L o n d o n , B r i t i s h M u s e u m
17. Rubens, Lel an d his D aughters ( N o . 7). Schwerin, Staatliches Museum

iS . W i l l e m S w a n e n b u r g , Lol a n d his D a u g h ters, e n g r a v i n g

19- R u b e n s , Lot a n d his D a u g h te rs ( N o . 8). B i a r r i t z , P r i v a t e C o l l e c t i o n
20. A t t r i b u t e d to C o r n e l i s do V o s , Lot a nd his D a u g h ters
( d e t a i l o l 'In t e r io r o f R u b e n s ’ llou.se’). S t o c k h o l m , N a i i o n n l m i i s e u m

21. W i l l e m d e L e e u w . Lot a n d his D a ughters, e n g r a v i n g

22. R u b e n s , Th e E x p u ls io n o f H a g n r ( N o . 9). L e n i n g r a d , H e r m i t a g e
2 3 - R u b e n s , Th e E x p u ls io n o f H a g a r ( N o . 10). E a t o n H a l l , C o l l e c t i o n o f t h e D u k e o f W e s t m i n s t e r
24. T o b i a s S t i m m e r , The E x p u ls io n o f H a g a r, w o o d c u t

P P R/d/kv/s Pmi/t-T) F fX Rru/ Frt/ (tyrni f >r//

25. F r a n s D e R o y , H u g tir in the W ild e rn e ss, e t c h i n g

26 lU ib e n s , I U ig u r in the W ild e rn e ss ( N o . i D.
L o n d o n , D u lw ic h C o lle g e P icture G a lle ry
27. R u b e n s , A b ra h a m 's S acrifice o f Isa ac ( N o . 12). K a n s a s C i t y , M is s o u r i,
W illia m R o ck h ill N elson G a lle r y a nd A tk in s M u s e u m o f A rt
28. R u b e n s , S tu d y fo r the F ig u re o f Isaac, d r a w i n g ( N o . 12a ).
B e r l i n - D a h l e m , S t a a t lic h e M u s e e n , K u p f e r s t i c h k a b i n e t t
 hrr CSU-y c-O 'tx -fS 'c, L f . - d- ■-C<a X x.+ — .*! » r ■-

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29- R u b e n s , A b ra h a m , Isaac a n d Ja cob , d r a w i n g ( N o . 13).

P a ris , C a b i n e t d e s D e s s in s d u M u s é e d u L o u v r e
 30. T o b i a s S l i m m e r , A b ra h a m a n d M elchiçedelc, w o o d c u t

31. R u b e n s , A bra h a m a m 1 \\clch i~ e d e k ( N o . 17). C a i n , M u s é e d e s B e a u x - A n s

32. R u b e n s , T w o Studies f o r St A n d re w a n d a S tu d y f o r a n A n cie n t P rie st
(M e lc h iç e d e k ), d r a w i n g ( N o . 1 7 a ). C o p e n h a g e n , S t a t e n s M u s e u m f o r K u n s t

33. R u b e n s , A b ra h a m a n d M e lch içe d e k, r e t o u c h e d d r a w i n g ( N o . 1 7 b ) . V i e n n a , A l b e r t i n a

34 - R u b e n s , A b ra h a m u n d M e lch içe d e k, r e t o u c h e d e n g r a v i n g ( N o . i v c ) .
L en in gra d , I lerm itag e

t5. R u b e n s , A b m lu im a n d M e lch içe d e k, r e t o u c h e d e n g r a v i n g ( N o . i 7 d ) .

A m ste rd a m . R ijksp ren ten kabin et
36. R u b e n s , A K n e e lin g N u d e M a n , seen from behind, setting d ow n a H ea vy Chest,
drawing. Paris, Cabinet des Dessins du Musée du Louvre
37 - R u b e n s , .A K n eelin g N u d e M a n , seen p a r d v f r o m behind,
s e llin g d ow n a H ea vy Load, d r a w i n g , R o t t e r d a m , B o y m a n s - v a n B e u n i n g e n M u s e u m
 \

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38. A f t e r R u b e n s , Ym/t' .Mon S ta n d in g , C a rr y in g a Lead, d r a w i n g .

C o p e n h a g e n , Statens M u s e u m for K un st

39. R u b e n s , The A d o ra tio n o f the M a g i. M a d r i d , P r a d o

40. A f t e r R u b e n s , C ro u c h in g N u d e M n n , d r a w i n g .
C o p e n h a g e n , Statens M u s e u m fo r K un st
41. R u b e n s , The R eco n cilia tio n o f E sa u a n d J a c o b , d r a w i n g ( N o . 15).
B e r lin - D a h le m , Staatliche M u se e n , K u p fe r stic h k a b in e tt
43- R u b e n s , Th e R e co n c ilia tio n o f E sa u a n d Ja co b ,
o il s k e t c h ( N o . 1 6 a ) . E d i n b u r g h ,
N a tio n a l G a l l e n o f Scotland
45- R u b e n s , The F in d in g o f M o ses, d r a w i n g (N o . 18). F r a n k f u r t a m M a i n , S t ä d e l s c h e s K u n s t i n s t i t u t
4 '1- After Rubens, Moses Adopted by Pharaoh’s Daughter (No. 19). Geneva, Collection o f M.Jean P. François
47-48. A n o n y m o u s F l e m i s h p a i n t e r , .VIoses, \a r o n u n d M ir ia m w ith ether W o m en C e le b ra te the C ro s s in g o f the R e d Sea (iS!o. 20).
47 ( le f t h a l f ) : G e n e v a , C o l l e c t i o n o f M . J e a n P . F r a n c o i s . 48 ( r i g h t h a l f ) : G r a z , A l t e G a l e r i e a m L a n d e s m u s e u m J o a n n e u m
 50. R u b e n s , M oses, d r a w i n g ( N o . 2 1) . W h e r e a b o u t s u n k n o w n

5 1. M i c h e l a n g e l o , The B rn çe n S erpent. R o m e , V a t i c a n , S istin c C h a p e l

y v -
5-. R u b e n s , M e n a n d W om en \tta cke d b y S erpents, d r a w i n g ( N o . 22). L o n d o n , B r it is h M u s e u m
53- R u b e n s , The B ra çe n Serpent ( N o . 23).
L o n d o n , C o u r t a u l d I n s t i t u t e ot A r t , P r i n c e s G a t e C o l l e c t i o n
?.)• R u b e n s , The B rn çen Serpent, o r i g i n a l f o r m a l ( N o . 23).
L o n d o n . C o u r ia u ld I n s n u u c o f A n , Princes G a le C o lle ctio n
55 - R u b e n s , T h e B ra ç e n S erp e n t ( N o . 24). L o n d o n , N a t i o n a l G a l l e r y
56. A f t e r R u b e n s , G id e o n O v e rco m in g the M id io n it e s ( N o . 25). R a l e i g h . N o r t h C a r o l i n a M u s e u m o f Ar t
57- R u b e n s , D eciu s M u s R e la tin g his Drecun.
V a d u z , Prince o f Liechtenstein C o llectio n

58. S c h e l t e a B o l s w e r t , I'he B ra z e n Serpent, e n g r a v i n g

59 - Detail of Hig. 55
6o. R u b e n s , Sam son B re a k in g
the J a w s o f a L io n ( N o . 26).
M ad rid , D u q u e de H ern an i
6 1. A f t e r R u b e n s , Sam son B re a k in g the J a w s o f a Lion . S t o c k h o l m , N a t i o n a l m u s e u m
 TjwJn IV rnftrrJf J i n t

62. F ra n c i sc u s v a n d e n W i j n g a e r d e ,
Sam son B re a kin g the J a w s o f a L io n , e t c h i n g

63. A d r i a e n W a t e r l o o s , P h ilip I V in A rm o u r;
Sam son B re a kin g the J a w s o f a L io n , m e d a l
(u A f t e r R u b e n s , Samson B re a kin g the J a w s o f a Lion, d r a w i n g .
Pa ris, F o n d a t i o n ( u s t o d i a (Frits L u g t C o l l e c t i o n )

05. A f t e r R u b e n s Samson B re a kin g the J a w s o f a L io n , d r a w i n g .

Paris, F o n d a t i o n ( . u s t o d i a (Frits L u g t C o l l e c t i o n )
6 7 . R u b e n s , T ig e r, Lion a n d L eo pa rd H u n t, R e n n e s , M u s é e d e s B e a u x - A r t s
 68. A f t e r R u b e n s ,
Sam son B re a kin g the la w s o f a Lion,
draw in g. W h e r ea b o u ts u n k n o w n

tu). R u b e n s , Samson B re a kin g the Jaw s o f a Lion , d r a w i n g (N o . 28). A m s t e r d a m , R i j k s p r e n t e n k a b i n e t

70. R u b e n s , Samson S la vin g a P hilistine, d r a w i n g ( N o . 29).
A m s t e r d a m , G e m ee n tc - M u s e a , Fodor Collection
 «t

7 1. R u b e n s , Samson O verco m in g Two P h ilistin es, d r a w i n g ( N o . 30). A m s t e r d a m , G e m e e n t e - M u s e a ,

(verso o f b i g . 70). b 'od or C o l l e c t i o n
t z . R u b e n s , Sam son A sleep in D e lila h ’s L a p ( N o . 31). L o n d o n , N a t i o n a l G a l l e r y
’ 4 - k r a n s F r a n c k e n IF, The F ive Senses (de lnil). M u n i c h , A l l e P i n a k o t h e k
75- R u b e n s , Sam son A sleep in D e lila h ’s L ap, d r a w i n g ( N o . 31 a).
A m s t e r d a m , C o l l e c t i o n o f M r s I .Q . v a n R e g i e r e n A l t e n a
76. R u b e n s , Samson A sleep in D e lila h 's Lap, oil s k e t c h ( N o . 3 1 b ) .
C i n c i n n a t i , O h i o , ( i B f in n a t i A n M u s e u m
i t . R u b e n s . S am son Taken by the P h ilistin e s, o i l s k e t c h ( N o . 32;. C h i c a g o , A r t I n s t i t u t e , R o b e r t A . W a l l e r M e m o r i a l C o l l e c t i o n
78. R u b e n s , T h e B lin d in g o f Sam son, o il s k e t c h ( N o . 33). L u g a n o , S w i t z e r l a n d , C o l l e c t i o n o f B a r o n T h y s s e n - B o r n e m i s z a
79 - R u b e n s , D a v id S tra n g lin g a B ear ( N o . 34).
N e w Y ork, Spencer A . Sam uels G a llery

80. W i l l e m P a n n e e l s , D a v id S t ra n g li n g a Bear, e n g r a v i n g
 8i. After Rubens, D a v id , drawing.
iW '
Copenhagen, Statens Museum for Kunst

I 1

82. A f t e r R u b e n s , H e iiil a n d Fo re p a w s o f a Lion , d r a w i n g . C o p e n h a g e n , S t a t e n s M u s e u m f o r K u n s t

83. R u b e n s , D a v id Slaying Goliath, d r a w in g 'N o . 36).
R o t t e r d a m , B o y m a n s v a n B e u n in g e n - M u s e u m
 s****- / " ï, f7 ' V •* . v'
/ / V ;
m

84. R u b e n s , U a v id S la v in g (lo lia lh , d r a w i n g ( N o . 37).

M ontp ellier M u s é e A l g e r , F a c u l t é d e M éd eci n e
 / !
/

KniB'ifirrsi, 'P ïi'ii'it paitil

85. N . M u x e l , Dflvid S la y in g G oliath, e t c h i n g

86. R u b e n s , D a v id S la v in g (lo lia tli ( N o . 38).
P a s a d e n a , ( a lifo r n ia , T h e N o r t o n S i m o n F o u n d a t i o n
87. R u b e n s , Kin g D a v id P la y in g the H a rp , d r a w i n g ( N o . 39).
Pa ris , C a b i n e t d e s D e s s in s d u M u s é e d u L o u v r e

88. Jan Sadcler after Pietro Candido,

K in g D a v id P la y in g the lla r p , engraving
Hy. R u b e n s , K in g D a v id P la v in g ihe H a rp ( N o . 40).
b r a n k S i n a m M a i n , SiikU’ ls ch e s KHinsiinsr inn
90. R u b e n s , Th e M e e tin g o f D a v id a n d A b ig a il ( N o . 41 ). M a l i b u , C a l i f o r n i a , J . P a u l G e t t y M u s e u m
9 1. R u b e n s , The M e e tin g o f D a v id a n d A b ig a il, oil s k e t c h ( N o . 4 1 a ) . N e w Y o r k . M r s R u d o l f J. H e i n e m a n n
92. A f t e r R u b e n s , The M e etin g o f D a v id a nd A b ig a il.
B e r g u e s - S t W i n o c q ( F r e n c h F la n d e rs ) , M u s e u m

93. A f t e r R u b e n s , The M e etin g o f D a v id a n d A b ig a il. W h e r e a b o u t s u n k n o w n

04- D e t a il o f 1 tg. go
95- A d r ia e n L o m m e l i n , Th e M e e tin g o f D a v id a n d A b ig a il, e n g r a v i n g
96. R u b e n s , The M e e tin g o f D a v id a n d A b ig a il ( N o . 42). D e t r o i t , T h e D e t r o i t I n s t i t u t e o f A r t s
97- R u b e n s , Bathsliebii R e ce ivin g D a v id ’s Letter, d r a w i n g ( N o . 43).
B e r l i n - D a h l e m , S t a a t lic h e M u s e e n , K u p f e r s t i c h k a b i n e t t
o8. R u b e n s , Ifathsheba Receiving D a v id 's Leiter (N o . 44). D r e s d e n , jQ e m ä ld c g a le r ie
99 - R u b e n s , A W om an S ta n din g , d r a w i n g ( N o . 45 a).
D a r m s t a d t , H e ss is c h e s L a n d e s m u s e u m
ioo. R u b e n s , The Judgem ent o f Solomon ( N o . 45). M a d r i d , P r a d o
l o i . A f t e r R u b e n s , T h e Ju d g e m e n t o f Solom on. C o p e n h a g e n , S t a t e n s M u s e u m f o r K u n s t
102. B o e t i u s a B o l s w e r t , The Ju dg em en t o f Solom on, e n g r a v i n g
103. R u b e n s , The Defeat o f S en n a ch erib ( N o . 47). A l u n i c h , A l t e P i n a k o t h e k
I

104. P i e t e r C . S o u t m a n , Th e D e fe a t o f Sennacherib, e n g r a v i n g
105- ? P i e t e r C . S o i u m a n , The Defeat o f Sennacherib, d r a w i n g .
W a s h in g to n , D .C ., N ation a l G a lle ry o f A r t

106. The D efeat o f S ennacherib, e n g r a v i n g p u b l i s h e d b y N i c o l a a s V i s s c h e r

 * *..!rr£

107. A f t e r R u b e n s , Th e Defeat o f S ennacherib, d r a w i n g (N o . 48). V i e n n a , A l b e r t i n a

io 8 . R u b e n s , T o b it B u ry in g a S la in J e w , d r a w i n g ( N o . 49). F a r n h a m , C o l l e c t i o n o f W o l f g a n g B u r c h a r d
 V ».

109- C o r n e l i s O a l l e t h e E l d e r , n o . R u b e n s , J u d it h B eheading H olofernes, d r a w i n g ( N o . 50a).

J u d it h B eheading H olofern es, e n g r a v i n g F ra n k fu rt a m M a in , Städ elsch es K u n stin stitu t
m . R u b e n s ,J u d it h Beheading M obfern es, r e t o u c h e d d r a w i n g ( N o . 50b).
Stockholm , N atio n a lm u se u m
1 12. Rubens. Ju dith Beheading H olofernes, retouched engraving, (No. 50c).
Paris, Bibliothèque Nationale
113- R u b e n s , J u d it h w ith the H ead o f H olofern es (N o . 51).
B ru n sw ick, H e r z o g A n to n U lrich -M u se u m
11 4. ’ R u b e n s , J u d it h Put ting the H ea d o f H olofernes in a Sack (N o . 52).
F lo r e n c e , S o p r in t e n d c n z a p e r i Ben i Artistici
e S to ric i p e r Ie P r o v i n c i e di F i r e n z e e Pisto ia
 -faciem X>onmii, varai? u k s e m . (*«. i.*».
'Rsurrrrida ar 'Ijru ofyP iv.c Vairt m (Tin*?<> 'Dk>. 'JoQ U U I <£içlcrO
SoC^.yfSVy&iltPrfftnjtzv d SS Thrgfo avx ‘DccYorr tfc. j'oryfrrtrf :-
^ii/TAsuj Snnwjt(D&&■RuOClliJhllia&i'ft adttrmmye
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115. W i l l e m P a n n e e l s , S alom e w ith the H ead 116. A l e x a n d e r Y o e t t h e Y o u n g e r , J u d it h P u ttin g the H ead

o f Jo h n the B a p tist, e n g r a v i n g o f H o lo fe rn e s in a Sack, e n g r a v i n g

 E x m ut. R V B E N I J e t . 'Difcvp. culs Ç u il’ ‘Batneds

117. W i l l e m P a n n e e i s , Esth e r before A h a su e ru s , e t c h i n g

1 1 8. ’ R u b e n s , E sth er before A h a su cru s (N o . 53 a). W h e r e a b o u t s u n k n o w n
120. Aftfcr R u b e n s , E sth er befere A lu isite ru s. W h e r e a b o u t s u n k n o w n
 C o n c h u i t t j u & m e 'D e u s a p u d i t iiq u u n i . e j a t l i e g u o n d a n i opu l e n t u s r e p e u te c. a n lm l u s fu m £ t
e c r u u h L m e uti l n e r e ^ f u p e r t/ i t l n i u Jo b X V I
J u jg n io i'u / ln ic J.L .fàrT ii'iîfsin '..' D j r n i *,-> D * * J A i ' ó Ü O B r .I fc jI:. J V j f n . m . ' I r B r u x e i k n n t .1caA*m tç Pt c t u r f i - S cu lp tu rf JinscU-rt in « n tt< u i< p tfiiu i

'r g » r p p R u t k n , , . n. . , . /A ,y r M m '

[ 2 i. Ja n L a u w r i j n K r a f f t , Jo b Sealed on a D u n g h ill between his W ife

and his T h ree F rie n d s , e n g r a v i n g
122. R u b e n s , /el> S e a le d an a D u n g h ill b etw een h is W ife a n d his Three b’rien d s,
r e t o u c h e d d r a w i n g ( N o . 54a). C a m b r i d g e , C o l l e c t i o n o f M . J nïïé
123 - Gerard Seghers, J o b Seated on a D u n g h ill between his W ife
a n d his Th ree F rie n d s . Prague, National Gallery

124. ?Nicolaas van der Horst, Job Seated on a D u n g h ill between his W ife
a n d his T h ree F rie n d s , drawing. Amsterdam, N. de Boer Foundation
125. R u b e n s , I lead o f a B earded M a n (N o . 54 b). W h e r e a b o u t s u n k n o w n
126. Gaspar de Craver. J o b Seated on a D u n g h ill between his W ife 127. Abraham van Diepenbeeck, J o b Seated on a D u n g h ill between
a n d his T h ree F rie n d s . Toulouse, Musée des Beaux-Arts his W ife a n d his T h ree F rie n d s , drawing. Leningrad, Hermitage
128. A n t h o n y v a n D y c k , Job T o r m e n te d b y D e m o n s a n d A b u s e d b y h is W ife , 129. L u c a s V o r s t e r m a n , J o b T o r m e n te d b y D e m o n s
d r a w i n g . Paris, C a b i n e t d e s D e s s i n s d u M u s é e d u L o u v r e . a n d A b u s e d b y h is W ife, e n g r a v i n g
 • ' . 'Umii.Lt I » - <&•»</J j D

130. R u b e n s , N u d e M a n lea n in g back (Jo b ), d r a w i n g ( N o . s s a ) . S t o c k h o l m , N a t i o n a l m u s e u m

i.U- R u b e n s , ^4 T o rm e n tin g Denum , d r a w i n g ( N o . 5 5b ). S t o c k h o l m , N a t i o n a l m u s c u m
 A . I O B P R O P H E T A ,

W K A K A 1A L IK X - IS H X 'C J X S IÆ P A T R O N * IM i
D cm m tts AeAtC. D o m n in s a h s ItA i t . .-'lo u t D o m in o p lic iu t,
ita F iich u m e s i : sU nennen D o m in i front A te tu rn . iO t
132. A n o n v m o u s , J o b T o rm en ted bv D em ons
Si from* s u sce p im u s Ac manu Dot, moLi n ie ir c non s i i y lj 'u i m a s .h l.i
a n d A b u se d by his W ife , e n g r a v i n g
133- ?After Rubens, Job To rm en ted bv Demons a n d A b u se d bv his W ife .
Louvain, Stedelijk Museum Van der Kelen-Mertens
1.55- A f t e r R u b e n s , D a n ie l in the L io n s ’ D e n . V i e n n a , K u n s t h i s t o r i s c h e s M u s e u m
138. W e n z e l I l o ll a r , S ix L ie n s, e n g r a v i n g

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i u>. R u b e n s , Lion Asleep, fin in g rig h t, d r a w i n g . W h e r e a b o u t s u n k n o w n

140. A f t e r R u b e n s , A n A n g el I're e in g D a n ie l f r o m the L io n s ’ D en,
d r a w i n g . M r a n d M r s J. A u g u s t i j n s - G o e d l e v e n , B r a s s c h a a t , B e l g i u m
141. R u b e n s , S t u d y f o r D a n ie l, d r a w i n g (N o . 57a ). N e w Y o r k , P i e r p o n t M o r g a n L i b r a r y
142. R u b e n s , L io n A s le e p , f a c in g le ft, d r a w i n g ( N o . 5 7 b ] . N e w Y o r k , P i e r p o n t M o r g a n L i b r a r y

S T

143. R u b e n s , S tu d ie s o f L io n s, d r a w i n g ( N o . 57c). L o n d o n , P a u l W a l l r a f C o l l e c t i o n
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144. R u b e n s , L ion A sleep, J o e in g rig h t, d r a w i n g ( N o . 57c!). W h e r e a b o u t s u n k n o w n

145. R u b e n s , Lioness, jo e in g left, d r a w i n g ( N o . 5 7e ). W h e r e a b o u t s u n k n o w n

147- Rubens after a Padua bronze, P a niheress 'a li' a n tica ', drawing.
London, Victoria and Albert Museum
MH. R u b e n s , R e lre a lm g Lioness, seen fro m the rea r, d r a w i n g ( N o . 5 7 g ) .
L o n d o n , B r it is h M u s e u m
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r \ 7 *

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K
a .
I % t o
u /^ * U

\d s

/;

149. R u b e n s , R e tre a tin g Lioness, seen f r o m the re a r, d r a w i n g ( N o . 57f) .

\ m s te rd a m , R ijk sp ren ten kab in et

150. Rubens, L io n in Repose, fa c in g rig h t, drawing (No. 57i).

London, British Museum
151. R u b e n s , Lion S ta n din g , fa c in g left, d r a w i n g (N o . 57I1).
W a s h i n g t o n , l)< , N atio n al g a l l e r y o f Art
152. R u b e n s , Susann a a n d the E ld e rs ( N o . 58). R o m e , V lu s e o e G a l l e r i a b o r g h e s e
1 5.?. R u b e n s , S n . h i m u i m u i t h e l i h i e r x (N o . 59).
M a d r i d , Re a l A c a d e m i a d e B e l l a s A n e s d e S an F e r n a n d o
154 - R u b e n s , S usa nn a a n d the E ld e rs , d r a w i n g ( N o . 59 a}.
M o n tp ellie r, M u sé e A tg e r , Faculté de M éd ecin e
1 55. A l t o r R u h o n s , Susann a a n d the E ld e rs. L e n i n g r a d , H e r m i t a g e
i I7. A fte r R u b en s, S n s i i n n i i a n d th e f l d e r s . W h e r e a b o u ts u n k n o w n
 hisanne Surpris? p a r deux ‘Tiedlards, dans un darciin,
Star la Vertu du tour p u isa n t Cotuerue J'a chasteté .DtmuLcS.jj.

158. A n t h o n y v a n D y c k , Su san n a an d the E ld er s, d r a w in g . 159. M ic h e l L a s n e , Su san n a an d the Elders, e n g r a v in g

P a ris, C a b i n e t d e s D e s s in s d u M u s é e d u L o u v r e
 St'SANNK AVEC LRS \ ! K U . I . A K 1>>
m uitoni a rtu i \nrta im a i/ r itiv J a fm iu t r tkuurut ’> li •' tu . . L l ./A/r/Z ,Jlr . H /.■
- -> &
.‘/ v a » vtrcfltai. fu jm fg ctm ü u im m m M ri/h a k u tu c ixc'u\jar. i/ÏOzidjïvJia fl/u v iu s l m j j k t l (/n/tftjn i •f •Vl)uw a A i 1.’ytt/f

160. M i c h e l L a s n e , S usa nn a a n d the E ld e rs , e n g r a v i n g 1 6 1 . Q u ir in M a r c x , S u sa n n a an d the E lders, e n g r a v in g

162. L u c a s V o r s t e r m a n , S usa nn a a n d Lite E ld e rs , e n g r a v i n g
ic h . L u c a s V o r s t o r m a n , iiiid the Hitters, d r a w i n g . L o n d o n , B r it is h M u s e u m
ió4- A f t e r R u b e n s , S usa n n a a n d the E ld e rs .
Stock h olm , N atio n a lm u seu m
IÓ5- P a u l P o n tiu s , Susanna an d Che E ld ers, e n g r a v in g 166. P a u l P o n tiu s , Susanna an d the E ld ers, d r a w in g .
P a ris , C a b in e t d e s D e s s in s d u M u s é e d u L o u v r e
16 7 . A f t e r R u b e n s , S u sa n n a a n d the E ld e rs . L e n i n g r a d , H e r m i t a g e
ió 8 . C h r is t o f f e l J e g h e r , Susanna an d the E ld ers, w o o d c u t
169. A f t e r R u b e n s , S u san n a a n d the E lders, d r a w in g . P a ris , C a b in e t d e s D e s s in s d u M u s é e d u L o u v r e
170. R u b e n s , S u sa n n a a n d the E ld e rs (N o . 65), M u n i c h , A l t e P i n a k o t h e k
172. P i e t e r S p r u y t , Susanna and the E ld e rs, e t c h i n g
i"?.}. IX'iail of fig. i’ o
1 /4 . R u b e n s , The M a rt y rd o m o f St Stephen. V a l e n c i e n n e s , M u s é e d e s B e a u x - A r t s
1/6. R u b e n s , The Ascent o f Souls fro m P u rg a to ry . T o u r n a i , C a t h e d r a l
17 7 - R u b e n s , ‘I'lie l a n d i n g o f t h e I h i g a n t r e a s u r e s a n d J u d a s h i a c c a h a e i i s ' s
I’ r a v e r f o r t h e D e a d ( N o . 67). N a m e s , M u s é e d e s B e a u x - A r t s
178. D e t a i l o f Fig. 1 77
INDEXES
Index I: Collections
T h is in d ex lists a ll e x ta n t p ain tings, o il sketches and d raw in gs, as w e ll as tw o reto u ch ed d raw in gs and
th ree reto u ch ed p r o o f states o f an e n gra vin g, ca ta lo gu ed in th e p resen t v o lu m e . Copies h ave also b een
in clu d ed . T h e w o rk s are listed a lp h a b e tica lly a ccord in g to place.
R eferen ces to th e n u m b e r o f the c a ta lo gu e en tries are giv e n in b o ld , fo llo w e d b y co p y n u m b e rs w h ere
re le v a n t, then b y p a ge referen ces and fin a lly b y fig u re n u m b e rs in italics.

A M I E N S , MUSÉE DE P I C A R D I E A n o n y m o u s, d ra w in g a fte r R u b en s :
A n o n y m o u s, p a in tin g a fte r R u b en s: T h e R econ ciliation o f E sau and Jacob, N0.16,
Lot a n d his D a ug hters, No.8, co p y i ; 50 c o p y 6; 67

A M S T E R D A M , MRS I. Q. V A N R E G T E R E N A N T W E R P , E. V E R R I J K E N

ALTENA A n o n y m o u s, p a in tin g a fte r R u b ens:

R u b ens, d raw in g : K in g D a v id P laying the H a rp , N0.40, co p y 5;
Sam son A sleep in D elila h ’s L ap, No.31a; h i, 130
1 1 3 - 1 1 4 ,116, u 8 ; f i g . y j
BANBURY, N A T IO N A L TRUST AT U P T O N

A M S T E R D A M , N . DE B O E R F O U N D A T I O N HOUSE

(?) N . van d er H orst, d ra w in g a fte r R u b en s: A n o n y m o u s, p a in tin g a fte r R u b ens:

Jo b Seated on a D u n g h ill betw een his W ife an d The F in d in g o f the P agan T reasures a n d J u d a s
his Three F riend s, N 0 .5 4 , c o p y 2; 177-178 , M a ccab aeu s’s P rayer f o r the D ea d , N0.67,
180 ; fig ,124 co p y ; 226

AMSTERDAM, GEMEENTE-MUSEA, FO D O R B E E K , H O L L A N D , H . DE GRI JS

COLLECTION A n o n y m o u s, p a in tin g a fte r R u b en s:

R u b en s, d raw in gs: D a n iel in the L ions’ D en , N0.57, co p y 18; 188
Sam son Sla ying a P hilistin e, N0.29; 104-106, BELGIUM, PRIVATE C O L L E C T IO N
107; f ig -70 A n o n y m o u s, p a in tin g a fte r R ubens:
Sam son O vercom ing tw o P hilistines, N0.30; D a n iel in the L io n s’ D en , N0.57; 192
106-107; fig -7 1
BELGIUM, PRIVATE C O L L E C T IO N
A M S T E R D A M , RIJKSMUSEUM ( O N L O A N TO THE A n o n y m o u s, (?) p a in tin g a fte r R u b ens:
RIJKSMUSEUM MUIDE RS LOT , M U ID E N ) T he Stonin g o f the A ccusers o f Su sa nna , N0.66;
A n o n y m o u s, p a in tin g a fte r R u b ens: 221-222; fig . 17 y
T he R econciliation o f E sau an d Jacob, No. 16,
BENSBERG, DR R U D O L F BRA NDS
co p y i ; 67
A n o n y m o u s, p a in tin g a fte r R u b ens:
AMSTERDAM, RIJKSPRENTENKABINET K in g D a v id P laying the H a rp , N0.40,
R u b en s, d raw in gs: co p y 4; 130
R etreatin g Lioness, seen fr o m the rear, N o .5 7 f;
BERGUES-ST. W I N O C Q , MUSÉE M U N I C I P A L
1 9 0 ,1 9 4 ,1 9 7 ; f i g -149
A n o n y m o u s, p a in tin g a fte r R u b ens:
Sam son B reaking the Ja w s o f a L ion , N o . 28;
T he M eetin g o f D a v id a n d A b ig a il, N0.41,
10 3 -10 4 ,12 3 ; fig .6 9
co p y 2; 132, 135; Jig.92
J .W itd o e ck , e n g ra v in g re to u ch ed b y R u b en s:
A b raha m an d M elch ized ek , N o . 17dl 72 , 78; B E R L I N - D A H L E M , S T A A T L IC H E MUSEEN,

f i S -35 KUPFERSTICHKABINETT

R u b ens, d raw in gs:

ANTWERP, RUBENSHUIS
Bathsheba R eceiving D a v id 's L etter, N0.43 ;
R u b ens, pain ting:
1 3 8 -14 0 ,14 1, 207; jig.9 7
T he T em ptation o f M a n , N 0 .3 ; 35-37; fig .6
The R econciliation o f E sau an d Jacob, N0.15 ;
A N T W E R P , STEDELIJK PR E N TE N K AB IN E T 65-67, 68, 7 1; fig .4 1
(?) Rubens, drawing: Stu d y f o r the Figure o f Isaac, No.iaa; 60,
N a ked W om an Seated, u n d e r N o .8 ; 51 61-62; flg.28

370
 INDEX i: COLLECTIONS

B E S A N Ç O N , MUSÉE d ’ART ET d ’A R C H É O L O G I E C O P E N H A G E N , STATENS MUSEUM F O R KUNST

A n o n y m o u s, p a in tin g after R u b ens: A n o n y m o u s, pain tin g a fte r R ubens:

Sam son B reaking the Jm vs o f a Lion, N o .2 6 a , T he Ju d gem en t o f Solom on, N 0 .4 6 , co p y 1 ; 146,
co p y 3; 99 f ig .i o t
B IA R RITZ, PRIVATE C O L L E C T I O N
C O P E N H A G E N , STATE N S MUSEUM FOR KUNST,
Rubens, p ain tin g :
P R IN T R O O M
Loth an d his D aug hters, N 0 .8 ; 50-51 ; Jig. 19
R u bens, d raw in g :
BLOIS, MUSÉE d ’a r t A N C IE N , CH A T E A U DE T w o Stu d ies fo r St A n d rew and a Stu d y fo r an
BLOIS A n cien t Priest ( M elch ized ek), N o .i y a ; 73,
A n o n ym o u s, p a in tin g a fte r Rubens : 75- 76 ; fig -32
C a in Sla y ing his Brother A b el, N 0 .4 , copy 1 ; 38 A n o n y m o u s, d raw in gs after R ubens:
D a n iel in the L io n s’ D en, N 0 .5 7 , copy 21 ; 188
BRESCIA, R IN A L D O SCH R EIBER
D a v id Stra ngling a Bear, N 0 .3 4 , cop y 4; 119;
A n o n y m o u s, pa in tin g a fte r R u b ens :
fig .8 1
The R econciliation o f E sau an d Isaac, N 0 .16 ,
D a v id Stra ngling a Bear, N 0 .3 4 , cop y 5; 1 19:
co p y 5; 67
fig-te
BR U N SW ICK , H E R Z O G A N T O N U L R IC H - The Reconciliation o f Esau and Isaac, N 0 .16 ,
MUSEUM co p y 8 ; 67
R u b en s, p a in tin g : The R econciliation o f Esau and Isaac, N0.16,
J u d ith w ith the H ead o f H olofernes, N 0 .5 1 ; c op y 9; 67
164-166; fig .1 1 3 The R econciliation o f Esau and Isaac, N o . 16,
BRUSSELS, VASSILIS ALLA M A N IS
co p y 10; 67
A n o n y m o u s, p a in tin g a fte r R u b ens: Sam son Breaking the Ja w s o f a Lion, N 0 .2 6 ,
The F ligh t o f Lot an d his Fam ily fr o m Sodom , co p y 4; 97
N 0 .6 , co p y 5; 45 Sam son B reaking the Ja w s o f a Lion, N 0 .2 6 ,
co p y 5; 97
BRUSSELS, J.J. H U M BLE T
Samson Breaking the Ja w s o f a Lion, N 0 .2 6 ,
A n o n y m o u s, p a in tin g a fte r R u b ens:
co p y 6; 97
K in g D a v id P la y in g the H arp, N 0 .40 , co p y 3;
130 C O P E N H A G E N , C O N S U L I I. W E S I

CA E N , MUSÉE DES B EA U X-AR TS

A n o n y m o u s, pa in tin g a fte r R ubens:

R ubens, p a in tin g : D a n iel in the L ions’ D en , N 0 .5 7 , copy 9; 188

A b raha m a n d M elch ized ek , N 0 .1 7 ; 71-75 , 76,
D A R M S T A D T , HESSISCHES I. A X I ) E S M U S E U M
77, 78 ; fig .31
R u b en s, d raw in g :
CA M BR ID GE , M .JAFFÉ A W om an Sta nd ing , N o .4 5 a ; 14 4 ,14 5 -14 6 ;
R u bens, d ra w in g : f ig '99
Job Seated on a D u n g h ill betw een his W ife and A n o n y m o u s, d ra w in g a fte r R ubens:
his Three Friend s, N o .5 4 a ; 178, 180; fig .1 2 2 Lion in Repose, fa cin g right, N o . 5 7!, cop y 2;
C H IC A G O , ART INSTITU TE, ROBERT A. W A L L E R
199
M E M O R IA L C O L L E C T I O N
D E T R O IT , D ETR O IT INSTITUTE OF ARTS
R u bens, o il sk etch :
R u b en s, p ain tin g :
Sam son T a ken by the P hilistin es, N 0 .3 2 ; 110,
The M eetin g o f D a v id a n d A b ig ail, N 0 .4 2 ;
1 1 5 -1 1 7 , 118, 123, 124', f ig -77
133, 136-138; fig .9 6
CIN C IN N A T I, O H IO , C IN C IN N A T I ART
D R ESD E N G E M Ä L D E G A L E R IE
MUSEUM
R u bens, p ain tin g :
R ubens, oil sk e tch :
Sam son A sleep in D elila h ’s Lap, N 0 .3 1 D ; i n , Bathsheba R eceiving D a v id 's Letter, N 0 .4 4 ;
139, 140-142, 204, 219; J ig .a s
113, 11 4 -1 1 5 , 118; fig - 7 <>
C O B U R G , K U N STSAM M LU N G E N VESTE C O BU R G D UN KIRK , MUSÉE DES BEAI X-ARI'S

A n o n y m o u s, d ra w in g after R ubens: A n o n y m o u s, p a in tin g a fte r R ubens:

The R econ ciliation o f Esau and Jacob, N 0 .16 , The R econciliation o f Esau and Jacob, N o .i6 a ,
co p y 4; 67 co p y 2 ; 70

371
I N D E X i; C O L L E C T I O N S

E A T O N H A L L , DUKE OF W ESTM INSTER G E N E V A , J . PINGET

R u b en s, p a in tin g : A n o n y m o u s, p a in tin g a fter R u b en s:

The Exp u lsion o f H agar, N o . i o ; 53-56; fig.23 Lot and his Daughters, N o .8 , co p y 3 1 50

E D IN B U R G H , N A T IO N A L G A L L E R Y OF G H E N T , MRS Y . D U FR A SN B

S C O T L A N D A n o n y m o u s, p a in tin g a fte r R u b ens :

R u b en s, oil sk etch : D a vid Strangling a Bear, N 0 .3 4 , co p y 2; 119
The Reconciliation o f Esau and Jacob, N o .i 6 a ;
G O D S H IL L N E A R RYD E , ISLE OF W IG H T ,
68 , 6 9 -71: fig-43
C H U R C H

E IN D H O V E N , GOVERS C O L L E C T I O N
A n o n y m o u s, p a in tin g a fter R ubens :
A n o n y m o u s, p a in tin g a fte r R u b ens: D aniel in the Lions’ Den, N 0 .5 7 , co p y 1 ; 187
The Brazen Serpent, N 0 .2 4 , co p y 11 ; 91
G R A Z , ALTE G ALE R IE AM L A NDESM U SEU M
ESSEN, B E L G IU M , G. DE Z U T TE R E
J O A N N E U M
A n o n y m o u s, p a in tin g a fte r R u b ens :
A n o n y m o u s, p a in tin g :
D aniel in the Lions' Den, N 0 .5 7 , co p y 10; 188 Moses, A aron and M iria m w ith other Women
F AR N H A M , W O L F G A N G B U R C H A R D Celebrate the Crossing o f the Red Sea, N 0 .2 0 ;
R u b en s, d ra w in g : 8 2-8 4 ,128 ; fig.48
Tobit Burying a Slain Jew , N 0 .4 9 ; 156-158; H U N T IN G T O N W O O D S , M ICH IG A N , ERN EST
fig . 108 L. J A Y

FIFE, M E LVILLE H A L L A n o n y m o u s, p a in tin g a fte r R u b en s:

A n o n y m o u s, p a in tin g a fte r R u b ens: The M eeting o f D a vid and A bigail, N o .4 ia ,
D aniel in the Lions’ Den, N 0 .5 7 , c o p y 4; 187 co p y 3; 134

F L O R E N C E ,P A N D U C C I C O L L E C T I O N JU PILLE, BELGIUM , H. L E O N A R D

A n o n y m o u s, p a in tin g a fte r R u b ens: A n o n y m o u s, p a in tin g a fte r R u b ens :

The Brazen Serpent, N 0 .2 4 , co p y 9; 91 D a vid Strangling a Bear, N 0 .3 4 , co p y 3; 119

FL O R E N C E , S O P R IN T E N D E N Z A PER I BENI KANSAS CITY, M ISSOURI, W IL LIA M R O C K H IL L

A R TISTICI E ST O R I Cl PER LE P R O V IN C IE DI N E L S O N G A L L E R Y A N D ATKINS MUSEUM OP

F IR E N ZE E PISTO IA ART

(?) R u bens, p a in tin g : R u b en s, p a in tin g :

Ju d ith Putting the Head o f Holofernes in a Sack, Abraham ’s Sacrifice o f Isaac, N 0 .1 2 ; 58-61;
N 0 .5 2 ; 166-167; fig . 114 fig -2 7
FR A N K FU R T AM M AIN, S T A D E L S CHES K A R L S R U H E , STAATLICH E K U N S T H A L L E

KU N STIN STITU T A n o n y m o u s, p a in tin g :

R u bens, p a in tin g : Moses, A aron and M iria m w ith other Women
K in g D a vid Playing the H arp, N 0 .4 0 ; 130-132; Celebrate the C rossing o f the Red Sea, N 0 .2 0 ,
f ig -89 co p y i ; 83, 85; fig.49
Ru bens, d raw in gs:
LEID EN , K U N S T H IST O R IS C H INSTITU UT D ER
The F in d in g o f Moses, N 0 .1 8 ; 79-80; fig.45
RIJKSUNIVERSITEIT
Ju d ith Beheading Holofernes, N o .5 o a ; 10 6,159,
G .H o e t, d ra w in g a fte r R u b ens:
160, 162-163; fig . 110
Samson Breaking the Ja w s o f a Lion, N o .2 6 a ,
G AT E S H E A D , SH IPLEY ART G AL L E R Y co p y 5 ; 99,10 0
A n o n y m o u s, p a in tin g a fte r R u b en s:
L E N IN G R A D , HERMITAGE
The Brazen Serpent, N 0 .2 4 , co p y 3 ; 90
R u bens, p ain tin g :
G ENEVA, J E A N P. F R A N Ç O I S The Expulsion o f H ag a r , N 0 .9 ; 51-53» 55 ;
A n o n y m o u s, pa in tin g , (?) after R u b en s: fig . 22
Moses Adopted by Pharaoh's Daughter, N 0 .1 9 ; J .W itd o e ck , e n g ra v in g re to u ch ed b y R u b en s;
80-82; fig.46 Abraham and M elchizedek, N0.17C; 72, 77-78;
A n o n y m o u s, p ain tin g : f ig -34
Moses, A aro n and M iria m with other Women A n o n y m o u s, p a in tin g a fte r R u b ens:
Celebrate the Crossing o f the Red Sea, N 0 .2 0 ; Susanna and the Elders, N o ,6 4 , co p y 1 ; 215;
8 2 -8 4 ,128 ; Jig. 47 fig -167

372
 INDEX i: COLLECTIONS

L O N D O N , BRITISH MUSEUM Jan I B ru e g h e l, p a in tin g after R ubens:

R ubens, d raw in gs: Daniel in the Lions’ Den, d etail o f The
Lion in Repose, fa cin g right, N o -5 7 i: 191, i 94 > A llegory o f Sight, N o . 57; 190
i95, 199-200; fig . l j o
M A D R ID , REAL ACADEM IA 1) 1’ ISM.LAS A R I E S DE
Retreating Lioness, seen fro m the rear, N o . 57g:
SAN F E R N A N D O
1 9 0 , 194, 19 7 ,19 8 ; ß g . i t f R u b ens, pa in tin g :
M en and Women Attacked by Serpents, N 0 .2 2 ;
Susanna and the Riders, N o . 59; 152, 202-204,
85-86, 88, 89 ;f ig .j2
205, 207, 208, 2 1 1, 215; fig . i i j
A n o n y m o u s, d ra w in g after R u b ens:
M ALIBU, C A L IF O R N IA , J. P A U L CKT'IY MUSEUM
Samson Breaking the Jaw s o f a Lion, N o , 26,
R ubens, pain ting:
co p y 3 ; 96-97
The M eeting o f D avid ami Abigail, N 0 .4 1 ; 69,
L O N D O N , C O U R T A U L D INSTITUTE OF ART,
132-134, 135, 137 ; fig s.90, 04
PRINCES GATE C O L L E C T IO N

R ubens, pain tings: M A N N H E IM , PRIVATE C O L L E C T IO N

The Brazen Serpent, N 0 .2 3 ; 84, 86, 87-90, 93; A n o n y m o u s, p ain tin g a fte r Rubens:
Susanna and the Riders, N 0 .6 4 , co p y 3; 216
figs-S 3 ’ 54
Cain Slaying his Brother Abel, N 0 .4 ; 38-40, MERKSEM NEAR A N T W E R P , MR AND MRS
io 6 ;fig .S s t a e s - d ’ h u l s t e r
R ubens, d raw in gs: A n o n y m o u s, p ain tin g a fte r R ubens:
The Creation o f Animals, N o . i ; 33-34, 351 King D avid Playing the I larp, N 0 .40 , co p y 7 ;
fig -1 130
The Temptation o f M an, N 0 .2 ; 33, 34- 35 . 37 ;
MIAMI B E A C H , FLORIDA, J O H N AND J O H A N N A
f ig -3
BASS C O L L E C T I O N
L O N D O N , D U L W IC H C O L L E G E PICTURE.
A n o n y m o u s, p ain tin g a fte r R ubens :
G A L L E R Y
The Flight o f Lot and his Family from Sodom,
R ubens, pa in tin g :
N 0 .5 , co p y i ; 40-41 ; ji g - to
H agar in the W ilderness, N 0 .1 1 ; 56-58; fig.26
M ILAN, B IB L IO T EC A A M BR O SIA N A
L O N D O N , N A T IO N A L G A L L E R Y
A n o n y m o u s, d ra w in g a fte r R ubens:
R u b ens, pain tings :
Men and Women Attacked bv Serpents, N 0 .2 2 ,
The B razen Serpent, N 0 .2 4 ; 84, 86, 89, 90-94;
c o p y ; 85
figs-JS. 59
Samson Asleep in Delilah's Lap, N 0 .3 1 ; M O N T P E L L IE R , M U SÉE A T C E R , FACULTÉ DE

10 7-113 , 114, 116, 118, i 4 4 ; f i g .72 M É D E C IN E

R u b ens, d raw in gs:

L O N D O N , PA U L W AI.LRAF
D a vid Slaying Goliath, N 0 .3 7 ; 123, 124-126,
R u b ens, d ra w in g :
Studies o f Lions, N0.57C; 190, 194, 195, 196, 127; fig. 84
S usannaand the Elders, N o .5 9 a ; 204, 205-200;
197, to o ; f ig . 14j
fig -154
L U G A N O , B A R O N T H YSSIiN -BO R N EM ISZA

R ubens, oil sk etch : M U N IC H , A LTE P IN A K O T H E K

The Blinding o f Samson, N 0 .3 3 ; 1 1 7 - 1 19; fig-7& R u b en s, pain tings:

The Defeat o f Sennacherib, N 0 .4 7 ; 95 , 150-154,
L U X E M B U R G ,J E A N PO O S
155; fig -i0 3
A n o n y m o u s, p a in tin g a fte r R u b ens:
Susanna and the Elders, N 0 .6 5 ; 142, 217,
The M eeting o f D avid and Abigail, N o .4 ia ,
2 18 -221; ƒ g. 170, 17j
co p y 5; 134
M U N IC H , STA A T L ICH E G R A P H IS « .HE
M A D R ID , D U Q U E DE HER NANI
SAM M LU NG
R ubens, pa in tin g :
A n o n y m o u s, d ra w in g a fte r R ubens:
Samson Breaking the Jaw s o f a Lion, N 0 .2 6 ;
96-99, 100, 106, 121; fig. 60 Susanna and the Elders, N 0 .60 , copy 2; 207

M A D R ID , P R A D O M U N IC H , W IT TE L S B A CH E R A U S G I. E I C H S F O N D S

R ubens, pa in tin g : A n o n y m o u s, p ain tin g after R ubens:

The Judgement o f Solomon, N o ,4 5 ; 142-145, Samson Breaking the Jaw s o f a Lion, N o .2 6 a ,
147; fig . too co p y 2; 99

373
INDEX r. COLLECTIONS

N A N T E S , MUSÉE DES BEAU X-ARTS E .D e la c ro ix , p a in tin g a fte r R u b ens:

R u b ens, p a in tin g ; The Flight o f Lot and his Fam ily fro m Sodom,
The Find ing o f the Pagan Treasures and Judas N 0 .6 , co p y 8 ; 45; f ig - i5
Maccabaeus’s P rayer f o r the Dead, N 0 .6 7 ;
PARIS, M USÉE DU L O U V R E , CA B IN E T DES
222-227; Jigs. 177, 17S
DESSINS
N IE R D E R H A U S E N N E A R W IE S B A D E N , M UNICI-
R ubens, d raw in gs:
PALITV
Abraham , Isaac and Jacob, N 0 .1 3 ; 6 2 -6 4 ,12 9 ;
A n o n y m o u s, p a in tin g a fte r R u b ens:
fig -29
K ing D avid Playing the H arp, N 0 .4 0 , co p y 6; K ing D avid Playing the H arp, N 0 .3 9 ; 63,
130
12 8 -13 0 ,13 1; fig.87
N E U ST A D T A N D ER W E IN STR ASSE, R H E IN ­ A . V an D y ck , d ra w in g a fte r R u b en s:
PFALZ, E. A B R E S C H The Flight o f Lot and his Fam ily fro m Sodom,
A n o n y m o u s, p a in tin g a fte r R u b ens: N 0 .5 ; 43
Daniel in the Lions’ Den, N 0 .5 7 , c o p y 3; 187 Susanna and the Elders, N 0 .6 1 , co p y 3; 208;
N E W YORK, MRS R U D O L F J. H E I N E M A N N fig-D *
A n o n y m o u s, d ra w in g a fte r R u b ens:
R u b ens, oil sk etch :
The M eeting o f D avid and Abigail, N o .4 i a ; The Blinding o f Samson, N 0 .3 3 , co p y; 117

13 3 ,13 4 -13 6 ; jig . 91 PA SAD EN A , C A L IF O R N IA , N O R T O N SIM ON

N E W YORK, P IE R P O N T M O R G A N LIBRARY F O U N D A T I O N

R u b ens, d raw in gs: R u b ens, p a in tin g ;

Study f o r Daniel, N o .5 7 a ; 190, 192-193; D avid Slaying Goliath, N 0 .3 8 ; 123, 125,
126-128; fig.86
Lion Asleep, fa cin g left, N o .5 7 b ; 190 ,19 4-195;
PH IL A D E L P H IA , PA., M. A. K R A N K E L
fig.142
A n o n y m o u s, p a in tin g a fte r R u b en s :
N E W YORK, SP E N C E R A. SAM UELS G ALLE R Y
Daniel in the Lions’ Den, N 0 .5 7 ; 191-192.
R ubens, pa in tin g :
P R O V I D E N C E , R H O D E ISLA N D , J .N , B R O W N
D avid Strangling a Bear, N 0 .3 4 ; 1 1 9 - 1 2 1 ,122;
A n o n y m o u s, tw o d raw in g s a fte r R u b en s:
f ig -79
D aniel in the Lions’ Den, N 0 .5 7 , co p y 22;
N E W YORK, MIA N. W E IN E R G ALLERY
188-189
A n o n y m o u s, d ra w in g a fte r R u bens :
The Stoning o f the Accusers o f Susanna, N 0 .6 6 , R A L E IG H , N O R T H C A R O L I N A MUSEUM OF A R T

c o p y; 221 A n o n y m o u s, p a in tin g a fte r R u b ens:

PARIS, B IB L IO T H È Q U E N A T IO N A L E , CABINET
Gideon Overcoming the M idianites, N 0 .2 5 ;

DES ESTAM PES

94 - 9 6 ', f ig -56
R u b en s, re to u ch ed e n g ra v in g : R EU V E R , H O L L A N D , A. E. L A M M A N S - D E HAES

Ju d ith Beheading Holofernes, N0.50C; i6i, A n o n y m o u s, p a in tin g a fte r R u b ens:

163-164; fig.112 Daniel in the Lions’ Den, N o . 57, co p y 19; 188
PARIS, MESSRS C A IL L E U X
ROM E, M U SEO E G A L L E R IA B O R G H E S E
A n o n y m o u s, p a in tin g after R u b en s:
R u b en s, pa in tin g :
Susanna and the Elders, N 0 .6 4 , co p y 4; 216
Susanna and the Elders, N 0 .5 8 ; 140, 200-202,
PARIS, F O N D A T I O N CU S T O D IA , FRITS LUGT
203, 206, 207, 2 11, 215; fig.152
C O L L E C T I O N

A n o n y m o u s, d raw in g s a fte r R u bens : R O M E , PR IN CE C O L O N N A

Samson Breaking the J a m o f a Lion, N o .2 6 a ; A n o n y m o u s, p a in tin g a fte r R u b ens:

too; fig. 64 The Reconciliation o f Esau and Jacob, N o .i6 a ,
Samson Breaking the Jaw s o f a Lion, N 0 .2 7 , co p y 4; 70
c o p y i ; 100, 10 1-10 2; fig .6 j
R O T T E R D A M , B O Y M A N S -V A N B EU N IN G E N

PARIS, MUSÉE DU L O U V R E MUSEUM

R u b ens, p ain tin g: R u b ens, d ra w in g :

The Flight o f Lot and his Fam ily from Sodom, D avid Slaying Goliath, N 0 .3 6 ; 122-124, 125,
N o .6; 43, 44-47; jig . 13 127; f ig -83

374
 INDEX i: COLLECTIONS

S A C R A M E N T O , C A L IF O R N IA , E .B . C R O C K E R Susanna and the F.lders, N 0 .6 3 , co p y 1 ; 214;

A R T G A L L E R T fig . 164
A n o n ym o u s, p a in tin g after R u b ens:
S T O C K H O L M , PRIVATE C O L L E C T I O N
The Brazen Serpent, N 0 .2 4 , copy 4: no
A n o n y m o u s, p ain tin g a fte r R ubens:
SA O PAULO, B R A ZIL, A. H. Uli SOUCY Daniel in the Lions' Den, N 0 .5 7 , co p y 11 ; 188
A n o n y m o u s, p a in tin g a fte r R u bens:
S T O C K H O L M , U NIVERSITY C O L L E C T I O N
The Flight o f Lot and his Fam ily from Sodom,
A n o n y m o u s, pain tin g, (?) after R ubens:
N 0 .6 , co p y 6; 45
Moses Adopted by Pharaoh's Daughter, N 0 .1 9 ,
SARA SO TA , J O H N A N D M ABLE R IN GLING
co p y 3 ; 80
MUSEUM OF A RT

R ubens, p ain tin g: T O K Y O , N A T IO N A L MUSEI M OF W E S TE R N ART

The Flight o f Lot and his Fam ily from Sodom, J.Jordaens, p ain tin g after R ubens:
N 0 .5 ; 40-44, 46, 47 , 50; f ig .9 The Flight o f Lot and his Family from Sodom,
N 0 .5 , co p y 2; 41; Jig. 12
SCA R SDA LE, N E W YORK, SEENA A N D A R N O L D

DAVIS T U R IN , G A L L E R IA S A B A I' D A

A n o n y m o u s, p a in tin g after R u b ens: A n o n y m o u s, p ain tin g a fte r R ubens:

IIa g a r in the W ilderness, N 0 .1 1 , copy 2; 56 Susanna and the Elders, N 0 .6 4 . copy 2 ;
2 15-216
SCHLEISSHEIM , STAA TSGA LER IE

R ubens, pa in tin g : V A D U Z, L IE C H T E N S T E IN C O L L E C T I O N

The Reconciliation o f Esau and Jacob, N 0 .1 6 ; A n o n y m o u s, p ain tin g a fte r R u bens:

67-69, 7 1 ; f i g -42 The Judgement o f Solomon, N o . 45, co p y ; 143
S C H W E R IN , STAA TLICH E S MUSEUM
V IE N N A , A LBE R TIN A
R u b ens, p a in tin g :
(?) J .W itd o e ck , d ra w in g retou ch ed b y R u bens:
Lot and his Daughters, N 0 .7 ; 48-50; Jig. 17 Abraham and M elchizedek, N o .1 7 b ; 72, 76-77,
SE A T T L E, W ASH,, M. SELIG 7 8 ; f ig -3J
A n o n y m o u s, p a in tin g a fte r R u bens: (?) P .C . S ou tm an , d ra w in g after R ubens:
Lot and his Daughters, N 0 .7 , co p y 1 ; 48 The Defeat o f Sennacherib, N 0 .4 8 ; 153,154-156 ;
fig -107
ST. B LA SIEN , G ER M A N Y, MRS W A L Z
A n o n y m o u s, d raw in gs after R u bens:
A n o n y m o u s, p a in tin g a fte r R u b en s:
D aniel in the Lions' Den, N 0 .5 7 , co p y 20; 188
Daniel in the Lions’ Den, N 0 .5 7 , cop y 14; 188
The Reconciliation o f Esau and Isaac, N 0 .16 ,
S T O C K H O L M , B A R O N THU R E-G A B R IE L co p y 3; 67
R U D B EC K Lion in Repose, facing right, N o - 5 7 i, copy 1 ;
A n o n y m o u s, p a in tin g a fte r R u b ens: 199
The Brazen Serpent, N 0 .2 4 , co p y 7; 91 Ten Lions and a Dog, N o .5 7 c copy 3; 200

S T O C K H O L M , N A T IO N A LM U SE U M V I E N N A , A KA DEM IE

R ubens, p ain tin g: A n o n y m o u s, pain ting a fte r R ubens:

Susanna and the Elders, N 0 .6 0 ; 140, 206-207, The Brazen Serpent, N o . 24, co p y 14; 91
215; f ig . ijó
V IE N N A , K U N STH ISTO R ISCH E S MUSEUM
R ubens, d raw in gs:
A Tormenting Demon, N o . î 5 b ; 182, 184—185; A n o n y m o u s, pain tings after R ubens:

fig . 13 t Daniel in the Lions’ Den, N o . 57, co p y 7; 188

Nude M an, leaning back (Job), N o .5 5 a ; 182, Daniel in the Lions’ Den, N 0 .5 7 ; 192; J i g - i j j
183-184; fig.130
V IE N N A , S C H O T T E N S T IF T
R u b ens, re to u ch ed d raw in g :
A n o n y m o u s, p ain tin g after R ubens:
Ju dith Beheading Holofernes, N o .ç o b ; 161, 163,
The Brazen Serpent, N o . 24, copy 15; 91
164; f i g . i i i
A n o n y m o u s, pain tin gs a fte r R ubens: VOSSELARF. NEAR G H E N T , MRS DE KERCHOVF.

Esther before Ahasuerus, N o .5 3 a , co py 1 ; 169 d ’ o e s s e l c e m

Samson Breaking the Jaw s o f a Lion, N o .2 6 a , A n o n y m o u s, p ain tin g after R ubens:

copy i ; 99; fig -61 The Brazen Serpent, N o . 24, copy 18; 91

375
IN D E X i: C O L L E C T IO N S

W A S H IN G T O N , D .C ., N A T IO N A L G A L L E R Y O F R u b ens, d ra w in g :
A RT, AILS A M E L L O N B RU CE FUND Lion Standing, fa cin g left, N o. 5 7 h ; 190, 194,
R u b ens, p a in tin g : 198-199; fig . iß t
Daniel in the Lions’ Den, N0.57; 187-192, W H I T C H U R C H N E A R A Y L E S B U R Y , A . P. R I T C H I E
193, 194, 195, 196, 197, 198, 199, 200;
A n o n y m o u s, p a in tin g a fte r R u b ens:
fiê -134 K ing D a vid Playing the H arp, N0.40, co p y 2 :13 0

376
Index II: Subjects
T h e in d ex lists, in a lp h ab etical o rd er, a ll su b jects catalo gu ed .
U n d e r each title are ga th ered a ll k n o w n rep resen ta tio n s;
these in clu d e b o th w o rk s b y R u b en s h im s e lf and copies m a d e b y o th er artists a lter th em .
T h e n u m b e r o f th e ca ta lo gu e e n try is giv e n first, fo llo w e d b y pa ge referen ces; referen ces to
illu stration s are in italics.

A B R A H A M A N D M E L C H IZ E D EK , N 0 .I 7 BATH SH EBA R EC EIV IN G D A V ID ’S 1. E T T E R ,

R ubens, p a in tin g (Caen, M u sée d es Beaux- N0.43
A rts) N 0 .17; 67, 7 1-75 , 77 , 7 $ ;fig - 3 i R ubens, d ra w in g (B erlin -D ah lem , S taatliche
A n o n y m o u s, p a in tin g (w h erea b ou ts u n k n o w n ; M useen , K u p ferstich ka b in ett) N0.43;
sale, Lond on , 1976) N o. 17, co p y 1; 71 138-140, 141, 207; fig .< r
A n o n y m o u s, p a in tin g (w h erea b ou ts u n k n o w n ;
BATH SH EBA R ECEIV IN G D A V I D ’ S I.ETTER,
sale, N e w Y o rk , 1927) N o .17, co p y 2; 71
A n o n y m o u s, p a in tin g (the cro u ch in g m an) N0.44
R ubens, p ain tin g (D resd en , G e m ä ld e g a le rie )
(w h erea b o u ts u n k n o w n ; fo r m e rly Prince
N0.44; 139, 140-142, 204, 219; Jig.98
A u g u ste d 'A re n b e rg ) N o .17, co p y 3; 71
A n o n y m o u s, p ain tin g (w h erea b ou ts u n k n o w n ;
A n o n ym o u s, d ra w in g (w h erea b ou ts u n k n o w n ;
fo r m e rly B a d en -B a d en ,! [am ilton C o llectio n )
sale, A m ste rd a m , 1928) N 0 .17, co p y 4;
N0.44, co p y i ; 140
71-7 2
A n o n y m o u s, p ain tin g (w h erea b o u ts u n k n o w n ;
J .W itd o e ck , en gra vin g, N o. 17, co p y 5; 72
fo r m e rly M ad rid , D u q u e d e B erw ick y de
R u b ens, Tw o Studies fo r St A ndrew and a Study
A lb a ) N o .44, co p y 2; 140-141
f o r an Ancient Priest (M elchizedek), d ra w in g
A n o n y m o u s, d ra w in g (w h erea b o u ts u n k n o w n ;
(C op en h ag en , Statens M u se u m fo r K unst,
fo r m e r ly L o n d o n , C . Fairfax M u rray C o lle c ­
P rin tro o m ) N o .17 a ; 73, 75 -76 ; Jig. 32
tion) N0.44, co p y 3; 141
?J.W itdoeck, d ra w in g reto u ch ed b y R ubens
(V ien n a, A lb e rtin a ) N o. 17b ; 72, 76-77, 78; T H E B R A Z E N SE RPE N T, N o .2 3
f ig -33 R ubens, p ain tin g (L on d on , C o u rta u ld Institute
J .W itd o e ck , e n g ra v in g reto u ch ed b y R ubens o f A r t G a lleries, Princes G ate C o llectio n )
(L en in grad , H e rm itage ) N o .17c; 72, 77-78; N o .2 3 1 84, 86, 87-90, 92 ; jig . j 3
f ig -34
J .W itd o e ck , e n g ra v in g reto u ch ed b y R u bens T H E B R A Z E N SERPENT, N 0 .2 4

(A m s te rd a m , R ijk sp ren ten ka b in et) N o .i7 d ; R u b ens, p a in tin g (Lon d on , N ation al G a lle ry )
72, 78-79 \ f ig -35 N0.24; 84, 86, 89, 90-94; jig s -S3, 59
A n o n y m o u s, p ain tin g (w h erea b o u ts u n k n o w n ;
a b r a h a m ’s SACRIFICE O F ISAAC, N o .12
fo r m e r ly Jam es Stan ley, lo th K arl o f D erb y),
R ubens, p a in tin g (Kansas C ity , M issouri,
N0.24, co p y i ; 90
W illia m R o ck h ill N elson G a lle ry and A tk in s
A n o n y m o u s, p a in tin g (lost since 1945 ; fo r m e rly
M u se u m o f A rt) N o .12; 58-61 ; Jig. 27
P o tsd a m , B ild e rga le rie o f Sanssouci) N0.24,
A n o n y m o u s, p ain tin g (w h erea b o u ts u n k n o w n ;
co p y 2 ; 90
sale, Brussels, 1968) N o. 12, co p y 1 ; 58
A n o n y m o u s, p a in tin g (G ateshead, S h ip ley A r t
A . Stock, e n g ra vin g , N o. 12, co p y 2; 58
G a lle ry , 1951) N o .24, cop y 3; 90
?P. d e H ooch , p ain tin g o rn a m e n tin g th e p a r­
A n o n y m o u s, p ain tin g (Sacram en to, C aliforn ia,
lo u r in A Woman Receiving a M a n at a Door
E .B .C r o c k e r A r t G a lle ry) N0.24, co p y 4; 90
(presen t location u n k n o w n ) N o .12; 60
A n o n y m o u s, p a in tin g (w h erea b ou ts u n k n o w n ;
R ubens, Study f o r the Figure o f Isaac, d ra w in g
fo r m e rly A n tw e rp , M rs Xavier de Pret)
(B e rlin -D ah le m , S taatlich e M useen , K u p fer­
N0.24, co p y 5 ; 90
stich kab in ett) N o.12a; 60, 61-6 2; fig-2$
A n o n y m o u s, p ain tin g (w h erea b ou ts u n k n o w n ;
A B R A H A M , ISAAC AND JAC O B , N 0 .1 3 sale, L u zern , 1971) N o .24, copy 6; 90-91
R ubens, d ra w in g (Paris, L o u v re , C a b in e t des A n o n y m o u s, p ain tin g (S tockh olm , Baron
Dessins) N o .13; 62-64, 129; Jig.29 T .-G .R u d b e c k , 1947) N o .24, copy 7; 91

377
I N D E X Ii : SUBJECTS

A n o n y m o u s, p a in tin g (w h erea b ou ts u n k n o w n ; A n o n y m o u s, p a in tin g (w h e re a b o u ts u n k n o w n ;

fo r m e r ly L . V a n d er C ru yssen, C lo s St.F ran- sale, T h e H ag u e, 1747) N 0.57, co p y 2; 187
çois, D ijo n ) N0.24, co p y 8 ; 91 A n o n y m o u s, p a in tin g (N eu sta d t an d er W e in ­
A n o n y m o u s, p a in tin g (Florence, Pan du cci strasse, R h e in p fa lz, E. A b re sch , 1943) N o .57,
C o lle ctio n , 1950) N o ,24, cop y 9; 9 1 c o p y 3 ; 187
A n o n y m o u s, p a in tin g (w h erea b ou ts u n k n o w n ; A n o n y m o u s, p a in tin g (Fife, M e lv ille H all)
sale, B russels, 1956) N0.24, co p y 10; 91 N0.57, cop y 4; 187
A n o n y m o u s, p a in tin g (E in dh oven , G o vers A n o n y m o u s, pa in tin g (w h erea b o u ts u n k n o w n ;
C o lle c tio n , 1963), N0.24, co p y 1 1 ; 91 sale, L o n d o n , 1927) N 0.57, co p y 5; 187
A n o n y m o u s, p a in tin g (w h erea b ou ts u n k n o w n ; A n o n y m o u s, p a in tin g (w h e re a b o u ts u n k n o w n ;
sale, L o n d o n , 1952) N0.24, co p y 12; 91 sale, L o n d o n , 1934) N o .57, co p y 6; 187-188
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ; A n o n y m o u s, p a in tin g (V ien n a, K u n st-
sale, L o n d o n , 1963) N0.24, c o p y 13; 91 historisches M u seu m ) N o. 57, co p y 7; 188
A n o n y m o u s, p a in tin g (V ien n a, A k a d e m ie ) A n o n y m o u s, p a in tin g (w h e re a b o u ts u n k n o w n ;
N0.24, co p y 14; 91 sale, L o n d o n , 1785) N 0.57, co p y 8; 188
A n o n y m o u s, p a in tin g (V ien n a, S ch otten stift) A n o n y m o u s, p a in tin g (C o p en h ag en , consul
N0.24, cop y 15; 91 H .W est) N 0.57, co p y 9 ; 188
A n o n y m o u s, pa in tin g (w h erea b ou ts u n k n o w n ; A n o n y m o u s, p a in tin g (Essen, B e lg iu m ,
sale, V ien n a , 1976) N0.24, co p y 16; 91 G . D e Z u tte re , 1935) N 0.57, co p y 10; 188
A n o n y m o u s, p a in tin g (w h erea b ou ts u n k n o w n ; A n o n ym o u s, pa in tin g (S to ck h o lm , p rivate
fo r m e r ly L o rd D o v e rd a le , 1950) N0.24, collection , 1947) N 0.57, co p y 1 1 ; 188
c o p y 17; 91 A n o n y m o u s, pa in tin g (w h erea b o u ts u n k n o w n ;
A n o n y m o u s, p a in tin g (V osselare, n ear G h e n t, sale, L o n d o n , 1953) N o .57, co p y 12; 188
M rs d e K erch o v e d ’O esselgem ) N0.24, A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
c o p y 18; 91 sale, B russels, 1965) N o .57, co p y 13; 188
C .N e tsc h e r, p a in tin g o rn a m e n tin g a w a ll in A n o n y m o u s, p a in tin g (St. B lasien , G e rm an y,
A Lady Teaching a C hild to Read (London, M rs W a lz , 1966) N 0.57, co p y 14; 188
N a tio n a l G a lle ry ) N o. 24, co p y 19; 91 A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
S ch elte a B o lsw e rt, e n gra vin g, N o .24, co p y 20; sale, L o n d o n , 1967) N 0.57, c o p y 15; 188
9 1 ; fig-58 A n o n y m o u s, p a in tin g (w h e re a b o u ts u n k n o w n ;
A .G o b e r t, e n gra vin g, N0.24, co p y 2 1; 91 sale, Brussels, 1973) N 0.57, co p y 16; 188
F .R a g o t, en g ra vin g , N0.24, co p y 21 ; 91 A n o n y m o u s, pa in tin g (w h erea b o u ts u n k n o w n ;
C . G a lle , e n gra vin g, N0.24, co p y 2 1; 91 sale, C o lo g n e , 1977) N o .57, co p y 17; 188
M .A u b e r t, en g ra vin g , N o .24, co p y 2 1; 91 A n o n y m o u s, p a in tin g (B eek, H o lla n d ,
A n o n y m o u s, tw o e n gravin gs, N0.24, cop y 21 ; H . de G rijs, 1978) N o .57, co p y 18; 188
91 A n o n y m o u s, p a in tin g (R eu ver, H o lla n d ,

CAIN SLAYING HIS B R O T H E R ABEL, N0.4 A .E .L a m m a n s -d e H aes, 1982) N o .57, co p y 19;

R u b en s, p a in tin g (L on d on , C o u rta u ld Institu te 188

o f A r t, Princes G a te C o lle ctio n ) N 0.4; 38-40, A n o n y m o u s, d ra w in g (ten lions and a dog)

i o 6 ; f ig .8 (V ien n a, A lb e rtin a ) N 0.57, co p y 20; 188

A n o n y m o u s, p a in tin g (Blois, M usée d ’A r t A n ­ A n o n y m o u s, d ra w in g (fou r lions) (C o p en ­

cien, C h â tea u de Blois) N0.4, co p y 1 ; 38 h agen , Statens M u se u m fo r K u n st, P rin t­

?W . B u y tew e ch , etch in g, N0.4, copy 2; 38; Jig.7 ro o m ) N 0.57, co p y 2 1; 188

A n o n y m o u s, d ra w in g (five lions) (Provid en ce,
TH E C R E A T IO N OP ANIM ALS, N o.i R h od e Island, J.N . B ro w n , 1959) N o .57,
R u b en s, d ra w in g (Lon d on , C o u rta u ld Institu te
co p y 22; 188-189
o f A rt, Princes G a te C o lle ctio n ) N o .i ; 33-34,
A n o n y m o u s, d ra w in g (tw o lions) (Provid en ce,
35 ; Jig-1 R h od e Island, J .N .B ro w n , 1959) N o .57,
D A N IE L IN T H E L I O N S ’ DEN, N 0 . 5 7 co p y 22; 189
R u b en s, p a in tin g (W ash in gton , D .C ., N atio n a l W .P . de L e e u w , etch in g , N o. 57, co p y 23; fig . 136
G a lle ry ) N 0.57; 187-192, 193, 194, 195, 196, R .S triek er, etchin g, N 0.57, co p y 24; 189
197, 19 8 ,199 , 200; fig . 134 A n o n y m o u s, e n g ra vin g (D an iel a n d fo u r lions)
A n o n y m o u s, p a in tin g (G o d sh ill n ear Ryde, (A. B lo o te lin g h excud it) N 0.57, co p y 25; 189
Isle o f W ig h t, church) N o .57, co p y 1; 187 F .L a m b , en gra vin g, N 0.57, co p y 26; 189

378
 I N D E X II: SUBJECTS

W .W a rd , e n g ra v in g (m ezzo tin t) N o .57, co py KING DAVID PLAYING THF. H A R P, N0.39

27; 189 R u b ens, d ra w in g (Paris, L o u vre, C a b in e t des
W .H o lla r, en g ra vin g (six lions) N o .57, co p y 28; Dessins) N 0.39; 63, 128-130, i 3 i ; f i g . 8 j
189; f ig -138
KING DAVID PLA YIN G TUI; H ARP, N 0 .4 O
Jan I B ru e g h e l, d eta il o f The Allegory o f Sight
R u b en s, p a in tin g (F ran k fu rt am M ain,
(M adrid, Prado) N o .57; 190
S tädelsches K u n stin stiu u ) N o.40; 130-132;
?Rubens, p ain tin g (w h erea b ou ts u n k n o w n ;
f ig M
fo r m e r ly M ilan , Senator L .M a lzi) N o .57; 191
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
A n o n y m o u s, p ain tin g (P h ilad elph ia, Pa.,
sale, C o lo g n e , 1892) N o .40, copy 1; 130
M . A .K r a n k e l, 1924) N 0.57; 192
A n o n y m o u s, p a in tin g (W h itch u rch n ear
A n o n y m o u s, p ain tin g (V ienna, K u n sth isto ri­
A y le sb u ry , A .P . Ritchie, 1952) N o .40, co p y 2;
sches M u se u m ) N o,57; 192; fig .t j j
130
A n o n y m o u s, p ain tin g (w h erea b o u ts u n k n o w n ;
A n o n y m o u s, p a in tin g (Brussels, J .J .H u m b le t,
sale, A m ste rd a m , 1983) N o .57; 192
1963) N0.40, co p y 3; 130
A n o n y m o u s, p ain tin g (w h erea b o u ts u n k n o w n ;
A n o n y m o u s, p ain tin g (Bensberg, D r R. Brands,
fo r m e r ly S im fero p o l, Russia, C o u n t
1965) N o .40, copy 4; 130
M o u rav ieff, 1903) No. 57; 192
A n o n y m o u s, p ain tin g (A n tw erp , H. V e rrijk e n ,
A n o n y m o u s, p a in tin g (B e lgiu m , private
1975) N0.40, co p y 5; 130
co llectio n , 1977) N 0.57; 192
A n o n y m o u s, p a in tin g (N ied erh au sen n ear
A n o n y m o u s, p a in tin g (D ü sseld orf, J .H .P e te r­
W iesb ad en , M u n icip ality) N o .40, co p y 6 ; 130
sen, 1982) N o .57; 192
A n o n y m o u s, p ain tin g (M erk sem n ear A n t ­
R ubens, Study f o r Daniel, d ra w in g (N e w Y o rk ,
w e rp , M r and M rs Staes-D 'H u lster) N0.40,
P ierp o n t M o rga n Library) N o .5 7a; 190;
co p y 7; 130
fig-141 J .K . E issen h ardt, en gra vin g, N o .40, co p y 8; 130
R ubens, Lion Asleep, fa cing left, d ra w in g (N e w
Y o rk , P ie rp o n t M o rgan Library) N o.57b ; DAVID SLAYING G O L IA T H , N0.36
190; fig.142 R u b ens, d ra w in g (R o tte rd am , Boym an s-van

R ubens, Studies o f Lions, d ra w in g (London, B eu n in gen M u seu m ) N0.30; 122-124, 125,

P .W a llra f) N0.57C; 190, 194, 195, 196, 197, 127 ; f ig M

20o-, fig. 143 D a v id s l a y i n g g o l i a t h , N o.37
R ubens, Lion Asleep, fa cing right, d ra w in g R u b ens, d ra w in g (M o n tp e llier, M usée A tg e r,
(w h e re a b o u ts u n k n o w n ; sale, L o n d on , 1966) F acu lté d e M éd ecin e) N o .37; 123, 124-126,
N o.5 7d ; 190, 194, 195-196, 200; fig . 144 12 7 ; f i g M
R u b ens, Lioness, fa cing left, d ra w in g (w h e re ­
DAVID SLAYING G O L IA T H , N0.38
abou ts u n k n o w n ; sale, L o n d o n , 1949)
R u b ens, p a in tin g (Pasadena, C aliforn ia, N orton
N o .5 7e; 190, 194, 196; fig. 145
Sim on F oun dation ) N o .38; 123, 126-128;
R ubens, Retreating Lioness, seen fro m the rear,
fig-86
d ra w in g (A m s te rd a m , R ijk sp ren te n k a b in et)
A n o n y m o u s, d ra w in g (w h erea b ou ts u n k n o w n ;
N o.5 7f; 1 9 0 ,1 9 4 .1 9 7 . 198; fig.149
sale, L o n d o n , 1951) N o .38, cop y 1 ; 126
R u b ens, Retreating Lioness, seen fro m the rear,
N .M u x e l, etch in g, N0.38, copy 2; 126; fig .8 j
d ra w in g (L o n d o n , B ritish M u seu m ) N o. 57g;
A n o n y m o u s, e n gra vin g, N o .38, co p y 3; 126
190, 194, 197, 198; f ig .148
R u b ens, Lion Standing, fa cin g left, d ra w in g DAVID ST R A N G L IN G A BEAR, N 0 .3 4

(W ash in gto n , D .C ., N atio n a l G a lle ry ) R u b ens, p a in tin g (N e w Y o rk , S. A .S a m u e ls

N o.57h ; 190, 194, 198-199; fig . 131 G a lle ry ) N o .34; 1 19—12.1, 122; jig-79
R u b ens, Lion in Repose, fa cin g right, d ra w in g A n o n y m o u s, p ain tin g (w h erea b o u ts u n k n o w n ;
(L on d on , B ritish M u seu m ) N o.57i; 190, 194, sale, A n tw e rp , 1979) N o .34, copy 1; 119
195, 199-2.00; jig-150 A n o n y m o u s, p a in tin g (G h en t, Mrs Y .D u frasn e ,
A n o n y m o u s, d ra w in g (V ien n a, A lb e rtin a ) 1979) N0.34, co p y 2; 119
N0.57L co p y i ; 199 A n o n y m o u s, p a in tin g (Jupille, B e lgiu m ,
A n o n y m o u s, d ra w in g (D a rm sta d t, Hessisches H .L e o n a rd , 1979), N o .34, copy 3; 119
L a n d e sm u se u m ) N o .57t, co p y 2; r99 A n o n y m o u s, d ra w in g (the figure o f D avid )
A n o n y m o u s, d ra w in g (ten lions and a dog) (C op en h ag en , Statens M useu m fo r K unst,
(V ien n a, A lb e rtin a ) N o .571', co py 3; 200 P rin tro o m ) N o.34, copy 4; 119; fig.Si

379
I N D E X I i : SUBJECTS

A n o n y m o u s, d ra w in g (head and fo rep aw s o f A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;

th e lion) (C o p en h ag en , Statens M u se u m fo r sale, L o n d o n , 1973) N o .16, co p y 2; 67
K u n st, P rin tro o m ) N0.34, co p y 5; 1 19; Jig .,32 A n o n y m o u s, d ra w in g (V ien n a, A lb e rtin a )
W .P a n n e e ls, en gra vin g, N o .34, co p y 6; N 0.16, co p y 3; 67
1 19-120 ;fig .8o A n o n y m o u s, d ra w in g (V este C o b u rg , K u n st­
sa m m lu n g e n ) N o. 16, co p y 4; 67
DAVID S T R A N G L IN G A B EAR , N0.35 A n o n y m o u s, p a in tin g (the g ro u p o f the w o m a n
R u b ens, p a in tin g (p re su m a b ly lo st; fo r m e r ly w ith th e tw o ch ild ren on ly) (Brescia,
R oyal P alace, M ad rid ) N o .35 ; 9 8 ,12 0 ,12 1-12 2 R. Sch reiber, 1963) N o. 16, co p y 5; 67
A n o n y m o u s, d ra w in g (the g ro u p o f the w o m a n
T H E M EETING OF D AV ID A N D ABIGAIL, N0.41 w ith the tw o ch ild ren o n ly) (A n tw erp ,
R u b en s, p a in tin g (M a lib u , C a lifo rn ia, J.P . G e tty
S te d e lijk P ren te n k a b in et) N 0.16, c o p y 6; 67
M u se u m ) N 0 .41; 132-134, 135, 137 ; fig s.00,
A n o n y m o u s, d ra w in g (the g ro u p o f th e w o m a n
94 w ith th e tw o ch ild ren on ly) (w h erea b o u ts
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
u n k n o w n ; sale, L o n d o n , 1971) N 0.16, co p y 7;
fo r m e r ly Strasb urg, D r C .W u rs te r, 1896)
67
N 0.41, copy i ; 132, 135; fig.93
A n o n y m o u s, d ra w in g (the a rm o u r o f Esau
A n o n y m o u s, p a in tin g (B ergu es-S t.W in ocq ,
o n ly) (C op en h ag en , Staten s M u se u m fo r
M u sée m u n icip al) N0.41, co p y 2; 132, 135;
K u n st, P rin tro o m ) N 0.16, co p y 8; 67
f ig -92 A n o n y m o u s, d ra w in g (the tw o oxen at th e
R u b ens, oil sk etch (N e w Y o rk , M rs R .J .H ein e -
r ig h t o f the pictu re) (C op en h ag en , Statens
m an n ) N o .4 ia ; 133, 134-136; Jig.91
M u se u m fo r K u n st, P rin tro o m ) N o .16,
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
co p y 9: 67
fo r m e r ly N ie n s d o rf bei L ü b e c k , S. B u chen au)
A n o n y m o u s, d ra w in g (the h ead o f a horse)
N o .4 ia , co p y i ; 134
(C op en h agen , Statens M u se u m fo r K u n st,
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
P rin tro o m ) N 0.16, copy 10; 67
sale, L o n d on , 1968) N o .4 ia , co p y 2; 134
R u b ens, o il sk etch (E d in b u rgh , N atio n a l
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
G a lle ry o f Scotland) N o .i6 a ; 66, 68, 6 9 -71;
H u n tin g to n W o o d s, M ich igan , E .L .J ay)
f ig -43
N o .4 ia , co py 3; 134
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
A n o n y m o u s, p a in tin g (partial co p y only)
fo r m e r ly H o n o lu lu , A c a d e m y o f Fine A rts)
(w h erea b o u ts u n k n o w n ; sale, L o n d o n , 1937)
N o .i6 a , co p y i ; 70
N o .4 ia , copy 4; 134 A n o n y m o u s, p a in tin g (D u n k irk , M u sée des
A n o n y m o u s, p a in tin g (L u x e m b u rg , J.Poos)
B eau x -A rts) N o .iö a , co p y 2; 70
N o .4 ia , co p y 5; 134
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
A .L o m m e lin , e n gra vin g, N o .4 ia , co p y 6;
sale, T h e H ag u e, 1942) N o .i6 a , co p y 3; 70
134-135, 138; fig - 9) A n o n y m o u s, p a in tin g (R om e, P rince C o lon n a)
A n o n y m o u s, tap estry, N o .4 ia , co p y 7 ; 135
N o .iö a , co p y 4; 70
P. d e B a lliu , e n gra vin g, N o .i6 a , co p y 5; 70
TH E M E ETIN G OF D AVID A N D ABIGAIL, N 0 .4 2

R u b ens, p ain tin g (D e tro it, In stitu te o f A rts)

E STH E R B E F O R E AH ASU ERU S, N 0 .5 3
N0.42; 13 3 ,13 6 -13 8 ; fig . 96
R u b en s, p a in tin g (w h erea b o u ts u n k n o w n ;
T H E R E C O N C IL IA T IO N OF ESAU A N D J A C O B , p r e s u m a b ly lost) N0.53 ; 16 7 -16 8 ,16 9
N0.X5 W .P a n n e e ls,e tc h in g , N o .5 3 .co p y 1; i 6 7 ; f i g . i i j
R u b ens, d ra w in g (B e rlin -D ah le m , S taatliche R .C o lin s, en gra vin g, N o .53, co p y 2; 167
M useen , K u p ferstich ka b in ett) N 0 .15 ; 65-67, P. S p ra yt, e n gra vin g, N0.53, co p y 3; 167

68, 7 1 ; fig -41 ?Rubens, oil sk e tch (w h erea b o u ts u n k n o w n ;

fo r m e r ly N e u w ie d , R h ein lan d -P falz,
t h e r e c o n c i l i a t i o n o f e s a u a n d j a c o b , G .H o b ra e ck , 1932) N o.53a; 168, 169-170;
N0.16 fig -11 «
R ubens, p a in tin g (Schleissheim , S taatsgalerie) A n o n y m o u s, p a in tin g (S to ck h o lm , N a tio n a l­
N o .16; 67-69, 7 1 ; fig.42 m u se u m ) N o.53a, co p y 1 ; 169
A n o n y m o u s, p a in tin g (M u id en, R ijk sm u seu m A n o n y m o u s, p a in tin g (w h erea b ou ts u n k n o w n ;
M u id erslo t) N 0.16, copy 1; 67 sale, L o n d o n , 1943) N o.53a, co p y 2; 169

380
 I NDMX Hi SUBJECTS

A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ; A , v a n D ie p en b ce ck , d ra w in g (Len in grad,

K n o e d le r & C o ., L o n d o n -N e w Y o rk , H e rm ita g e ) N o .54; 178, 17$: fig. 127
1937-1944) N o.53a; 169; fig.120 A n o n y m o u s, retou ch ed b y R ubens, d ra w in g
A n o n y m o u s, p a in tin g (P o m m e rsfe ld e n , (C a m b rid g e , M .Jatle) N o.54a; 178, 180;
Schloss W eissen stein ) N o.53a; 170; f i g . 1 1 9 fig -122
G ID E O N O V E R C O M IN G T HE MIDI AN ITES, N 0 . 2 5
R ubens, Head o f a Bearded M an, pain ting
A n o n y m o u s, p a in tin g (R aleigh, N o rth C a rolin a (w h erea b o u ts u n k n o w n ; fo r m e rly V erviers,
M u se u m o f A rt) N 0.25; 94-96; fig.f< > F .H o u ge t, 1949) N o .54b; 180-181 ; J ig .123
A n o n y m o u s, pain ting (w h erea b o u ts u n k n o w n ; JO B T O R M E N T E D BV D EM O N S AND ABUSED BY

fo r m e rly Paris, F. K le in b e rg e r, 1936) N o .25, HIS W I F E , N0.55

c o p y ; 94 R ubens, p a in tin g (fo rm e rlv Brussels, St N ich o­
H A G A R IN T H E W ILD E R N E SS, N o .I I las’s ch u rch ; d estroyed) N o .55; 176, 181-183,
R ubens, p a in tin g (Lon d on , D u lw ic h C o lle g e 184, 185, 186
P ictu re G a lle ry ) N 0 .11 ; 56-58; fig.20 L .V o rs te r m a n , e n gra vin g, N o .55, cop y; 181,
T . G a in sb orou gh , p a in tin g (w h erea b o u ts 182, 184, 186; Jig. 120
u n k n o w n ; fo r m e rly M arsh a ll C o lle ctio n , A . van D y ck , d ra w in g (Paris, L o u v re , C ab in et
1974) N 0 .11, copy 1; 56 des Dessins) N o .55; 182; fig. 128
A n o n y m o u s, p a in tin g (Scarsdale, N e w Y ork , E .D e la c ro ix , pain ting (Bayonne, M usée
Seena and A rn o ld D avis, 1981) N o .i 1, co p y 2; Bonnat) N o .55; 183
56 A n o n y m o u s, p a in tin g (Paris, L o u v re ) N 0.55;
F. D e R oy, e tch in g , N o .i 1, co p y 3', 56; jig.25 183
A n o n y m o u s, p a in tin g (M unich, A lt e P in a ko ­
TH E EX PU L SIO N OE H A G A R , N0.9
th ek ) N o. 55; 183
R ubens, p a in tin g (L en in grad, H erm itage)
A n o n y m o u s, p ain tin g (w h erea b o u ts u n k n o w n ;
N0.9; 51-53, 55; ji g .2 2
fo r m e rly F ra n k fu rt am M ain, G. M ü lle r,
TH E E X PU L S IO N OF H AGAR , No.IO
1927) N 0.55; 183
R ubens, p a in tin g (B aton H all, D u k e o f W e st­ A n o n y m o u s, p a in tin g (B crch e m -A n tw e rp ,
m in ster) N o. 10; 53-56 ; fig.2 j R .W e rn e r, 1973) N o .55; 183
(? ) TH E M EETING o r JA C O B A N D JO SE PH , N 0.I4 A n o n y m o u s, e n g ra v in g (A .S w e erts excudit)
? R u b ens, o il sk etch (Lausan n e, M . Jean Zan chi) N o. 55; 183
N o .14; 6 4-65 ; fig-44 A n o n y m o u s, e n g ra v in g (U .S., p .3, N o .19)
N 0.55; 183
TH E T R IP T Y C H OF JO B IN D IS T R E S S , N o s.54-56
R u b ens, Nude M an (J o b ) le a n in g b a c k , d ra w in g
R ubens, pain tings (fo rm e rly Brussels,
(S to ckh olm , N atio n a lm u se u m ) N o.55a; 182,
St N ich olas's ch u rch ; d estroyed) N o s.54-56;
170 -177, 178, 180, 181, 182, 184, 185, 180 183-184; fig. 130
R u b ens, A J 'o r m e n tin g D e m o n , d ra w in g (S tock­
JO B SEATED O N A D U N G H IL L BETW E E N HIS
h o lm , N ation alm u.seum ) N o.55b ; 182, 184,
WIFE A N D HIS T H R EE FRIENDS, N 0 .5 4
1 8 5 ;f i g . i j i
R u b ens, p a in tin g (fo rm e rly B russels,
JO B T O R M E N T E D BY D EM O N S AND ABUSED BY
St N ich o las’s ch u rch ; d estroyed) N o .54; 176,
177-179 , 180, 181
HIS W IFE, N0.56
?Rubens, p a in tin g (fo rm e rly in the ch u rch o f
J .L .K ra fft, en gra vin g, N o .54, co p y 1; 177, 180;
W e z e m a a l n ear L o u v ain ; d estroyed) N o .56;
fig . 12 1
182, 185-187
? N . van d er H orst, d ra w in g (A m sterd a m ,
A n o n y m o u s, en gra vin g, N o .56, co p y; 177, 185,
N . d e B o er F oun dation ) N o .54, co p y 2;
186; fig.132
177-178 , 180; fig.124
A n o n y m o u s, p ain tin g (?) after R ubens
G .S egh ers, p a in tin g (Prague, N atio n al G a lle ry )
(L ou vain , S ted elijk M u se u m V an d er K elen -
N0.54; 178, 179; f i g .1 2 3
M erten s) N o .56; 1S7; j i g . i j ;
?C .S aftleven , p a in tin g (A n tw e rp , M u se u m
M a ye r van den B ergh ) N 0.54; 17 8 ,17 9 TH E FINDING OF I HE PAGAN IREASURES A N D

A n o n ym o u s, p a in tin g (S ain t-O m er, C h u rc h J UDAS M A C C A B A E V S ’ s PR AYER FO R T H E DEAD,

N o tre -D a m e ) N o. 54; 178, 179 N0.67

G. de C ray er, p a in tin g (T ou lo u se, M usée des R u b ens, p a in tin g (N antes, M usée des Beaux-
B eau x-A rts) N 0.54; 17a; fig.120 A rts) N 0.67; 222-227; Jig s.177, 178

381
I N D E X II: SUBJECTS

A n o n y m o u s, p a in tin g (B an b u ry, N atio n al A .V o e t the Y o u n g e r, en gra vin g, N o .52, co p y;

T ru s t at U p to n H ouse) N o,67; 226 166; f ig .i 16
F .P re ch le r, e n g ra vin g , N o .52, co p y ; 166
JU D ITH B E H E A D IN G H O L O F E R N E S , N 0 .5 0
R u b ens, p a in tin g (w h erea b o u ts u n k n o w n ; L O T A N D HIS D A U G H T E R S , N0.7
p re s u m a b ly lost) N o .50; 106, 158-162, 164 R u b ens, p a in tin g (Schw erin , S taatliches
C .G a lle , en gra vin g, N o .50, co p y ; 123, 158; M u se u m ) N 0 .7; 44, 48-50; jig . 17
fig.109 A n o n y m o u s, p a in tin g (Seattle, W ash ., M .S elig)
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ; N 0.7, co p y i ; 48
sale, L o n d o n , 1977) N o. 50; 161 W . S w an e n b u rg, e n g ra v in g , N 0.7. c o p y 2 ; 48 ;
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ; fig . 18
sale, V ersailles, 1975) N o .50; 161 A n o n y m o u s, p rin t (D a re t excu d it) N o .7; 49
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ; A n o n y m o u s, p a in tin g (G öttin gen ,
fo r m e rly B asle, J. N e stel, 1898) N 0.50; 161 Prof. D r L o h m e y e r ; 1893) N 0 .7; 49
A n o n y m o u s, p a in tin g (Florence, M u seo
L O T A N D HIS D A U G H T E R S , N o .8
Stib b ert) N0.50; 161
R u b en s, p a in tin g (B iarritz, p riva te collection )
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
N o.8 ; 49, 50-51; fig . 19
sale, F loren ce, 1902) N o .50; 161
A n o n y m o u s, p a in tin g (A m ien s, M u sée de
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
Picardie) N o.8, co p y 1 ; 50
sale, L o n d on , 1956) N o .50; 161
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
fo r m e r ly P eym ein ad e-G rasse, France,
sale, N e w Y o rk , 1986) N o .50; 161
G .K a sp e r-A n se rm e t; 1954) N o.8, co p y 2; 50
F .R a go t, e n gra vin g, N o. 50; 161
W . d e L e e u w , en gra vin g, No.8, co p y 4; 50;
A n o n y m o u s, p a in tin g (C arp en tras, M u seu m )
fig.21
N0.50; 161
A n o n y m u s, p a in tin g (G en eva, J .P in get, 1968),
A n o n y m o u s, p a in tin g (M unich, p riva te
N o.8, co p y 31 50
co llection ; fo r m e rly Brussels, J. van A re n d )
?C. d e V o s, d eta il o f In terio r o f Rubens's House
N o .50; 106; i6 r
(S to ck h o lm , N a tio n a lm u se u m ) No.8, co p y 5;
A n o n y m o u s, tap estry, N0.50; 161
50; fig . 20
A n o n y m o u s, e n g ra v in g (Firens excud it) N o .50;
T H E FLIG H T OF L O T A N D HIS D A U G H TE R S
161
A n o n y m o u s, e n g ra v in g (M a rie tte excudit)
FR O M S O D O M , N0.5
R u b ens, p a in tin g (Sarasota, John and M ab le
N0.50; 161-162
R u b ens, d ra w in g (F ran k fu rt a m M ain, R in g lin g M u se u m o f A rt) N 0.5 ; 40 -4 4 ,4 6 ,4 7 ;

Städelsches K u n stin stitu t) No.50a ; 160, 50; f ig .9

162-163; fig , 110 A n o n y m o u s, p a in tin g (M ia m i Beach , Florida,
John a n d Johanna Bass C o lle ctio n ) N0.5,
(?) C .G a lle , re to u ch ed b y R u b en s, d ra w in g
(S to ck h o lm , N atio n a lm u se u m ) N o .so b ; 161, co p y i ; 40-41 ;f ig .io
J.Jordaens, p ain tin g (T o k yo , N ation al M u se u m
163, 164; f i g . l i t
o f W e ste rn A rt) N o .5, co p y 2; 4 1; fig . 12
IC . G a lle , re to u ch ed b y R u b ens, e n g ra v in g
L .V o rs te rm a n , e n g ra vin g , N 0.5, co p y 3; 4 1 ,4 7 ;
(Paris, B ib lio th è q u e N ation a le, C a b in e t des
Dessins) N0.50C; 161, 163-164; f ig .i 12 fig . 11
A . van D y ck , d ra w in g (Paris, L o u v re , C a b in e t
JUDITH W ITH THE HEAD OF H O L O F E R N E S ,
d es Dessins) N o .5; 43
N0.5I
A n o n y m o u s, p r in t (pu b . b y J .C . V isscher)
R u b ens, p a in tin g (B ru n sw ick, H e rz o g A n to n
N 0 .5; 43
U lrich -M u seu m ) N o .51; 164-166; f ig .i 13
L a n g o t, e n g ra vin g , N o .5; 43
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
J.-B. L a m b rech ts, p a in tin g (w h erea b ou ts
sale, B ern , 1983) N 0 .51, co p y 1 ; 164
u n k n o w n ) N o .5; 43
C .S ch ro e d e r, e n g ra vin g , N 0.51, co p y 2; 164
A n o n y m o u s, p a in tin g (B erlin , B od e-M u seu m )
JU D ITH PU T TIN G T H E H E A D OF H O L O F E R N E S N 0.5; 43
IN A SACK, N0.52 A n o n y m o u s, p a in tin g (H u m b e rto J. L o p ez,
?Rubens, p a in tin g (Florence, S o prin ten d en za C o ra l G ab les, Florida) N o .5; 43
p e r i B eni A rtistici e Storici p e r Ie Provin cie A n o n y m o u s, d ra w in g (the g ro u p o f L o t's tw o
di F irenze e Pistoia) N 0.52; 166-167; fig . 114 d au gh ters) (w h erea b o u ts u n k n o w n ;

382
 INDEX III SUBJECTS

fo r m e r ly G .B r a a m k a m p C o lle ctio n ) N o .5; fo r m e rly L e n zb u rg, S w itzerlan d , E.H ich)

43-44 N o. 19, co p y 2; 80
?A .W o lfa e rts, p ain tin g (S tockh olm , U n iversity
TH E EI.IGHT O F LOT AND HIS FAMILY FROM
C o llectio n ) No. 19, copy 3; 80
SODOM, N0.6
R u b en s, p a in tin g (Paris, L o u v re ) N0.6; 43, M OSES, A A R O N AND MIRIAM WII'H O T H E R

W O M E N CELEBR ATE THE (.RÓSSING OF T H E

44- 4 7 ; fig -13
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ; RED SEA, N o .2 0
fo r m e r ly J. A . B ren tan o) N0.6, co p y 1; 44 A n o n y m o u s, p ain tin g (left h alf: G en eva,
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ; J .P .François; rig h t h alf: G raz, A lte G a lerie
fo r m e r ly K arlsru h e, S taatlich e K u n sth alle) a m L a n d e sm u se u m Joan n eu m ) N o .20; 82-84
N0.6, c o p y 2 ; 44 figs.47, 4$
A n o n y m o u s, p ain tin g (w h e re a b o u ts u n k n o w n ; A n o n y m o u s, p a in tin g (K arlsruh e, Staatlich e
sale, A m s te rd a m , 1976) N o .6, co p y 3; 44-45 K u n sth alle) N o .20, copy 1; 83, 85 fig-49
A n o n ym o u s, p a in tin g (w h e re a b o u ts u n k n o w n ; A n o n y m o u s, p ain tin g (w h erea b o u ts u n k n o w n ;
sale, L o n d o n , 1949) N0.6, co p y 4; 45 sale, L o n d on , 1978) N o .20, copy 2; 83
A n o n y m o u s, p ain tin g (Brussels, V assilis
SA M SO N ASLEEP IN DF.I.II.Ait’ s LAP, N0.3I
A lla m a n is, 1970) N0.6, co p y 5; 45
R ubens, p a in tin g (Lon d on , N ation al G a lle ry )
A n o n y m o u s, p ain tin g (Sâo P au lo, B razil,
N o .31; 10 7-113, 114, i io, 118, 144; fig.72
A .H .D e Soucy) N0.6, co p y 6; 45
J .M ath am , en gra vin g, N o .31, cop y; io 8 ;f ig .7 j
?A ,W atteau , p ain tin g (w h e re a b o u ts u n kn o w n )
F. F rancken II, d etail o f 77te Five Senses (M un ich ,
N0.6, co p y 7 ; 45
A lte P in a koth ek) N 0.31, co p y; m ; jig.7 4
E. D e la cro ix , p a in tin g (Paris, L o u v re ) N0.6,
R u b ens, d ra w in g (A m ste rd a m , M rs L Q . van
co p y 8; 4 5 ; f i g . i S R egteren A lte n a ) N » .3 ia ; i n , 113 -114 , 116,
R .P .B o n in g to n , p a in tin g (w h erea b o u ts
118; f ig -75
u n k n o w n ; sale, L o n d on , 1937) N o .6; 40
R u b ens, oil sk etch (Cincinnati, O hio , C in cin n ati
F .L een h o ff, e n gra vin g, N 0.6; 46
A r t M useu m ) N o .j ib ; i n ; 113; 1 1 4 -11 5 ;
A n o n y m o u s, p a in tin g (copy o f a lost oil sk etch
b y R u bens) (w h erea b o u ts u n k n o w n ; sale,
fig -76
R eich en au , C o nstan ce, 1975) N o.öa ; 46,47-48 ; T H E B LIN D IN G OF SAM SON, N 0 .3 3
R ubens, oil sketch (Lu gan o, S w itze rlan d , B aron
f ig -14
Th yssen -B orn em isza) N o .33'. 1 17—119; fig .78
MEN A N D W O M E N A TTA CKED BY SERPENTS,
A n o n y m o u s, d ra w in g (Paris, L o u v re, C a b in e t
No.22 des Dessins) N o .33, co p y; 117
R ubens, d ra w in g (London, B ritish M u seu m )
SA M SO N B REA KING I'HE J AM S OP A L IO N ,
N o.22; 85-86, 88; fig .52
A n o n y m o u s, d ra w in g (M ilan , B iblioteca N 0 .2 6
A m b ro sia n a ) No.22, co p y ; 85 R u b ens, p a in tin g (M adrid, D u q u e d e H ern an i,
1977) N o .26; 96-99, 100, 106, 121 ;fig .6 o
moses, N0.21 A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
R u b ens, d ra w in g (w h e re a b o u ts u n k n o w n ; sale, fo r m e rly M un ich , D r A .W o lff, 1924) N o .26,
A m s te rd a m , 1987) N 0 .21; 84-85; fig .5 0 co p y i ; 96
A n o n y m o u s, p ain tin g (w h erea b o u ts u n k n o w n ;
TH E FIN DING OF M OSES, N0.18
sale, Los A n ge le s, 1982) N o .26, co p y 2; 9 6,10 1
R ubens, d ra w in g (F ran k fu rt a m M ain,
A n o n y m o u s, d ra w in g (Lon d on , British
S tädelsch es K u n stin stitu t) N 0 .18; 79-80;
M u seu m ) N o .26, copy 3 ; 96, 97
f ig -45
A n o n y m o u s, d ra w in g (Sam son ’s figure)
MOSES A D O P T E D BY P H A R A O H ’S D A U G H T E R , (C op en h ag en , Statens M u se u m fo r K u n st,
N 0.I9 P rin tro o m ) N o .26, co p y 4; 97
A n o n y m o u s, p a in tin g (G en eva, J. P. François) A n o n y m o u s, d ra w in g (S am son ’s head)
N o. 19; 80-82 ; fig - 4 6 (C op en h agen , Statens M u se u m fo r K u n st,
A n o n y m o u s, p a in tin g (w h e re a b o u ts u n k n o w n ; P rin tro o m ) N o .26, copy 5; 97
fo r m e r ly S tarn b e rg a .See, D r R. Paulus) A n o n y m o u s, d ra w in g (Lion) (C o p en h ag en ,
N 0.19, co p y i ; 80 Statens M u se u m fo r K unst, P rin tro o m )
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ; N o .26, co p y 6; 97

383
I N D E X I I: SUBJECTS

J.W .N ah J, lith o g ra p h , N o.26, co p y 7; 97 T H E D E F E A T OF SE N N A CH E R IB , N 0 . 4 7

R u b en s, oil sk etch (w h erea b o u ts u n k n o w n ; R u b ens, p a in tin g (M u n ich , A lte P in a k o th e k )

p r e s u m a b ly lost) N o.26a; 99-101 N0.47; 9 5 , 1 5 0 -1 5 4 ,1 5 5 ; f i g - m
A n o n y m o u s, p a in tin g (S to ck h o lm , N atio n a l­ A n o n y m o u s, p a in tin g (w h e re a b o u ts u n k n o w n ;
m u se u m ) N o.26 a, co p y i ; 99; fig -6 i sale, S tu ttg a rt, 1928) N0.47, co p y 1; 150
A n o n y m o u s, p a in tin g (M unich, W itte lsb a c h e r P .C .S o u tm a n , e n g ra v in g , N o.47, co p y 2; 150,
A u sgleich sfon ds) No.26a, co p y 2; 99 153, 156; fig -10 4
A n o n y m o u s, p a in tin g (fra gm en t) (Besançon, F .P ilo ty, e n g ra v in g , N o.47, co p y 3; 150
M u sée d ’A r t e t d ’A rc h é o lo g ie ) No.26a, ? P .C .S o u tm a n , d ra w in g (W ash in gton , D .C .,
co p y 3; 99 N atio n a l G a lle ry ) N o.47; 153; fig .1 0 ;
A n o n y m o u s, p a in tin g (A m sterd a m , A n o n y m o u s, e n g ra v in g (N .V issch er excud it)
D .H o o g e n d ijk , 1947) N o.26a, co p y 4; 99-100 N o.47; 153; fig.106
G .H o e t, d ra w in g (L eid en, K u n sth istorisch
T H E D E F E A T O F SE N N A CH E R IB , N0.48
In stitu u t d e r R ijk su n iversiteit) N o.aóa,
?P .C ,S o u tm a n , d ra w in g (V ien n a, A lb e rtin a )
co p y 5 ; too
N 0.48; 1 5 3 ,1 5 4 -1 5 6 ; f ig -107
F. van den W ijn g a e rd e , etch in g, N o.26a,
co p y 6; 100; fig . 62 T H E J U D G E M E N T OF S O L O M O N , N0.45
A .W a te r lo o s, m e d a l, N o.26a; 10 0,10 2 ;fig .6 j R u b en s, p a in tin g (M a d rid , P rad o) N 0.45 ;

A n o n y m o u s, d ra w in g (Paris, F on dation 142-145, 150; fig -io o

C u sto d ia , F rits L u g t C o llectio n ) N o.26a; 100; A n o n y m o u s, p a in tin g (V a d u z , L iech ten stein
C o llectio n ) N0.45, c o p y ; 14 3 ,15 0
f ig M
A n o n y m o u s, d ra w in g (Paris, F on dation R u b en s, A W oman Standing, d ra w in g (D a rm ­

C u stod ia, Frits L u g t C o lle ctio n ) N o.26a; 100, stadt, H essisches L a n d e sm u se u m ) N o.45a;

10 1-10 2; jig .6 ; 14 4 ,14 5 -14 6 ; f ig -99

T H E J U D G E M E N T OF S O L O M O N , N0.46
SA M SO N B R E A K IN G T H E JAWS OF A LION,
R u b ens, p a in tin g (fo rm e rly Brussels T o w n
N0.27
H a ll, p re s u m a b ly d estro yed ) N o. 46; 146-150
R u b en s, p a in tin g , o il sk etch o r d ra w in g
A n o n y m o u s, p a in tin g (C op en h ag en , Statens
(w h e re a b o u ts u n k n o w n ; p re s u m a b ly lost)
M u se u m fo r K u n st) N0.46, co p y 1 ; 146;
N 0.27; 101-102
fig -io t
A n o n y m o u s, d ra w in g (Paris, F on dation
B oetiu s a B o lsw e rt, e n g ra v in g , N o .46, co p y 2;
C u stod ia, F rits L u g t C o lle ctio n ) N o .27,
146; fig . 102
co p y 1; 1 0 0 ,10 1-10 2; fig .ó j
A n o n y m o u s, p a in tin g (w h e re a b o u ts u n k n o w n ;
E .Q u e llin u s , e tch in g , N0.27, c o p y 2; 102; fig-66
N e w Y o rk , S. R o se n b e rg G a lle ry , 1955)
A n o n y m o u s, ta p e s try (w h erea b o u ts u n k n o w n ;
N 0.46; 149
sale, L o n d o n , 1947) N0.27, co p y 3 ; 102
A n o n y m o u s, p a in tin g (w h e re a b o u ts u n k n o w n ;
SA M SO N B R E A K IN G T H E JAWS OF A LIO N , sale, Brussels, 1929) N o .46; 149
N0.28 A n o n y m o u s, p a in tin g (w h e re a b o u ts u n k n o w n ;
R u b en s, d ra w in g (A m s te rd a m , R ijk sp ren te n ­ sale, L o n d o n , 1975) N 0.46; 149
k ab in et) N 0.28; 10 3 -10 4 ,12 3 ; Jîg.69 A n o n y m o u s, p a in tin g (D en B u rg , T h e N e th e r­
lan ds, T o w n H a ll, 1961) N 0.46; 149
S A M S O N O V E R C O M IN G TW O PH ILISTINES,
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
N0.30 sale, Brussels, 1964) N0.46; 149
R u b ens, d ra w in g (A m s te rd a m , G e m ee n te - A n o n y m o u s, p a in tin g (w h e re a b o u ts u n k n o w n ;
M usea, F o d o r C o lle ctio n ) N o .30; 106-107; sale, F ra n k fu rt a m M ain , 1975) N 0.46; 149
fig- 71 A n o n y m o u s, tap estry, N 0.46; 149-150
P .V ie l, e n g ra v in g , N 0.46; 150
S A M S O N SL A Y IN G A PHILISTINE, N0.29
F .R a go t, en gra vin g, N 0.46; 150
R u b en s, d ra w in g (A m s te rd a m , G e m ee n te -
A n o n y m o u s, e n g ra v in g (J.C . V issch er excu d it)
M usea, F od or C o lle ctio n ) N0.29; 104-106,
N0.46; 150
107; jig.70
J.B .Jackson , e n g ra v in g , N0.46; 150
SAM SO N T A K E N BY T H E PHILISTINES, N 0 .3 2 V a n Som er, e n g ra vin g , N0.46; 150
R u b en s, oil sk e tch (C h icago, A r t Institute) A n o n y m o u s, e n g ra v in g (C .D a n ck e rts excud it)
N 0.32; n o , 1 1 5 - 1 1 7 , 1 1 8 ,1 2 3 ,1 2 4 ; Jîg.77 N 0.46; 150

38 4
 INDEX Ii: SUBJECTS

A n o n ym o u s, e n g ra v in g ( à P a r is c lie ç ll e c q n e t ) Q .M a rc x , en gra vin g, N o .o i, copy 6; 208, 214;

N0.46; 150 fig.161
A n o n y m o u s, e n g ra v in g ( V .S ., p.8, N o .59)
SU SANNA A N D T H E ELDERS, N0.62
N0.4Ó; 150
R ubens, p a in tin g (w h erea b o u ts u n k n o w n ;
A n o n y m o u s, en g ra vin g (à P aris c/ieç Chereau le
p re su m a b ly lost) N o .02; 210-214
jeune) N 0.46; 150
L .V o rs te r m a n , en gra vin g, N o .62, cop y; 140,
A n o n y m o u s, e n g ra v in g (P. van den Enden
2 10 -2 11, 217, 218; Jig ./62
excud it) N 0.46; 150
L. V o rste rm a n , d ra w in g (Lon d on , British
A n o n y m o u s, e n g ra v in g (V’.S., p.8, N0.62)
M u seu m ) N0.02; 211 ; |ig.i 6 ;
N o .46; 150
A n o n y m o u s, pain ting (Chicago, A rt Institute)
A n o n y m o u s, p ain tin g (A n tw e rp , private
N0.62; 212
collection ) N0.46; 150
A n o n y m o u s, pain ting (St Ltien n e, France,
A n o n y m o u s, p ain tin g (D etro it, M ichigan,
M usée d ’A rt et d ’H istoire) N0.62; 212
R evd . E .J.H ick e y , 1972) N0.4Ó; 150
A n o n y m o u s, p ain tin g (O rléan s, M usée) N0.62;
SU SANNA A N D T H E ELDERS, N0.58 212—213
R ubens, p a in tin g (R o m e, M useo e G a lleria A n o n y m o u s, pain ting (Innsbruck, F erd in an ­
Borghese) N0.58; 140, 200-202, 203, 205, d eu m ) N0.62; 213
206, 207, 209, 2 ir , 215, 216, 217, 2T9, 221; A n o n y m o u s, p a in tin g (T orrallin a, G astello)
f ig - if i N0.62; 213
A n o n y m o u s, pain ting ( ’ G en ova, Palazzo
SU SANNA A N D TH E ELDERS, N0.59
Reale) N0.62; 213
R u b ens, p a in tin g (M adrid, R eal A ca d e m ia
A n o n y m o u s, p a in tin g (Schalkhausen ü b e r
d e B ella s A rte s d e San Fernando) N o .59; 142,
A n sb a ch , W e st G erm an y, Prof. W .S ch n u g ,
202-204, 205, 207, 208-209, i n , 215. 216, 219;
1965) N0.62; 213
f ig - W A n o n y m o u s, p a in tin g (C op en h agen , A .P a sle r,
R u b ens, d ra w in g (M o n tp e llier, M u sée A tg e r,
1975) N0.62; 213
F acu lté d e M éd ecin e) N o.59a; 124, 204,
A n o n y m o u s, p a in tin g (A n tw erp , M r O p
205-20 6 ; f i g . i j 4
d e B eeck) N o.62; 213
SU SANNA A N D T H E ELDERS, N0.60 A n o n y m o u s, p ain tin g (Stockh olm , E m b a ssy o f
R ubens, p a in tin g (S to ck h o lm , N atio n a l­ Iran, H ossein B ozorgn ia, 1972) N o .62; 213
m u se u m ) N0.60; 140, 206-207, 215, 219; A n o n y m o u s, p ain tin g (R om e, M r G aspari
Jig-D 6 Bassi, 1968) N0.62; 213
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ; A n o n y m o u s, p a in tin g (Nice, R .L e v y , i960)
sale, B ern , 1978) N0.60, co p y 1; 206-207 N 0.62; 213
A n o n y m o u s, d ra w in g (Susanna) (M unich, A n o n y m o u s, p ain tin g (Lisbon, private co lle c ­
S taatlich e G raph isch e S a m m lu n g ) N0.60, tion) N0.62; 213
co p y 2: 207 A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
sale, A ach en , 1921) N0.62; 213
SU SAN N A A N D T H E ELDERS, N0.61
A n o n y m o u s, p ain tin g (w h erea b ou ts u n k n o w n ;
R ubens, p a in tin g (w h erea b o u ts u n k n o w n ;
sale, Brussels, 1986) N o .62; 213
p r e s u m a b ly lost) N0.61 ; 207-210
J.Facnion, w o o d cu t, N0.62; 213
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ;
I. van S o m er, en gra vin g, N0.62; 213
fo r m e r ly B erlin , P o tsd a m , Schlossgalerie,
J.S im on , e n g ra vin g , N o .62; 213
Sanssouci) N 0.61, co p y 1 ; 207-208, 214, 219;
A n o n y m o u s, en g ra vin g (C. de Jon gh c excud it)
f ig - i 57 N0.62; 213
A n o n y m o u s, p a in tin g (o n ly th e u p p e r h a lf o f
A n o n y m o u s, en g ra vin g (J.C . V issch er excud it)
th e com p o sitio n ) (N e w Y o rk , C .E .T .S tu a r t-
N0.62; 213
L in to n , 1945) N 0.61, co p y 2; 208
A n o n y m o u s, en g ra vin g (R. c a n d en H oeye
A . van D y c k , d ra w in g (Paris, L o u v re , C a b in e t
excud it) N0.62; 213
d es Dessins) N 0.61, co p y 3, 208; Jig.iyS
M .L a sn e, e n g ra vin g , N 0.61, co p y 4; 208, 214, S U SAN N A A N D TH E ELDERS, N0.63
W , fig - 1J 9 R u b ens, p a in tin g (w h erea b o u ts u n k n o w n ;
M .L a sn e, e n g ra vin g , N0.61, copy 5; 208, 212, p re s u m a b ly lost) N0.03; 214-215
214, 217; fig . 160 A n o n y m o u s, p ain tin g (S tockh olm , N ation al-

385
INDEX i i : subjects

m u se u m ) N0.63, co p y 1; 209, 214, 219; A n o n y m o u s, p a in tin g (w h e re a b o u ts u n k n o w n ;

fig -iU sale, A m s te rd a m , 1935) N 0.65; 220-221
P .P o n tiu s, e n g ra vin g , N0.63, co p y 2; 214, 217; A n o n y m o u s, p a in tin g (L en in grad , H e rm itage )
fig - 1<>5 N 0.65; 221
P.P o n tiu s, d ra w in g (Paris, L o u v re , C a b in e t des A n o n y m o u s, p a in tin g (W erfen im L an d
Dessins) N 0 .63; 214; fig.166 S a lzb u rg , A .E .H e r r m a n n , 1927) N 0.65; 221
A n o n y m o u s, p a in tin g (M exico C ity , M u seo de
SU S A N N A A N D T H E ELDER S, N0.64
San C a rlo s) N 0.65; 221
R u b ens, p a in tin g (w h e re a b o u ts u n k n o w n ;
A n o n ym o u s, p a in tin g (w h e re a b o u ts u n k n o w n ;
p re s u m a b ly lost) N0.64; 215-218
sale, L o n d o n , 1963) N o .65; 221
A n o n y m o u s, p a in tin g (L en in grad , H e rm itage )
A n o n y m o u s, p a in tin g (Susanna on ly) (w h e re ­
N0.64, co p y 1; 2 15 -2 1 9 ;/ g .i6 7
ab ou ts u n k n o w n ; sale, L o n d o n , 1952) N0.65;
A n o n y m o u s, p a in tin g (T u rin , G a lle ria Sabauda)
221
N0.64, co p y 2; 2 15-216
P .S p ru y t, e tch in g (large size) N 0.65; 221 ; f ig . ij2
A n o n y m o u s, p a in tin g (w h e re a b o u ts u n k n o w n ;
P .S p ru y t, e tch in g (sm a ll size) N 0.65; 221
sale, M u n ich , 1909) N0.64, co p y 3; 216
A n o n y m o u s, p a in tin g (Paris, M essrs C a ille u x ) T H E S TO N IN G O F T H E A CCUSERS OF SU SAN N A ,

N0.64, co p y 4; 216 N0.66

C .J e g h er, w o o d c u t, N0.64, co p y 5; 216; fig. 168 A n o n y m o u s, p a in tin g (B e lg iu m , p riv a te
A n o n y m o u s, d ra w in g (Paris, L o u v re , C a b in e t collection ) N0.66; 221-222; fig . 173
d es Dessins) N0.64; 217; fig . 169 A n o n y m o u s, d ra w in g (N e w Y o rk , M . N . W e in e r
G a lle ry , 1985) N0.66, c o p y ; 221
SU SAN N A A N D T H E ELD ER S, N0.65
R u b ens, p a in tin g (M unich, A lt e P in a k o th ek ) T H E T E M P T A T IO N OF M A N , No.2
N 0.65; 142, 217, 218 -221; f ig s .ijo , 173 R ubens, d ra w in g (L on d on , C o u r ta u ld In stitu te
A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ; o f A rt, Princes G a te C o lle ctio n ) N 0 .2; 33,
sale, Paris, 1987) N0.65, co p y 1 ; 218 34- 35. 37 ; f ig -3
F .P ilo ty , lith o g ra p h , N0.65, co p y 2; 218
T H E T E M P T A T IO N O F M A N , N0.3
A n o n y m o u s, p a in tin g (A ix-en -P rovence,
R ubens, p a in tin g (A n tw e rp , R u b enshuis) N o .3 ;
M u sée G ran et) N 0.65; 220
35- 37 ; fig-6
A n o n y m o u s, p a in tin g (N e w Y o rk , M e tr o p o ­
litan M u se u m o f A rt) N 0.65; 220; Jig. 171 B U R Y I N G T H E S L A I N J E W N0.49
T O B IT

A n o n y m o u s, p a in tin g (w h erea b o u ts u n k n o w n ; Rubens, drawing (Farnham, W. Burchard)

fo r m e r ly A n tw e r p , M . Rooses) N 0.65; 220 N0.49; 156-158; fig . 108

386
Index III: Other Works by Rubens mentioned in the Text
T h e fo llo w in g abb reviation s are used th ro u g h o u t the in d ex :
D — drawing; E — engraving; P — painting; S— sketch; T — tap estry.

O LD TESTAM EN T V irg o Lactans P (B erlin , P otsd am , Sanssouci) 209

The Adoration o f the Shepherds P (A n tw erp ,
Adam and Eve in Paradise P (T h e H ague, St P a u l’s C h u rch ) 112
M au ritsh u is) 199 The Adoration o f the Shepherds P (F erm o, M useo
A braham ’s Sacrifice o f Isaac P (destroyed ; fo r m e rly C ivico) 89, n o
A n tw e rp , Jesu it C h u rch ) 59 Studies f o r The Adoration o f the Shepherds D
The M eeting o f Abraham and M elchizedek P (A m ste rd a m , G em een te-M u sea, Fodor
(d estro yed ; fo r m e rly A n tw e rp , Jesuit C h u rch ) C o llectio n ) 1 1 2 - 1 13
74 The Adoration o f the M agi P (A n tw erp , M u seu m
The Meeting o f Abraham and M elchizedek T v o o r Schone K unsten) 120
(M adrid, C o n v e n t o f th e D escalzas Reales) 69, The Adoration o f the M agi P (M adrid, Prado) 74,
74 n o , 116, 138, 144
Moses Instructing the Israelites in the Gathering o f The Adoration o f the M agi P (M alines, St J o h n ’s
M anna D (Paris, L o u v re , C a b in e t des Dessins) C h u rch ) 184
83 The Adoration o f the M agi S (G ron in gen , M useu m )
The Gathering o f the M anna T (M adrid, C o n v e n t tio , 116
o f th e D escalzas R eales) 85 The M assacre o f the Innocents P (Brussels, M usées
D avid Slaying Goliath P (d estro yed ; fo r m e rly ro y a u x des B eau x-A rts) 124
A n tw e rp , Jesuit C h u rch ) 1 2 5 ,12 7 The Rest on the Flight into Egypt P (M adrid, Prado)
D avid Slaying Goliath S (Lon d on , C o u rta u ld 81
Institute o f A r t , Princes G a te C o lle ctio n ) 125 The Return fro m the Flight into Egypt P (N e w Y o rk ,
K ing D avid Playing the H a rp T (M adrid, C o n v e n t M etro p o lita n M u seu m ) 1 1 r
o f th e D escalzas Reales) 130 The Return fro m the Flight into Egypt E (L. V o rste r­
Solomon and the Queen o f Sheba P (destroyed ; m an ) 48
fo r m e r ly A n tw e r p , Jesuit C h u rch ) 168 Salome with the Head o f John the Baptist E
Esther Before Ahasuerus S (Lon d on , C o u rta u ld (W .P an n eels) 165, Jig- t i f
In stitu te o f A r t, Princes G a te C o lle ctio n ) 169 The M iraculous D raught o f Fishes P (M alines,
Esther Before Ahasuerus S (V ien n a, A k a d e m ie d er O u r-L ad y-across-th e-D yle C h u rch ) 73, 75
b ild e n d e n K ü n ste) 169 The Woman Taken in A dultery P (Brussels, M usées
Esther Before Ahasuerus P (destroyed ; fo rm e rly ro y a u x des B eau x-A rts) 144
A n tw e rp , Jesu it C h u rch ) 168, 169, 170 Jesus in the House o f Simon the Pharisee P
Elijah and the Angel T (M adrid, C o n v e n t o f the (L en in grad, H e rm itage ) 47
D escalzas Reales) 85 The Transfiguration P (N ancy, M usée des B eaux-
Jesuit Church C eiling P (destroyed ; fo r m e rly A rts) 144
A n tw e rp , Jesu it C h u rch ) 34, 35, 59, 74, 125, 127, C hrist Scourged P (A n tw e rp , St P a u l’s C h u rch ) 127
168, 169 C h rist Scourged S (G h en t, M u se u m v o o r Schone
The Eucharist Series T (M adrid, C o n v e n t o f the K unsten) 128
D escalzas R eales) 69, 74, 85, 130 C h rist Crow ned with Thorns P (Grasse, H ospital)
144
The R aising o f the Cross P (A n tw erp , C a th ed ra l)
NEW TESTAM EN T
49, 86, 89, 144, 160
The Education o f the V irg in P (destroyed ; fo r m e rly The R aising o f the Cross P (destroyed ; fo r m e rly
Brussels, c h u rch o f th e C a k e d C a rm e lite s) 177 A n tw e rp , Jesuit C h u rch ) 59
The Annunciation P (V ien n a, K unsthistorisches C h rist on the Cross ( ‘ Coup de lance’) P (A n tw erp ,
M u seu m ) 160 M u se u m v o o r Schone K unsten) 1 11
The H oly Fam ily P (A n tw erp , M u seu m ) 193 C h rist on the Cross P (fo rm e rly A n tw e rp ,
The H oly Fam ily P (Florence, P a lazzo Pitti) 81 St W a lb u rg a C h u rch ) 89

387
I N D E X I I I : O T H E R W O R K S BY R U B E N S

Study f o r the Figure o f C hrist on the Cross D St Jerome in the W ilderness P (D resd en , G e m ä ld e ­
(L o n d on , B ritish M u seu m ) 62 g a lerie) 194
The Descent fro m the Cross P (A n tw e rp , C a th ed ra l) The M artyrdom o f St Lawrence P (Schleissheim ,
79. m Schloss) 1 8 2 ,184
The Entombment P (R o m e, M useo e G a lleria St M atthew P (M adrid, P rad o) 144
B orghese) 202 St M ichael S trikin g Dow n the Rebellious Angels P
The Entombment D (A m s te r d a m , R ijk sp ren te n ­ (C astagn ola, L u g a n o , B a ro n Th yssen -B orn e-
k ab in et) 123 m isza C o lle ctio n ) 185
C h rist and the D isciples at Emmaus P (Paris, St N orbert Overcoming Tanchelm S (A tla n ta , G a.,
St E ustache) 49 D r G .B a e r) 125
C h rist and the Disciples at Emmaus E (W .S w a n en - The Conversion o f St Paul P (L on d on , C o u rta u ld
b u rg) 49 ,160 Institu te o f A r t, Princes G a te C o lle ctio n ) 152
Doubting Thomas P (A n tw e rp , M u se u m v o o r The Beheading o f St Paul D (L on d on , B ritish
Schone K u n sten ) n i M u seu m ) 8 6 ,14 4
The Ascent o f Souls fro m Purgatory P (T ou rn ai, St Stephen Triptych P (V alen cien n es, M u sée des
C a th ed ra l) 224, 225, 226 B eau x -A rts) 157
The Assumption o f the V irg in P (A n tw erp , The M artyrdom o f St Stephen P (V alen cien nes,
C a th ed ra l) 157 M u sée des B eau x-A rts) 222; f i g . i j 4
The Assumption o f the V irg in P (A u gsb u rg, The Entombment o f St Stephen P (V alen cien nes,
C h u rc h o f th e H o ly Cross) 157 M u sée des B eau x-A rts) 157
C h rist w ith the Penitent Sinners P (M un ich , A lte The M ira cle o f St W a lburga P (fo rm e rly A n tw e rp ,
P in a k o th ek ) 93 St W a lb u rg a C h u rch ) 89
The M adonna A dored by Penitents and Saints P
M YTH OLOGY
(Kassel, S taatlich e G e m ä ld e g a le rie ) 131
The Gonzaga Fam ily A doring the Holy T rin ity P Achilles among the Daughters o f Lycomedes P
(M an tu a, P a la z z o D u ca le) 144, 147 (M adrid, Prado) 81
The Fall o f the Damned D (T h e H agu e, Androm eda P (B e rlin -D ah le m , Staatlich e M useen)
C .P . v an E e gh en C o lle ctio n ) 185 93
The Last Judgem ent P (destroyed ; fo r m e rly The Death o f A rg u s P (C o lo g n e, W allraf-R ich a rtz-
B russels, T o w n H all) 148 M u seu m ) 39
The F o ur Evangelists P (B erlin, P o tsd a m , Sanssouci) The Daughters o f Cecrops F ind ing the Child
60 Erichthonius P (V a d u z, P rince L iech ten stein
Jesuit Church C eiling P (d estro yed ; fo r m e rly C o llectio n ) 217
A n tw e rp , Jesu it C h u rch ) 34, 35, 59 Cim on and Iphigenia P (V ien n a, K u n sthistorisches
M u seu m ) 204
Deucalion and P yrrh a P (w h e re a b o u ts u n k n o w n ;
S A IN T S
p r e s u m a b ly lost) 222
The M ira cles o f St Benedict p (Brussels, M usées Deucalion and P yrrh a S (M a d rid , Prado) 222
ro y a u x des B eau x -A rts) 76 D iana and Actaeon P (R o tte rd a m , M u se u m
The M ystic M a rria g e o f St Catherine P (T o led o, B oym an s-van B eu n in gen ) 139, 204
O h io , T h e T o le d o M u se u m o f A rt) 81 Studies f o r D iana and her Nym phs S urprised at the
The Abduction o f St Catherine P (fo rm e rly A n tw e rp , Bath, Hercules Tearing O ff the Shirt o f Nessus, and
St W a lb u rg a C h u rch ) 89 D ejan ira and Nym phs D (Paris, L o u v re , C a b in e t
The M artyrdom o f St Catherine o f A lexandria P des Dessins) 93
(L ille, M u sée d es B eau x -A rts) 144 The Death o f D ido P (Paris, L o u v re ) 142
St Christopher and the H erm it P (A n tw erp , Hercules and the H yd ra S (L on d on , C o u rta u ld
C a th ed ra l) 79 In stitu te o f A r t, P rinces G a te C o lle ctio n ) 124
Two Studies fo r St Christopher D (L on d on , Ju p ite r and Callisto P (K assel, Staatlich e G e m ä ld e ­
B ritish M u se u m ) 123 galerie) 119
St G regory the Great Surrounded by other Saints D M a rs and Rhea Silvia P (V a d u z, P rince L iech te n ­
(F arn h am , W . B u rch ard C o lle ctio n ) 157 stein C o llectio n ) 142
St G regory the Great Surrounded by other Saints P Meleager Presenting the Head o f the Calydonian
(G ren o b le, M u sée des B eau x-A rts) 157 Boar to Atalanta D (B e rlin -D ah le m , Staatlich e
The Ecstasy o f St Helena P (Grasse, H ospital) 147 M u seen , P rin tro o m ) 67

388
 INDEX II I : OTHER W O R K S BY R U B E N S

Neptune and Am phitrite P (d estro yed ; fo r m e rly H U N T IN G S C E N E S

B erlin , K aiser-F riedrich -M useu m ) 193
Satyr Sleeping o ff a D rinking-bout P (Vienna, Boar H u n t P (M arseilles, M usée des B eau x-A rts)
A k a d e m ie ) 51 102

A Silenus Surprised by the W ater-Nymph Aegie D Hippopotam us and Crocodile Hunt p (M un ich, A lte
(W in d sor C a stle , co llectio n o f H e r M aje sty th e P in a k o th e k ) 102

Q u ee n o f E n gla n d ) 51 Lion H unt P (L on d on , N ation al G a lle ry ) 153

Vent«, Bacchus and Ceres P (Kassel, Staatliche Lion H un t P (d estro y ed ; fo r m e rly Bord eau x,
G e m ä ld e g a le rie ) 219 M u se u m ) 102

Venus Chilled P (A n tw e rp , M u se u m v o o r Schone Lion and Leopard Hunt P (D resden, G e m ä ld e ­

K un sten ) 219 g a le rie ) 153
Venus Suckling C upid s E (C. G a lle ) 51 Tiger, Lion and Leopard Hunt P (Rennes, M usée des
The Decoration o f the Torre de la Parada P 124, B eau x-A rts) 86, 102
222
P O R T R A IT S
H IS T O R Y
The Gonçaga Fam ily A doring the Holy T rin ity P
The Justice o f Cambyses P (destroyed ; fo r m e rly (M an tu a, P a lazzo D u cale) 144, 147

Brussels, T o w n H all) 147, 148 Rubens and Hélène Fourment W alking in their
The Justice o f Cambyses E (R. E yn hou d ts) 147 Garden P (M u n ich , A lte P in akoth ek) 204
The Conquest o f Tu n is by Charles V P (Berlin- P ortrait o f a General with Two Attendants P
D a h le m , Staatlich e M useen) 92 (A lth o rp H ouse, N o rth am p to n sh ire , Harl
The Em peror Constantine on his Death-bed S (Paris, Spencer) 144
co llectio n R .K üss) 142 P ortrait o f a Geographer P (N ew M>rk, M e tro p o li­
The Decius M us Series 95, 153, 225 tan M u se u m ) 37
Decius M u s Relating his Dream P (V a d u z, Prince
L iech ten stein C o lle ctio n ) 95 B O O K IL L U S T R A T IO N S A N D
The Death o f D ecius M u s P (V a d u z, Prince T IT L E -P A G E S
L iech ten stein C o llection ) 153
The M eeting o f Ferdinand, King o f H ungary, and the M . Barberini, Poemata E 100
Cardinal-Infante Ferdinand P (V ien n a, Kunst- Six Scenes/rom the New Testament D (N e w Y o rk ,
historisches M u se u m ) 69, 133 P ie rp o n t M o rga n L ibrary) 34
The Trium ph o f the Cardinal-Infante Ferdinand P
( Pompa Introitus Ferd ina n d i) 62 S T U D IE S
The H enry I V Series 92, 225
The M a rria g e o f H en ry I V and M a ria de’ M edici P Study f o r a Flying Angel D (Lon don , V icto ria and
(Paris, L o u v re ) 188, 225 A lb e r t M u seu m ) 00, 62
The E n try o f H enry I V into Paris P (Florence, Studies o f a Reclining Hercules and a R iv er God D
U ffizi) 225 (M ilan , B ib lioteca A m b ro sia n a ) 51
H en ry I V Subjugating the City o f Paris S (Berlin- Tw o Studies o f a Victory D (D a rm sta d t, Hessisches
D a h le m , Staatlich e M useen) 92 L a n d e sm u se u m ) 146
The Rape o f Lucretia P (destroyed ; fo r m e rly Study o f a Kneeling Nude M an, seen j'rom behind,
B e rlin , P o tsd a m , Sanssouci) 219 setting down a Heavy Chest D (Paris, L o u v re )
The M a ria de’ M ed ici Series P (Paris, Lo u vre) 74
188 Study o f a Kneeling Nude M an, seen pa rtly fro m
The Birth o f M a ria de’ M edici P (Paris, L o u vre) behind, setting down a Heavy Load D (R o tte rd am ,
B o ym an s-van B eu n in gen M u seu m ) 74
51
Pythagoras w ith Three Pupils P (L o n d on , B u c k in g ­ Study o f a M a n Bending Forw ards D (T h e H ague,
h a m Palace) 193 S. de C le rc q C o lle ctio n ) 157
Gains M ucius Scaevola before Porsenna D (B erlin- Study o f a Reclining M ale Nude D (Paris, L o u v re ,
D a h le m , S taatlich e M useen , P rin tro o m ) 66 C a b in e t des Dessins) 102
The Death o f Seneca P (M un ich, A lte P in a k o th ek ) Studies o f a G roup o f Three Men Standing, and a
144 Young Woman in A m o u r Kneeling D (Berlin-
Thom yris and C yru s P (Paris, L o u v re ) 167 D a h le m , Staatlich e M useen , P rin troom ) 140

389
I N D E X I I I : O T H E R W O R K S BY R U B E N S

Study o f the Head o f a Bearded M a n P (R om e, The Judgement o f Solomon, a fte r R a p h ae l D

G a lle ria N azio n ale d ’A r te A n tica) 204 (B e rlin -D ah le m , Staatlich e M u seen , P rin t­
Study o f a Female Nude (Psyche) D (W ind sor ro o m ) 144
C a stle , co llectio n o f H e r M a je sty the Q u ee n Two Fettered Captives, after S alvia ti D (A n gers,
o f E n glan d ) 62 M u sée Pincé) 92
Study o f a Young W om an Crouching turned to the Abraham and Melchi^edek and F o u r Other Figures,
right, seen p a rtly fro m behind D (V ien n a, after S tim m e r D (P rivate co llectio n ; fo r m e rly
A lb e rtin a ) 81 C . F airfax M u rra y C o lle ctio n ) 73
Study o f a Lion Asleep, facing right D (w h erea b o u ts Job's W ife Scolding, a fte r S tim m e r D (Private
u n k n o w n ; fo r m e rly M rs C .M u rra y C o llectio n ) co llectio n ; fo r m e r ly C .F a irfa x M u rray) 186
19 1; f ig -139 Samson C a rry in g the Gates o f Gaça, after S tim m e r
D (A n tw e rp , p riv a te collection ) 53
C O P IE S A N D A D A P T A T IO N S D iana and Actaeon, a fte r T itia n P (lost; fo r m e rly
in R u b e n s’s collection ) 141, 142
The Belvedere Torso, after a n tiq u e scu lp tu re D The Sacrifice o f Isaac, a fte r T itia n D (V ien n a,
(A n tw e r p , R ubenshuis) n o , 125 A lb e rtin a ) 40
The Farnese Hercules, after a n tiq u e scu lp tu re D The Temptation o f M an, a fte r T itia n P (M adrid,
(L on d on , B ritish M u se u m ) n o Prado) 37
Tw o Variants o f a Youth Attending to his Foot, after
a n tiq u e scu lp tu re D (Lon d on , B ritish M u seu m )
ALLEGORY
202
Pantheress, a fte r a P adu an b ro n ze D (Berlin- Trium phant Rome S (T h e H agu e, M au ritsh u is) 138
D a h le m , S taatlich e M u seen , P rin tro o m ) 196, The C row ning o f the Victor P (K assel, S taatlich e
I97\fg-146 G e m ä ld e g a le rie ) 144, 145
Pantheress, after a P adu an b ro n ze D (Lon d on ,
V icto ria and A lb e r t M u seu m ) 196, fg .1 4 7
GENRE
A G roup o f Figures, a fte r E lsh e im e r's Stoning o f
St Stephen D (L on d o n , B ritish M u se u m ) 112 The Garden o f Love P (M adrid, P rad o) 58, 93
The Trium ph o f Scipio, after G iu lio R o m an o D The Garden o f Love P (W ad d esd on M an o r, Jam es
(Paris, L o u v re , C a b in e t des Dessins) 227 A . d e R oth sch ild C o lle ctio n ) 81
The Battle o f A ng h ia ri, after L e o n a rd o D (Paris, Old W oman w ith a Coal-Pan P (D resd en , G e m ä ld e ­
L o u v re , C a b in e t des Dessins) 154 ga le rie ) 165
Tw o Corslet-Bearers, a fte r M an te gn a D (Paris,
L o u v re , C a b in e t d es Dessins) 226-227
M IS C E L L A N E O U S SU BJE CTS
Three Prisoners o f Caesar, a fte r M an te gn a D
(B oston, M ass., Isab ella S te w a rt G a rd n e r Angels M a kin g M u sic P (B erlin , P o tsd a m ,
M u se u m ) 226 Sanssouci) 64
Rom an Trium ph, after M an tegn a P (London, Angels M a kin g M u sic E (a ttrib u te d to C . Schut) 64
N atio n a l G a lle ry ) 227 Angels at M usic P (V a d u z, P rince L iech ten stein
Night, a fte r M ich e la n ge lo D (Paris, F on dation C o lle ctio n ) 144
C u sto d ia , Frits L u g t C o llection ) 110 The D isputd o f the Fathers o f the Church P (A n tw erp ,
Ulysses Meeting the Shade o f Tiresias in Hades, after St P a u l’s C h u rch ) 160
P rim a ticcio D (W eim a r, Sch lossm u seum ) 226 The Tree o f Jesse D (Paris, L o u v re , C a b in e t des
The Battle o f Constantine, a fte r R aph ael D (Paris, Dessins) 64
L o u v re , C a b in e t des Dessins) 154 The Decoration o f the Torre de la Parada P 8 1,1 2 4

390
Index IV: Names and Places
T h is in d ex lists n am e s o f artists, auth ors, collectors, ow n ers,
h istorical persons and an tiq u e m o d e ls. W o rk s o f a rt are in clu d ed ;
b u t, in o rd e r to avoid d u p licatio n , n o referen ce is m ad e to w o rk s
b y R u bens and his assistants or to the copies after the w ork s.

A a ch en , H ans v o n 153 P lan tin -M o retu s M u seu m 100, 217

A d o lp h u s F red erick, First D u k e o f C a m b rid g e Pompa Introitus Ferd in a n Ji 01
61 R o ck o x H ouse 107, 111
A g a r, W e lb o re E llis 53, 132 R ubenshuis 35, 78
Agnew 40 St L u k e ’s g u ild 209, 212
A ix-en -P roven ce, M usée G ra n e t 220 S ted elijk P ren te n k a b in et 51
A lb e r t, A rc h d u k e 153, 172, 173, 174, 173, 176 A rc, Joan o f 140
A lk m a a r 209 A re n b e rg , Prince A u g u ste d ’ 71
A lta m ir a , C o n d e 98, 121, 122 A rg o u tin sk y -D o lg o ro u k o ff, Prince W . 179
A m ste rd a m A steriu s 219
F od or M u se u m 10 5 ,1 1 2 A tg e r, X avier 124, 205
M rs I.Q . v an R e gte re n A lte n a i n , 114, 118 A u b e rt, M . 91
N . de B oer F ou n dation 180 A u g sb u rg , C h u rch o f the H oly Cross 157
R ijk sm u seu m 142 A u gu stijn s-G o e d le ve n , M r and M rs J. 191
R ijk sp ren te n k a b in et too, 123,190, 194, 197, A u gu stu s III, E le cto r o f Saxony and K in g o f
198 Polan d 140
A n d e rso n 80 A u tu n , H on oriu s o f 158
A n d erso n , A r th u r 169
A n ge rste in , W illia m 80
A n tiq u ity 62 B a eillieu r, C o rn elis de 12K
The Battle o f the Amazones (sarcophagus), B aer, D r G e o rg e 125
V atican , B e lv e d e re 152 B aert 187
The Venus ofD oidalses (The Crouching Venus) B ale, C . S. 101
(sculpture), V atica n 219 B alen, H e n d rik van 128
The Labours o f Hercules (sarcophagus), R om e, B an b u ry, N ation al T ru st at U p ton H ouse 226
V illa B o rg h ese 103 B an d in elli, Baccio
Spinario (scu lptu re), R o m e, P a lazzo dei The Massacre o f the Innocents (en g rav in g b y
C o n serva to ri 2 0 1 ,2 0 2 ,2 1 1 M a rc o D e n te de R avenna) 39
Victoria Sacrificing a Bull (b ron ze), Lo n d o n , Study o f Nudes (draw in g), Floren ce, Llffizi 39
V ictoria and A lb e r t M u se u m 103 B arb erin i, (Poemata), M alle o 100
A n to n U lrich , D u k e 164 B arn ard , John 162, J98
A n tw e r p B artas, D u 33
C h u rch es and C o n v e n ts Bates, W illia m 192
C a th e d ra l 89, n r , 144, 15 7, 160 B a u d e w ijn s 172, 173
Jesuits (St C h a rle s B o rrom eo ) 34, 35, 59, 74, B ayeu 142
125, 127, 168, 169 B ayo nn e, M usée B on n at 183
R ecollects in B azin ière, M arq u ise d e N an cré,
St B e rn a rd ’s A b b e y 167 n ée B ertra n d d e la 220
St M ich a els’s A b b e y 126 B earsted , V isco u n t 227
St P a u l's 1 1 3 ,1 2 7 ,1 6 0 B eau jon , d e 70
St W a lb u rg a 's 86, 89, 160 B eck erath , A d o lp h von 138
‘H uis v a n Span ien ’ 145 B ecucci 166
Jesuit C o n g re g a tio n 191 B eleth , Jean 158
M u se u m M ay e r van d en B e rgh 178 B e llin gh a m -S m ith 84
M u se u m v o o r Schone K u n sten 126, 193, 219 B ello ri, P. 172, 173, 175, 170

391
INDEX IV. NAMES AND PLACES

Belvedere Torso n o , 125 Kram eram t 149

B en ed ek , M rs Ju lie v o n 82 K u n srh alle 188
B e rg e r, Jacques 177 B ren tan o, Josephus A u gu stin u s 44
B ergh , M . van d en 170 B ro w n , John N ich olas 189
B ergu es-S t.W in o cq 135 B ru e g h e l, Jan I 37, 191
B e rlin -D a h lem Adam and Eve in Paradise, T h e H ag u e, M au rits-
K ö n iglich e B ib lio th e k 65 huis 199
S taatlich e M useen , G e m ä ld e g a le rie 92, 93, The Anim als Entering Noah’s A rk , Lo n d on ,
X07 W e llin g to n M u se u m 104, 199
S taatlich e M useen , K u p ferstich k a b in e tt 141, The Anim als Entering Noah’s A rk , U .S .A .,
196, 197, 207 p riv a te collection 190, 199
B esn erd , A lb e r t 38, 115 The Five Senses, M ad rid , P rad o 153, 190
B eu n in g en , D . G . v an 122 B ru ges, G ro en in gh e M u se u m 69
B e ve re , J.B .J. v an 134 B ru n sw ick , H e rz o g A n to n U lrich -M u se u m 59,
Biblia Pauperum 59 164, 166
B ier, H e rb e rt N . 194 B russels 170, 171. 172, 174
B iesu m , Q u irijn van 87 B ro th e rh o o d o f th e M usicians (St Job) 172,
B irtsch ansky, L. 90 173, 1 7 4 .1 7 5 , 1 7 6 ,1 7 7
B lo m m a e rt 182 C a k e d C a rm e lite s’s C h u rch 177
B lo o te lin g h , A . 189 M usées ro ya u x des B eau x -A rts 124, 144
B o eck h o rst, Jan 6 9 ,1 3 0 .1 3 1 .1 5 0 R ijk sa rch ief 177
Esther before Ahasuerus, C o u rtra i, M rs M .S . R o y a l L ib ra ry 40, i o i, 171
168 St N ich olas’s C h u rch 1 7 0 ,1 7 1 , 172, 173, 174.
B o ileau 69 1 7 5 ,1 7 6 ,1 7 7 , 178, 180, 1 8 1 ,1 8 4 ,1 8 5 ,1 8 6
B o ileau, M a jo r E .H .T . 102 T o w n H a ll 146
Bois, D u 71 B u chan an 90
B ollan d u s, J. 187 B u d ap est, S zép m ü v észe ti M u z e u m 84
B ologn a, G iovan n i B u rro w s, M r 188
Samson Slaying a Philistine (sculpture), B u tle r, C h a rle s 40
V a lla d o lid 105 B u ytew e ch , W ille m 38
B ologna, Pinacoteca 193
B olog n e, a b b é d e 167
B o lsw e rt, Boetius a 146, 148, 149 C aen , M usée des B eau x -A rts 39
B o isw ert, Schelte a 9 1,1 0 4 C a ld e ro n , R o d rigo 112
Bonacossi, A lessan d ro C o n tin i 166 C a lle n d a r, L ieu t.-C o l. W .F o rb e s d e 35
B on in gton , R ichard P ark es 46 C a m p e , H .W . 221
B o rb ó n , Infante M aria C h ristina de 96, 98 C a n d id o, P ietro 129
B o rb ó n y B ragan za, Infan te don Sebastian de C a ra va g g io 49, 162, 165, 167, 204
96, 98 Judith Beheading Holofernes, R o m e , G a lleria
B o rd e, L a 56 N azio n ale d ’A r te A n tica 159
B ord eau x , M usée des B eau x -A rts 102 The Seven W orks o f M ercy, N aples, M o n te d e lla
B orghesan i, M aria 166 M isericord ia 165
B orgh ese, C a rd in al Scipione 202 C a rign an , V ic to r-A m é d é e d e Savoie, P rince de
Borghese W a rrio r 116 44
B orrem an s, H u m b e rt G u illa u m e L a u re n t 56 C a rle to n , Sir D u d le y 52, 54, 55, 160 ,18 7, 190,
B oston , M ass., Isabella S te w a rt G a rd n e r M u se u m 194, 210, 212
226 C a rlo Felice, K in g o f Sardinia 216
B ou rgeois, P. F. 56 C arracci, A n n ib a le 202
B o ym an s F oun dation , M u se u m 122 Susanna and the Elders, R o m e , G a lle ria D oria-
B ra a m k a m p , G . 43 P a m p h ili 203
B ran t, Jan 43, 191 C assel, Sir F elix 70
B ra zil 100 C asteels, P e te r 90
B rem en C a th erin e II, E m p re ss o f Russia 52, 215
H ou se o f the C lo th ie rs’ corp oratio n 149 C a v alie ri, G iu sep p e 170

392
 INDEX iv: NAMES AND PLACES

C e u le n , G isb ert van 50 C ro z a t, Pierre 52,70, rss, 16s, 183

C h a b o t, J.J. M . 70 C r u za d a V illa a m il, G. 67, 105
C h a m p io n , W illia m 90 C u n n in g h a m , C a p ta in A , 227
C h a rle s I, K in g o f E n gla n d 187, 225
C h a rle s II, K in g o f Spain 68, 134
C h a rle s S tu art, Prince o f W ales 158 D a n ck e rts, C . 150
C h a ste l A n d c lo t, C o u n t R. du 182 D a n vers, L o rd 160, 190
C h e n n ev riè re s, M arq u is P. de 213 D a re t, Jean 49
C h e re a u le Jeune 150 D a rm sta d t, H essisches L a n d e sm u se u m [44
C h icago, A r t Institu te 110, 118, 123, 124 D a w k in s, Miss D . 37
C h ristian IV , K in g o f D e n m a rk 146 D e l M o n te C o lle ctio n , B russels 40
C h ryso sto m , St John 219 D e la cro ix , E u gèn e 45, 183, 217
C h u rch ill, John, D u k e o f M a rlb o ro u g h 40, 50 D e lft, T o w n H all 149
C in cin n ati, O h io , C incin n ati A r t M u se u m 111, D e lh a y e, J. 224
113, 118 D en ison , C h risto p h er B eckett 187
C laas, P e te r 194 D en on 71
C le rc k de Prinsdaele, de 43 D e n te de R aven n a, M arco 39
C le rc q C o lle ctio n , S. de 157 D esfon tain es, G ille s 225
C o lin s, R. 167 D e tro it, Institute o f A rts 13.3, 13-, 138
C o lla e rt, H ans 202 D id o t, Jules 38
C o lu m e llu s 172, 173 D ie p en b e e c k , A b ra h a m van 221
C o n in x lo o , G illis van 37 Jo b Seated on a D unghill between his W ife and his
C o n ti, P rince d e 70 Three Friends (draw in g), Len in grad ,
C o o k , Sir Francis 80 H e rm ita g e 178, 179
C o o k , Sir F red erick 80 D o m en ich in o
C o o k , Sir H e rb e rt 80, 87 Susanna and the Elders, Schleissheim , Schloss
C o p e n h a ge n 203
Statens M u se u m fo r K un st 148 D orch ester, First V iscou n t 187
Statens M u se u m fo r K unst, P rin tro o m 106, D ouven 172, 173
157, 193 D resden , Staatliche K u n stsa m m lu n g en 60, 86,
C o p p e n s, A u g u stin 172, 173 139. 153, 165, J94, 204, 219
C o rt, C o rn elis 193 D u Bois 71
C o u rtra i, T o w n H a ll 149 D u b a u t, P ierre 75, 122
C o u rvo isier, J.J. 112 D u b o is 56
C o u w e n b e r g h , C h ristiaen van D u b u isso n -A u b en a y 148
Samson Asleep in Delilah’s Lap 112 D u fo u r, C h a rles 82
C o w d ra y , First V isco u n t 187 D u fresn es, Joseph von 2 18
C o w d ra y , T h ird V isco u n t 187 D u m e sn il, F rédéric 225
C o w p e r, E arl 35 D u ran te, A n n ib ale 200
C o xcie, M ichiel 40, 133, 148 D u ra z zo , M archese 216
C ain Slaying his Brother Abel (en g rav in g by D ü re r, A lb re c h t 53
Jan I Sadeler) 40 The Fall o f M a n (engravin g) 30
The M eeting o f D avid and A bigail (fo rm e rly D ü ss e ld o rf G a lle ry 67, 150, 177
M alin es, St R o m b o u t’s C h u rch ) 133 D u ta rtre 71
C o y p e l, C h a rle s-A n to in e 69 D u v a l C o lle c tio n 106
C ra y e r, G aspar de D y ck , A n th o n y van 43, 58, 66, 112, 155, 162,
Job Seated on a D unghill between his W ife and his 191
Three Friends, T o u lo u se, M usée des B eaux- The Brazen Serpent, M ad rid , Prado 89
A rts 178 Job Tormented bv Demons and Abused by his WiJ'e
The Judgement o f Solomon, G h en t, M u se u m 149 (draw in g), Paris, L o u v re 182
C re w e , G e n e ra l 87 Samson Asleep in Delilah's I.ap, London , D u lw ich
C ro z a t, Josep h -A n toin e, Baron du T u g n y 52 C o lle g e 112
C ro z a t, L o u is-A n toin e, Baron d e T h ie rs 52 Samson Taken by the Philistines, V ien n a, Kunst-
C ro z a t, Louis-François, M arqu is d u C h â te l 52 historisches M u se u m 117

393
INDEX i v: NAMES AND PLACES

The M artyrdom o f St Stephen, T a tto n Park, Floren ce

N atio n a l tru st 222 B a p tistery 61
Susanna and the Elders (draw in g), Paris, L o u v re Casa B u on arroti 105
210 C h io stro d e llo Scalzo 144
M ed ici C h a p e l 51, n o
P a lazzo V ecch io 107, 154
E d in b u rg h , N atio n a l G a lle ry o f Scotland 7 0 ,14 1 Pitti G a lle ry 39
F.e, Franciscus v a n d e r 146, 148 U ffizi 39, 154
E egh en , V an 185 Fonson, A lb e r t 122
E g e rto n , E arl 222 F on tain e-F lam en t C o lle ctio n 215
E ich, E. 80 F orch on dt, G u ille r m o 107
E isem an n , H . 194 Forch on dt, M arcus 107
E issen h ard t, J.K . 130 Fort W o rth , T exas, K im b e ll A r t M u se u m 84,
E le c to r Palatin e, M an n h e im 183 128
E liz a b e th , d a u g h te r o f Jam es I o f E n glan d 55 F ou rm en t, Baron de 50
E lsh e im e r, A d a m 39, n o F o u rm en t, H é lèn e 57, 93, 142
Ju d ith Beheading Holofernes, Lo n d on , W e llin g to n F o u rm en t-V a n H e ck e 135
M u se u m 112, 159, 161, 165 Francken, Frans II 87
The M ocking o f Ceres (copy), M ad rid , Prado, The Five Senses, M un ich , A lt e P in a k o th e k n i
112 F ra n k fu rt a m M ain, Städelsches K u n stin stitu t
The Stoning o f St Stephen, E d in b u rg h , N atio n a l 106, 130, 131, 160
G a lle ry o f S cotland 112 Fred erick V .E le c to r P alatin e (the ‘W in te r K in g ’
E m e rso n , T h o m a s 101 o f B oh em ia) 55
E n d en , F. van d en 150 Fried rich II, K in g o f Prussia 207
E ril, G iu lio M e lzi d ' 191 Fried rich W ilh e lm I, K in g o f Prussia 65
E yn h ou d ts, R. 147 F riedrich W ilh e lm o f B ra n d e n b u rg , E le cto r 65

F ab re g o u le, A lex an d re-L o u is-M a rie d e B o u r­ G ain sb orou gh , T h o m a s 58

g u ig n o n d e 220 G a litzin , Prince 77, 208
F a b re g o u le, Jean-B aptiste-M arie de B o u rgu ign o n G a lle , C o rn elis th e E ld e r 5 1 ,9 1 . too, 158,162,
de 220 163 ,16 4
Facnion, J. 213 G a lle , C o rn elis the Y o u n g e r 178
Faen za, Luca da G a lle , T h e o d o o r 64
D a vid Strangling a Bear (fresco a fte r G iu lio G a lv an y C a n d ela , M aria 202
R om an o), M an tu a, P a lazzo d el T e 120 G a m b e tta , P. 64, 90
D a vid and the Lion (fresco a fte r G iu lio R om an o), G a rb âty, E lla 58
M an tu a, P a lazzo d el T e 120 G a rb âty, E u gèn e L. 58
F aid h erb e, Lucas 93-94, 103 G a rb â ty, J. 58
Fairfax M u rray, C . 186, 192 G a rb aty, M au rice 58
Farnese Hercules no G ard ie, C o u n t Jacob G u sta vu s d e la 184
Farrer, Sir W illia m 188 G ard ie, C o u n t P on tus d e la 184
F en w ick, T h o m a s F itzro y 33, 34 G erlin gs, H . 182
F e n w ic k -O w e n , D en ise 199 G e tty M u se u m , J .P a u l 69, 135, 137, 138
F e n w ic k -O w e n , G e o rg e 199 G h e llin ck , T .L o rid o n d e 82, 182, 183
F éral, Ju les 50 G h en t
Ferd in an d, C o u n t o f P le tte n b e rg and W itte m M u se u m v o o r Schone K u n sten 149
136 O u d -B u rg 149
Ferd in an d, G ran d D u k e o f T u scan y 17 2 ,1 7 3 , G h ib erti, L o re n zo 47
1 7 4 ,1 7 5 , 176 Abraham ’s Sacrifice o f Isaac, F loren ce, B a p tistery
F erd in an d, C a rd in al Infante 62 61
F erm o , M u seo C ivico 89, n o G h irlan d aio 47
Flavius, Josephus 109 G ieben s C o lle ctio n 220
Flessiers, B a lth a za r 58, 60 G illis, Judocus 167

394
 INDEX iv: NAMES AND PLACES

G iu lio R o m an o 225 H ap p art, Johannes P h ilip pu s 114, 115, 117

The Battle o f Constantine (fresco), R o m e, V atica n H âtv an y , B aron Paul 70
152 H au ch in , A rch b ish o p 134
D avid Slaying Goliath (fresco), M an tu a, P alazzo H e e m , Johannes de 70
del Te 123, 125, 127 H ein em a n n , M rs R u d o lf J. 133, 138
D avid Spying upon Bathsheba (fresco), M an tu a, H en d ricx, G illis 134
P a la zzo d el T e 140 H en le, D r G ü n th e r 132
D avid Strangling a Bear (fresco), M an tua, H e n ry IV G a lle ry 9z
P a la zzo d el T e 120 H en ry, T h o m a s 183
Two Lovers Upon a Couch (painting), L en in grad , H enschenius, G. 187
H e rm ita g e 111 Hercules Farnese 1 10
The Toilet o f Bathsheba (fresco), M an tu a, H ern an i, D u q u e de 100, 106
P a la z z o d el T e 139 H erp , W ille m van 83
The Trium ph o f Scipio (tapestries) 225, 227 H ertogs, M r 220
The Vision o f Constantine (fresco), R o m e, V a ti­ H ild e b ran d C o lle ctio n 04
can, Sala di C o n stan tin o 225 H ip p o lytu s, St 219
G o b e rt, A . 91 H irsch, Baron R o b e rt von 117
G o e ln itz (G olnitsius), A b ra h a m rao H irsch d e G e re u th , Baron 30
G o ld sch m id t-R o th sch ild , Baron A lb e r t von 169 H irsch d e G ereu th , B aron ne 50
G om ez 142 H o b ra eck , G u sta v 108, 109
G o rin g , Field M arsh al 166 H oeck e, Jan van d en 69, 108
G o u lin a t, Jean -G ab riel 225 H oer, G erard 71, too, j o l 192
G o u v e rn er, M arq u is de 199 H oeye, R o m b o u t van den 213
G o v ers C o lle ctio n 91 H o lb ein , H ans 52
G oya 142 H o lla r, W . 189
G ran ge, T .P . 64 H o n o lu lu , A ca d e m y o f Fine A rts 70
Grasse, H ospital 144, 147 H ooch , P ie te r de 60
G raves, J. 90 H orst, N iko laas van d er 177
G re b b e r, Frans Pietersson de 55 H o u e tte , P. 208
G ree n v ille , B o b Jones U n iversity C o lle ctio n 135 H o u g e t, Fernand 180
G re n o b le , M usée des B eau x-A rts 157 H o y m , C o u n t K arl-H ein rich von 220
G roiseilliez, M . de 45 H u ard , M . 38
G ro n in g en , M u se u m van O u d h e d e n 110, 116 H u ard , M rs 38
G rosse, D r R o lp h 156 H udson, C o lo n el T . 82
G ro sven o r, E arl o f 53, 132 H u dson, T. 104
G ro tta fe rra ta , Badia 42, 49
G se ll, Friedrich Jacob 170
G uicciardin i, L u d o v ico [49 Inn sb ruck, M u se u m F erd in an d eu m 117
G u sta vu s III, K in g o f Sw eden 99, 169, 206, 214 Isabel de Farnesio (E lizab e th Farnese), Q u een 142
Isab ella C la ra E u gen ia, Infam e o f Spain,
A rch d u ch ess 6 8 ,7 4 ,9 8 ,1 2 1
H a a rle m , C o rn elisz. van
Bathsheba at the Fountain, A m ste rd a m ,
R ijk sm u s e u m 142 Jabach, E. 7 6 ,2 15
H ad field , M r 188 Jackson, J.B . 150
H aech t, W ille m van Jaffé, M r and M rs M ichael 145. H o
Alexander the Great V isiting the Studio o f Apelles, Jam es I, K in g o f E n glan d 55
T h e H ag u e, M auritshuis 107 Janssens, A b ra h a m 168
H ag u e, T h e , M au ritsh u is 199 'In Spite o f Envy, Concunl Trium phs with the
H a m ilto n , First D u k e o f 187 H elp o f Love and H onesty, W o lv e rh a m p to n ,
H a m ilto n , G a vin 134 M un icip al A rt G a lle ry 145
H a m ilto n , R o b e rt 70 Jay, Louis 106
H a m ilto n , T h irte e n th D u k e o f 187 Jegh er, C h risto ffel 216
H a m ilto n , T w e lfth D u k e o f 187 Jes'tard 220

395
IN D EX i v : NAMES AND PLACES

Johann A d a m A n d re as, Prince o f L iech ten stein L a n g e , A rn o u d d e 79

X07 Langot 43
Joh ann II, Prince o f L iech ten stein 108 L aocoon 86, 92, 116, 1 2 5 ,15 9 , 184, 204, 205
Johann W ilh e lm , E le cto r P alatin e 150, 172, L asn e, M ich e l 208, 209, 210, 212, 214, 217
173, 177 L a w re n ce , Sir T h o m a s 3 3 ,3 4 ,8 5 ,9 0 ,1 0 0 ,1 0 1 ,
J o h a n n -W ilh elm o f N e u b u rg 67 16 2 ,18 0 ,19 8
Johnson, M rs Rita 195 L eed s, C ity A r t G a lle ry 37
Jon gh e, C lé m e n t de 213 L e e m b ru g g e n , G . 85
Jordaens, Jacob 43, 165 L een h o ff, F. 46
Abraham ’s Sacrißce o f Isaac, M ilan , B rera 60 L e e u w , W . P. d e 189
The Daughters o f Cecrops Finding the Child L egan és, M arq u e s de 96, 121, 191
Erichthonius, A n tw e rp , M u se u m v o o r Schone L e m p e re u r, J .D . 69
K u n sten 217 L e n in gra d , H e rm ita g e 1 1 1 - 1 1 2 ,14 9 ,1 7 8 ,2 0 6 ,
The Flight o f Lot and his Fam ily fro m Sodom, 213, 215, 217, 218
T o k y o , N atio n a l M u se u m o f W e ste rn A rt L en zb urg 80
42, 43 L eo n a rd , H . 119
The H oly Fam ily with M aid-Servant, S to ck h o lm , L eon a rd o
N a tio n a lm u se u m 166 The Battle o f A nghiari 152
M usical Party in an Interior (draw in g), O x fo rd , L e ro u g e, M arc-A n toin e 224-225
A sh m o le a n M u se u m 166 L esser 70
Josephus, F lavius 109 L e u ch ten b e rg , Prince E u gèn e, D u k e o f 125, 126
Jo u llain 62, 69 L e v y , A lb e r t 70
Ju liu s II 86 Liech ten stein C o lle ctio n 9 5 ,10 7 , 10 8 ,14 2 ,14 4 ,
15 0 , 15 2 , 2 1 7

L ille , M u sée des B eau x -A rts 144, 218

K an n, A lp h o n se 71 L o cate lli, A n to n io 192
K an n, R o d o lp h e 134 L o ck e , T h o m a s 160
K arlsru h e, S taatlich e K u n sth alle 44, 83, 85 L o h m e y e r, P r o f D r 49
K aro lu s, P r o f D r 131 L o m m e lin , A d ria e n 13 5 ,13 8
K assel, G e m ä ld e g a le rie 7 1 ,1 1 9 ,1 3 1 » i44, i45, L o n d on
219 B ritish M u se u m 4 3 ,4 6 ,8 6 ,8 8 ,1 1 2 ,1 2 3 ,1 4 4 ,
K ay, A . 169 19 0 ,19 4 ,19 5 . 197, 199, 202, 211
K e rricx , G .I. 89 B u ck in g h a m P alace 193
K essel, Jan van C o u rta u ld In stitu te o f A r t, Princes G ate
Allegory o f Sight, w h erea b o u ts u n k n o w n 192 C o lle ctio n 33, 34, 37, 38, 86, 92, 106, 124,
K ey, W ille m 202 125, 152, 169
K n a p to n , G . 199 D u lw ic h C o lle g e P ictu re G a lle r y 5 6 ,1 1 2
K n igh t, R. Payne 199 N atio n a l G a lle ry 42, 86, 90, 108, 113, 114, 116,
K o ch , V ic to r 19 4 ,19 5 , 196 13 4 ,14 4 , 153, 198, 227
K o en in gs, F. 122 P a u l W a llr a f C o lle ctio n 190, 194, 197, 200
K öser, M rs H ein z 108 Schapiro, D r E. 73, 149
K rafft, Jan L a u w rijn 177, 180 V icto ria and A lb e r t M u se u m 60, 103, 128,
K ra n k e l, M .A . 192 196
K rau sp e, D r H e rrm a n n 96 W e llin g to n M u se u m 104
K retser, M ae rte n 70 L o p e z, J. 43
Küss, R. 142 L os A n g e le s, C o u n ty M u se u m 101
Lo uis B on ap arte, K in g o f H o lla n d 78
L ouis XIII, K in g o f France 167
L a B o rd e 56 Louis XIV, K in g o f France 218
L a h m a n n , J. F. 162 L ouis XV , K in g o f France 44
L a m b , Francis 189 Lo uis XVI, K in g o f France 48
L a m b re ch ts, Jan-B aptist 43 Louisa U lrika , Q u ee n o f Sw ed en 206
L a m p o n i-L e o p ard i, C o lo n e l E .R . 161 L o u vain , S te d e lijk M u se u m V a n d e r K elen -
L a n e n v ille 38 M erten s 187

396
 INDEX i v: N A M E S A N D P L A C E S

L o w , R o b e rt 162 M ath am , Jacob 1 0 8 ,1 0 9 ,11 0

Lucchesi, C o n te 83 M ax E m a n u el, B avarian E le cto r 50
L u g t, F. 100, 101 M ax im ilian I o f B avaria, D tik e 80, 102
M axim ilian Joseph 111, E le cto r o f Bavaria 218
M ayo r, W . 84
M ad razo, P. d e 202 M edici, G iu lian o d e' no
M ad rid 141 M eeiis d ’A rg e n tc u il, C o u n t 11, de 119
A ccad em ia de San F ernando 142, 205, 207, M eijn e, D a vid de 39
208, 211, 215 M en saert, G . P. 145
A lca z a r 67, 105 M erian , M atth a u s the Y o u n ge r 65
D u q u e de H ern an i 100, 106 M eth u en , Paul 42
C o n v e n t o f the D escalzas Reales 74, 85 M eyers, Jacques 87, 13h
P rad o 37, 79, 81, 89, 93, n o , 112, 144, M5, M ich ela n gelo 39, 60, 61, 80, 9 2 , 107, iro
1 50, 222, 225 The Brazen Serpent (fresco), V atican, Sistine
R oyal Palace 67, 96, 98, 121 Chapel 85, 88
T o rre de la P arada 222 Crepuscolo (sculpture), Florence, M edici C h a p e l
M a lco lm , J. 85, 213 51
M alib u , C a., J .P au l C e t t y M u se u m 69, 135, David (sculpture), Florence, Palazzo V ecch io
137, 138 107
M alines D avid Slaying Goliath (fresco), V atican , Sistine
C h u rch o f O u r-L ad y-across-th e-D yle 73 Chapel 125
St Jo h n ’s C h u rch 184 The Drunkenness o f Noah (fresco), V atican ,
St R o m b o u t's C h u rc h 133 Sistine C h a p el 51
M a lzi, L u ig i 191 Hercules and Cacus (sculpture), Floren ce, Casa
M an ch ester, C ity A r t G a lle ry 37 B u on arroti 103
M an et, E d ouard Jerem iah (fresco), V atican , Sistine C h a p e l 63
Nym ph Surprised, B uenos A ires, M useo Judith Beheading llolophernes (fresco), V atican,
N acion al de B ellas A rtes 213 Sistine C h a p e l 159
M an n h eim , E le c to r P alatin e 183 Leda and the Swan (lost) 110
M an tegn a 225, 227 Night (sculpture), Florence, M edici C h a p e l 110
The Calum ny o f Apelles (draw in g), L o nd on , Pietd (sculpture), R om e, St P e te r 147
B ritish M u se u m 46 Samson with Two Philistines at his Feet (scu lp tu re;
Ju dith Putting the Head o f Holofernes in a Sack n o t e xecu ted ) 107
(d raw in g; School of), fo r m e rly H aa rle m , Sleeping C u pid (scu lptu re) (lost) 81
K oen in gs C o lle ctio n 100 Tityus (draw in g), W in d so r C a stle, R oyal
The Trium ph o f Caesar, H a m p to n C o u r t 225, L ib ra ry 39, 92
226 M ilan
M an tu a B iblioteca A m b ro sia n a 83
Jesuit C h u rc h o f th e Santissim a T rin ità 144 B rera 60
M u seo d el P a lazzo D u ca le 145, 147 M ols, F. 40
P a lazzo P u sterla 225 M ols, Jean Joseph 40, 171, 173, 174, 176, 177,
P a lazzo d el T e 120, 123, 125, 127, 139, 140, 178, 181, 185
226 M ond, Sir R o b e rt L u d w ig 104
M aran a, L o re n zo 90 M o n tp ellie r, M u sée A tg e r 123, 124, 127, 204,
M arcx , Q u irin 208, 209, 214 205
M arie tte , P.J. 43, 63, 101, 104, 129, 154, 155, 209 M oor, C a re l d e 182
M a rlb o ro u g h , D u k e o f 40 M oretus 100
M arie, V an 67 M oretus, B althasar 178
M arq u an d , H e n ry G . 220 M orrison, G en eral 19 9
M arseilles, M usée des B eau x -A rts 102 M o rte m a r 225
M artin de L .B ., Joseph 134 M oscow , P ushkin M u seu m 213
M assijs, Jan M ou n t T e m p le , L o rd 221
Bathsheba Receiving D avid's Letter, Paris, L o u v re M ü lle r, G o ttlie b 183
142 M u lle tt, M rs H ester 126

397
I NDEX i v : NAMES AND P L ACE S

M un ich Paris
A lt e P in a k o th e k 67, 93 , 95 . i n , 1 1 6 ,14 2 ,14 4 , B ib lio th è q u e N atio n a le 43, 161, 163, 187
15 2 ,15 5 , 1 7 7 ,18 3 , 204, 217, 219, 220, 221 É cole des B e au x -A rts 156
H o fg a rte n g a le rie 150, 218 F on dation C u stod ia (Frits L u g t C o llection )
Staatlich e G rap h isch e S a m m lu n g 75 100,101
M u n ro o f N o va r, H .A . J. 70 L o u v re 43, 93, 107, 116, 129, 131, 142, 154,
M u rra y , M rs C h a rle s 191 162, 1 6 7 ,1 8 3 ,1 9 3 , 210, 2 11, 214, 215, 218, 223
M usson, M atth ijs 40 P a rk e r, C .W .O x le y 188
M u x e l.J .N . 126 Pasadena, C a lif., N o rto n Sim on F ou n dation
M u zia n o , G iro la m o 125, 128
The Penitent St Jerome (draw in g), Paris, L o u v re P asq u alatti, Br. 170
193 P ater, A d m ir a i 100
The Penitent St Jerome, B ologn a, P inacoteca 193 P a u l o f Y u go sla via, P rince 99
Payn e K n igh t, R, 199
Peel, Sir R o b e rt 198
N a h l, Johann W ilh e lm 97
Pen rice 90
N an cré, M arq u is de 220
Pered a, V ice n te C a le d o n io 126
N an cy, M usée des B eau x -A rts 144
P e re z, A d ria n a 111
N an tes, M u sée d es B e au x -A rts 225
P erin o d el V aga
N ap les, M o n te d ella M isericord ia 165
D avid Slaying Goliath (fresco), V atican , L o ggia
N a p o le o n , E m p e ro r 102, 225
125, 127
N a u la e rts 182
Ju p ite r and Callisto (en gravin g) 118
N elis, C h arles-Jean -G o m m aire 93, 104
P hilips III, K in g o f Spain 112
N etsch er, C.
Philips IV , K in g o f Spain 68, 98, 100, 112, 121
A Lady Teaching a Child to Read, L o n d on ,
P h ilip s V , K in g o f Spain 142
N atio n a l G a lle r y 91
Ph illips, Sir T h o m a s 33, 34
N e u b u rg , Jo h a n n -W ilh elm o f 67
Picart, Jean 40
N e u e rb u rg , A u g u st 108
Piccini, Jacopo 126
N e w Y o rk
P ie rp o n t M o rga n , J. 192
Frick C o lle c tio n 107
Piles, R o g er d e 37, 136, 220
M etro p o lita n M u se u m o f A r t 37
P ilizotti, J. 76
P ierp o n t M o rga n L ib r a ry 190, 194
P ilo ty , F erdin an d 150, 218
N ic k i C o lle ctio n , V o n 128
Pio, P rin ce 202
N ie u w e n h u ijs 70
P lach 96
N o ailles, M aré ch al d e 44
Pla n tin M o re tu s 100
N o u rri C o lle ctio n 149
P le tte n b u r g and W itte n , C o u n t V a n 140
N o u rri, C o n seille r 198 ,199
P o lid o ro da C a ra v a g g io 225
N y C a rls b e rg F ou n dation 75
P a la b o M ilesi 225
Libro de D iversi Trophei d i Polidoro 225-216
P o m m e rsfe ld en , Schloss W eissen stein 170
O h lm e y e r, J. 149
Pon tiu s, P a u l 214, 217
O liv e r, M a rk F arq u h ar 70
Susanna and the Elders (d raw in g), Paris, L o u v re
O om s 80
214
O ppé, A . Paul 194
Porden on e
O p p e n h eim e r, H e n ry 105
D a vid Slaying Goliath, V en ice , Santo Stefano
O ra n g e, P rince o f 78
m o n a ste ry 125
O rle y , B aren d v an 157
P o tsd a m 60
O ttle y , W illia m Y o u n g 33, 34, 85
S chlossgalerie Sanssouci 90, 208, 209, 210, 214,
O u d a an 76
219
O w en , J .B .B u lk e le y 90
P o tte au , G u ille lm o 107, 131
O w en , T .B .H . 90
Pou rb u s, Frans I 136
Pragu e, N atio n a l G a lle ry 178
P a lm e rsto n , L o rd 221 P rech le r, F ranz 166
Pan neels, W ille m 119, 165, 167 P reu n er, A .J . v o n 69

398
 IN D E X i v : NAMES A N D PLACES

Prim aticcio Richelieu, A rm a n d Jean D uplessis, C a rd in al de

Ulysses M eeting the Shade o f Tiresias in Hades 414
(fresco) 226 Richelieu, A rm an d -Jean do V ig n cro d D uplessis,
Prussia, K in gs o f 60 D uc de 136, 219
R ich ter 40
R in aldo M an tovan o
Q u ellin u s, E rasm u s II 69, 83, 84, 102, 128 D avid Slaying Goliath (fresco a fte r G iu lio
R om an o), M an tu a, P a lazzo d el T e 123, 125
D avid Spying upon Bathsheba (fresco after
R a go t, F. 9 1, 150, 161 G iu lio R om an o), M an tu a, P alazzo d e lT e 140
R aim on d i, M arcan to n io The Toilet o f Bathsheba (fresco after G iu lio
The Judgem ent o f P aris (e n g rav in g a fte r R aph ael) R om an o), M an tu a, P a lazzo del T e 140
51 R in gling, John 40
The Temptation o f M a n (en g ravin g after Raphael) Robinson, Sir John C h a rles 192, 213
36 Roch dale, V isco u n t 37
R aleigh , N .C ., N o rth C a ro lin a M u se u m o f A rt R o ckox, N icolaas 107
140, 154 R om e
R an tzau, Josias 146 B e lv ed e re 204
R aph ael 47 C h u rc h o f St S ylv e ster 144
The Battle o f Constantine (fresco), R o m e , V atican G a lle ria D o ria-P a m p h ili 203
152 G a lle ria N azion ale d 'A r te A n tica t 6 i, 204
D a vid Slaying Goliath (fresco), R o m e, V atican M useo e G a lle ria B orghese 103, 140, 202, 203,
125, 127 206, 207, 2 1 1
The Death o f Ananias (cartoon), L o n d on , O ld St P eter 147
V icto ria and A lb e r t M u se u m 93, 94 P a la zzo d ei C o n serva to ri 201
The F ind ing o f Moses (fresco), V atican , L o ggias St P e te r 147
79 V atican 63, 79, 86, 88, 109, 123, 127, 144, 152,
The Gathering o f M anna 92 159. 204, 219, 226
The Healing o f the Paralytic (tapestry), V atican R oore, Jacques de 187
147 Roos, C o rn elis Seb ille 39
The Judgement o f Paris 51 Rooses, M ax 67, 220
The Judgement o f Solomon (fresco), V atican , Ross, Jam es 40
S tan ze d ella S egn atu ra 144 Rössler, von 48
The Temptation o f M a n 36 R o tte rd a m , M u se u m B oym an s-van B euningen
R a p h ael, School o f 107, 123, 125, 127, 139, 204
Moses Instructing the Israelites in the Gathering o f Rouen
M anna 83 M u sée des B eau x -A rts 133
R e gte re n A lte n a , I.Q . v a n 105, 124 T o w n H all 149
R ein agle, R ,F . 70 R o u p e ll, R o b e rt Prioleau 138, 162
R eitlin ger, H e n ry Scipio 180 R oy, Frans D e 56
R e m b ra n d t R ubens, Frans 93
The Flight o f Lot and his Fam ily fro m Sodom Rubens, P hilips 37, 43
(draw in g), L o n d o n , B ritish M u se u m 43 R u d o lp h II, E m p e ro r 153
The Flight o f Lot and his Fam ily fro m Sodom R u p p re ch t v o n Bayern, K ro n p rin z 99
(draw in g), Paris, B ib lio th è q u e N ation ale 43 R u tgers, A n to in e 188
R em y 70
R ennes, M u sée des B eau x -A rts 86, 102
R esta, P adre Sebastiano 85 Sad eler, E gidius 126
R eu sn er 112 Sad eler, Jan I 40
Reuss, Princes o f 119 K ing D avid Playing the H arp (engravin g) 129
R h en en , C a stle o f (H olland ) 55 S aftleven , C o rn elis
R h od ius 84 Job Seated on a Dunghill between his W ife and his
Rich ardson, Jonathan 105 Three Friends, A n tw e rp , M u se u m M ayer van
Richardson Senf, J. 84 d en B ergh 178, 179

399
IND E X i v : NAMES AND P L A C E S

S ain t-O m er Snyers, P etru s Johannes 94

B ro th e rh o o d o f St Job 178 ‘ Socrates’ 204
C h u rc h N o tre -D a m e 178 S om er, I. v a n 150, 213
S aint-V ictor, R o b e rt d e 70 S om ers, S. 182
Salviati 92 S opp en , D a vid van d e r 111
Sandars, M rs 70 S o u tm an , P ieter C lae sz. 150, 156
San d rart, Jo ach im v o n 52 Samson Asleep in D elilah’s Lap, Y o rk , A r t G a lle ry
Sano, M r 220 112
Sarasota, John and M a b le R in g lin g M u se u m o f Sparre, C o u n t G u sta f A d o lf 184
A rt 46 Spencer, E a rl 144
Sarcoph agu s w ith Triton and N ereid, G rotta- S pran ger, B a rth o lo m e u s 161
ferrata, B adia 42 S pru yt, C . 73
Sarto, A n d re a d el Spruyr, P. 167, 221
A braham 's Sacrifice o f Isaac, D resd en , G e m ä ld e ­ St A m b ro ise , C la u d e M au gis, A b b é d e 46
g a le rie 60 St M au rice, C o n seille r d e 199
Beheading o f St John the Baptist (fresco), Florence, Steen, Jan 212, 213
C h io stro d e llo S calzo 143-144 S teen h au lt, C h e v a lie r A u g u stin de 56
S axon y-T esch en, D u k e A lb e r t o f 184 S te rn b erg 70
Schapiro, D r E. 73, 149 Steven s, P ieter 40
Schiavone, A n d re a S tim m e r, T o b ia s 33, 52-53
Samson K illin g a Philistine, F loren ce, P itti G a lle ry A braham and M elchizedek (en gravin g) 73
39 The Book o f Job (engravin g) 17 9 ,18 6
Schiel, J .B . 221 Daniel in the Lions’ D en (en gravin g) 190
S ch in db eck, F. 90 The Defeat o f Sennacherib (engravin g) 152
S chleissheim , Schloss 102, 18 2 ,18 4 The Expulsion o f H agar (engravin g) 52, 53
S chley, Filippus van d e r 39 Stock, A n d rie s 58
S ch ön bo rn , C o u n t 130 S to ck h o lm , N a tio n a lm u se u m 10 1,14 0 1 6 1 ,1 6 4 ,
S ch reveliu s, T h e o d o o r 165 169, 182, 206, 209, 214
S ch rijvere C o lle c tio n , D e 149 Stoesser, O . 96
S ch roeder, C . 164 Stosch, F ried rich W ilh e lm 66
S ch w arz, C h risto p h 153 S trieker, R. 189
Scorel, Jan van S tu art-L in ton , A d o lp h u s F red erick 208
The Temptation o f M a n , N e w Y o rk , M e tr o ­ S tu art-L in ton , C h a rle s A lfre d G e o rg e 208
p o litan M u se u m o f A r t 37 S tu art-L in ton , C h a rle s E .T . 208
Scripps, Jam es E. 136 S w an en b u rg, W ille m Isaaksz. 48, 49, 160
S ecretan, M . 136 S w eerts, A . 183
Segers 107
Seghers, G e ra rd
Job Seated on a D unghill between his W ife and his T asso 33
Three Friends, P ragu e, N atio n a l G a lle ry 178 T a y , E n g e lb e rt d e 146, 149
S eilern , C o u n t A n to in e 33, 34, 38, 39, 8 7 ,1 2 4 ,1 2 5 , T e m p e sta , A n to n io
152 The Defeat o f Sennacherib (engravin g) 152
S ervad , M r 170 The Destruction o f the Amalekites (engravin g)
S eville, C a th e d ra l 149 152
Siebrecht, J. 90 T e rsm itte n C o lle ctio n 191
Sille, D e 67 T essin , C o u n t C a rl G u sta f 163, 183, 206
Silvius 149 Thane, Thom as 191
Sim on, J. 213 T h ie le n s, G aspar 132
Singer, Julian 180 T h u ld e n , T h e o d o o r v a n 102, 170, 188
Singer, Julius 67 Presentation o f the Stadhoudership o f the Seven
S jöb erg, C ap tain 149 Provinces to Prince Frederick H enry, T h e
S m eyers 171, 178, 181, 186 H ag u e, H uis ten Bosch 188
S m ith , John 70 T h yssen -B orn em isza C o lle ctio n , B aron 185
S nyders, Frans 119, 195 T in to r e tto 159

400
 INDEX iv : NAMES A N D PLACES

Cain Sliiying his Brother Abel, V en ice, A ccad em ia Sta M aria d e ll’isola 00
40 Sta M aria d ella Salute to, 40, 60, 89, 125,
The Rape o f Proserpina 55 127
Samson Asleep in D elilah’s Lap, D u k e o f San Sebastiano 168
D ev o n sh ire 109 San Spirito in Isola 89, 125, 127
Samson Asleep in Delilah's Lap, Sarasota, John Santo Stefano m on aster) 125
and M ab le R in glin g M u se u m o f A rt j 12 A ccad em ia 40
Susanna and the Elders, V ien n a, K u n sth istori­ D o g e ’s Palace 154
sches M u se u m it t Venus Felix 109
T itia n 37, 204, 212 Venus pudica 211
Abraham 's Sacrifice o f Isaac (fresco), V en ice, V ere ist, Johannes 179
S. M aria d ella Salute 40, 60, 128 V erh a g h e n , P.J.
The Allocation o f General del Vasto to his Soldiers, Lot and his Daughters, V alen cien n es, M usée des
M ad rid , P rad o 225 B eau x -A rts 49
The Assumption o f the V irg in , V ero n a, C a th ed ra l V e rla t, C h . 220
90 V ero n ese 204, 2 11
Bacchus and A riadne, L o n d on , N ation al G a lle ry Bathsheba Receiving D avid's Letter, Lyon, M usée
42 des B eau x -A rts 142
The Battle o f Cadore 152 Esther before Ahasuerus (sofiitto), V en ice, San
Cain Slaying his Brother Abel (fresco), V en ice, Sebastiano 168
S. M aria d ella Salute 39, 125, 127, 128 The Fam ily o f the Conquered D a riu s before
D avid Slaying Goliath, V en ice, S .M aria d ella Alexander the Great, Lo n d on , N ation al
Salute 89 G a lle ry 133, M 5
D iana and Actaeon, E d in b u rg h , N ation al The F ind ing o f Moses, M ad rid , Prado 79
G a lle ry o f Scotland 141 Judith and her M ani-Servanl with the Head o f
The M artyrdom o f St Lawrence, V en ice, Jesuit Holofernes, Florence, Fonda/ione R ob erto
C h u rch 181 L o n ghi 105
T o n n e m a n , J. 76 Susanna and the Elders, V ienn a, K u n sth istori­
T o rre de la Parada 222 sches M u se u m 219
T o u lo u se, M u sée des B eau x -A rts 178 The Temptation o f St Anthony, C aen 39
T o u rn a i, C a th e d ra l 225 V iau , G . 45
T r u m b u ll, W illia m 160 V iel, P. 150
V ienn a
A k a d e m ie d er b ild e n d e n K ün ste 109
U ffen bach , Zacharias C o n rad vo n 87 A lb e rtin a 40, 128, 153, 155
U n ger, H e n rie tte 58 Im p erial collection s 00
U n ger, Julius 58 K un sth istorisch es M useu m 0 9 ,117,16 0 ,2 0 4 ,
U n ger, M anasse 58 219
V ilain d e G an d, M ax im ilien 224
V ille ro y , M arsh al de 170
V a d u z, Prince o f Liech ten stein 95, 142, 144, 150, V in ck d e W e se l, J.F. de 170
152, 217 V isscher, A n n a R oem ers 20 9, 2 12
V a la v e z , P a la m è d e de Fabri, Sieur d e 46 Visscher, C.J. 40
V alcken isse, P hilips van 39 Visscher, J .C . 43, 150, 213
V alen cien n es, M usée des B eau x-A rts 49 ,157, 222 V isscher, N icolaas 153
V asari 107 V lassoff, A .S . 77
V ee n , O tto van 36, 37 V o e t, A le x a n d e r 79, 100, 107
V ee n , P ieter van 43, 212 V o lb e rg e n , T y m a n van 58
V en e zian o , A go stin o V o lte rra , D a n iele da
The G a th ering of M anna (en g rav in g after D avid Slaying Goliath, C h a tea u de Fon tain e­
R aph ael) 92 b le au 125
V en ice The Deposition, R om e, S .T rin ità dei M onti
C h u rch es and C o n v e n ts 157
Jesuit's 181 V o lz , F. 212

401
IND EX i v : NAMES AND P L A CE S

V o rste rm a n , L u cas 4 1 ,4 2 ,4 3 ,4 7 , 4 8 ,14 °. *79 , W ild e n s, Jan 55, 69, 99, 122
1 8 0 ,1 8 2 ,1 8 3 ,1 8 4 ,18 5 ,1 8 6 ,2 1 0 ,2 1 1 ,2 12 ,2 1 3 , 217 W ild en s, Jerem ias 191
Susanna and the Eid ers (draw in g), L ond on , W ilh e lm VIII o f H esse-Kassel, L a n d g ra f 71
B ritish M u se u m 211 W ille m se n s, P ierre 206
V o s, C o rn elis d e 51, 82 W illia m II, K in g o f H o lla n d 58, 85
V o s Jbzn, Jacob d e 10 3 ,19 7 W ilso n , A n d re w 90
V o s, M aarten d e 59, 73, 202 W in k le m a n C o lle ctio n 149
The Meeting o f D a vid and Abigail, R ou en , M usée W in te r, J. D e 80
des B e au x -A rts 133, 135 W it, Jacob d e 40
V ries, D e 182 W itd o e ck , Jan 76
W o lfa e rts, A rtu s 80
W o lfv o e t, V ic to r 135
W a a rd t, A n th o n y d e 170 W o o d b u rn B ro th ers 33, 34
W a lle r, R o b e rt A . 115 W o o d b u rn , S a m u e l 33, 34, 80, 162
W a llra f, P a u l 19 0 ,19 4. 197, 200 W o rsley , Sir R ich ard 187
W a lp o le , Sir R o b e rt 215 W o rsle y , Sir T h o m a s 187
W a lz , M rs 188 W o u w e r e (W overiu s), Jan v an d en 160
W a rd , W . 189 W ra n g h a m , M rs G .W . 75
W ash in gto n , D .C ., N atio n a l G a lle ry o f A r t 153, W u rste r, D r C a sim ir 135
190, 193, 194, 195, 196, 1 97, 198, 1 99, 200 W ü rz b u rg , M artin v o n W a g n e r-M u s e u m 41
W a te rlo o s, A d ria e n 100,102
W e n d la n d , D r H ans 64
W en n e r-G ren , D r A x e l L. 119 Y a rb o ro u g h , E arl o f 187
W e rn e r, R. 183 Y a rm o u th , L o rd 87
W e rth e im e r, A n n e 64 Y k en s, Frans 149
W e st, H an s 188
W e stm in ste r, D u k e o f 5 5 ,1 1 2
W e stm in ste r, H u g h R ichard A rth u r, D u k e o f Z a n ch i, J. : 64
132 Z u tte re , G . D e 188
W e z e m a a l, C h u rch o f 182, 185, 186 Z w ic k y .J .W . 101
W ijn g a e rd e , F. v an d en 100 Z w ie te n , M . v a n 140

402