RKD STUDIES

Willem van de VELDE II

... ) and in Britain. The Van de Veldes were a major influence on English marine artists throughout the 18th and early 19th centuries, and could be regarded as the founders of the British school of marine painting. Both John Constable (1776–1837) and Joseph Mallord William Turner (1775–1851) admired the younger Van de Velde, Turner regarding him as one of the great masters. Probably in reaction to the general appreciation, John Ruskin took DPG68 as an example to show how poor the Dutch (or at least Van de Velde) were at depicting the sea. (His choice was unfair, since at the time DPG68 was not considered to be the best Van de Velde at Dulwich, and now it is after Van de Velde.)Britton’s 1813 inventory shows that Desenfans and Bourgeois were thought to have three pictures by Willem van de Velde the Younger. Now only one of those is still considered to be by him, DPG103; of the others, one is now after him (DPG68) and one is assigned to the Studio of the English artist Peter Monamy (1680/81–1748/9; DPG298).4 The artist of DPG197, now considered to be an autograph work, was not recognized in Britton 1813.LITERATURERobinson 1990; Cordingly 1996; Giltaij & Kelch 1996, p. 333; Daalder 2013; Daalder 2016; Van der Veen 2019f; Ecartico, no. 7639: http://www.vondel.humanities.uva.nl/ecartico/persons/7639 (Nov. 21, 2017); RKDartists&, no. 79794: https://rkd.nl/en/explore/artists/79794 (Nov. 21, 2017)....

... igned to carry cargo on inland waterways, shown in starboard bow view. She is running before the wind, and in the bow a sailor is hauling down the foresail, while her sprit-sail is already half lowered and her sprit is horizontal in the slings. Behind her to the right and nearly parallel is a smalschip, a ‘narrow ship’ able to negotiate locks on inland waterways, head turned into the wind. In the background at the extreme left is a third ship, a hoeker, a type of fishing vessel. Various warships can be seen in the distance.15Smith, Jameson and Waagen called the picture ‘A View of(f) the Texel’ (the biggest and most populated of the islands in the Wadden Sea off the coast of North Holland and Friesland), but this seems uncertain, as there is no land in sight. It has proved impossible to identify the colours flying on the vane of the kaag.Michael Robinson dated the picture c. 1665, which seems likely. Of the three works once attributed to Willem van de Velde the Younger at Dulwich, this is the best preserved.The provenance of the picture before it entered Bourgeois’ collection is unclear. It is probably significant that the previous stretcher of the picture bears an impression of Bourgeois’ seal, suggesting that it could have been purchased by him rather than Desenfans. Whatever its origin, the picture was widely admired in the 19th century, Waagen writing that ‘A warm evening light, happily blended with the delicate silver tone of the master, and the most exquisite finish of all the parts, make this one of his most charming pictures.’...

... des first became famous for their small cabinet pictures of Dutch fishing vessels shown in a calm at low tide, of which this is a typical example, coupling fastidious technical accuracy in the depiction of the shipping with impressive skies equal to those of the best Dutch landscape painters.Two small vessels are shown in a coastal inlet at low tide – in the right foreground a smalschip, seen in starboard quarter view, and behind it a kaag, seen side-on. The smalschip’s mainsail is being lowered to the deck and the Dutch flag hangs limply, showing that the wind has dropped. The kaag is slackly anchored and her crew seem to be busying themselves, while a small boat without a mast (Robinson suggests this might be a weyschuit (a simple wooden hulk) draws alongside. At the left a dinghy is being pushed off with oars, aided by two men in the water. In the background are numerous large ships, all becalmed, and in the far distance on the right is land. Above are puffy cumulus clouds in a blue sky, with stratocumulus above.21 Robinson suggested some workshop involvement, responsible for the ‘muddled drawing’ of the lowered foresail of the smalschip, but this seems unduly harsh. A small weakness like this only underlines the superb proficiency of the Van de Veldes’ usual draughtsmanship. To a contemporary audience the scene would have been immediately recognizable as set in the Northern Netherlands.The earliest possible provenance recorded for DPG197 is in a posthumous sale held in 1796 of the collection of John Stuart, 3rd Earl of Bute (1713–92), Prime Minister in 1762–3. While there was a taste for Dutch maritime pictures in Britain in the 18th century, it is tempting to suggest that Stuart might have purchased the picture in the Netherlands when he was a student at the University of Leiden in 1728–32....

... le. Seemingly this picture is according to Ruskin exemplary for all that is wrong with Dutch 17th-century seascapes, at least Van de Velde’s.38Given all the criticism, it seems likely that the picture had been extensively restored and retouched to make it acceptable for display before Ruskin saw it. Around 1965, however, routine conservation revealed it for what it is, a studio repetition or late copy.The scene shows a group of becalmed ships on a sunny day. In the centre is a bezan yacht seen from port astern, with the arms of Amsterdam on her stern and a pendant at the ensign staff, signifying that she is from the admiralty at Amsterdam. Her prow points to the centre of a waterschip seen from starboard that is lying at anchor with her sprit-sail lowered. On her starboard bow is a smalschip trying to get underway. What appears to be a weyschuit with sail set can be seen on the starboard quarter of the waterschip, and close astern is a small boat with two men in it, loaded with fish baskets. In the background on the left is a flute firing a gun ahead, while on the right a small ship is trying to get underway. Clearly a breeze has arisen, giving the ships some hope of escape from being becalmed.39As Robinson noted, the vessels are lying in the Vlie: the Brandaris lighthouse on Terschelling island appears in the distance, centre left.40 This area was a centre of Dutch shipping and a natural target: on 15 August 1666, in the Second Anglo-Dutch War, an English skirmishing party entered the Vlie and burned a hundred and forty merchantmen, two men-of-war, and the village of Terschelling. Ships such as those seen here would have been prime targets for that raid....

Jan THOMAS (van Yperen)

... red the Antwerp Guild of St Luke in 1639–40. After Rubens’s death in 1640 he was called upon to complete and retouch works left...

... previous provenance) [2].111c) Jan Thomas, St Sebastian, panel, 83 x 61 cm. Musée des Beaux-Arts, Angers, 366 [3].121d) Jan Thomas, Bacchus and Ariadne, canvas, 111 x 94 cm. Musée des Beaux-Arts, Bordeaux, Bx E 264.131e) Jan Thomas, A Landscape with Shepherds and Shepherdesses resting beneath a Tree, canvas, 52.7 x 68 cm. Present whereabouts unknown (Bonhams, 9 Dec. 2009, lot 39).141f) Jan Thomas, St Sebastian succoured by St Irene, oil on paper, mounted as a drawing, 27.7 x 38.8 cm. Ashmolean Museum, Oxford, WA1863.287.151g) Jan Thomas, Judith and Holofernes, signed and dated Joannes Tomas fecit 1654, canvas, 130 x 165 cm. Galerie Jan de Maere, Brussels (27 Jan. 2012).2) Jacques Jordaens I, Mercury and Argus, canvas, 202 x 241 cm. Musée des Beaux-Arts, Lyon, H 679 [4].163a) Peter Paul Rubens, Pastoral Scene (Coridon and Silvia), c. 1638–9, panel, 162.3 x 134.5 cm. Alte Pinakothek, Munich, 328 [5].173b) (School of) Peter Paul Rubens and Osias Beert I, Pausias and Glycera (A Scholar inspired by Nature?), c. 1610–20, canvas, 203.2 x 194.3 cm. The John and Mable Ringling Museum of Art, Sarasota, Fla., SN 219.184) Jan van den Hoecke, Pastoral Scene (Granida and Daifilo?), canvas, 169.5 x 235.6 cm. Musée des Beaux-Arts, Valenciennes, P.Y.24; Inv. 1211; M.R. 1005.195a) Pieter Crijnse Volmarijn, Offering to Pan, panel, 38.5 x 32 cm. Present whereabouts unknown (private collection, Charlottenburg, 1933).205b) Pieter Crijnse Volmarijn, The Lovesick Woman, panel, 33 x 31.5 cm. Present whereabouts unknown (M. J. Goudstikker, Amsterdam, 1928).216a) Jacques Jordaens, Shepherd, with a Shepherdess pouring out Milk, black chalk, watercolour and bodycolour, 30 x 44.2 cm. Kupferstichkabinett, Staatliche Museen, Berlin, 1200 [6].226b) (modello for no. 6c) Jacques Jordaens, Declaration of Love in a Landscape, pen and brown ink, brown and grey wash, heightened with bodycolour over a sketch in black chalk, retraced, 29.3 x 28.3 mm. Albertina, Vienna, 8462.236c) Jacob Neefs after Jacques Jord...

... no. 1g). A small correspondence is that between the glistening metal of the milk vessel in DPG123 and the armour in the St Sebastian; that is traditionally attributed to Jordaens, but a photograph in the RKD bears the annotation ‘Thomas’ by B. A. Renckens. Between DPG123 and a Pastoral Scene in Valenciennes (Related works, no. 4) there are close similarities in the figures of the man, and some in the figures of the women. The complexity of the œuvres of Rubens’s pupils is clearly displayed here: the most recent attribution of this painting on the Joconde website is to Jan van den Hoecke (1611–51), but it was earlier given to Boeckhorst, Theodoor van Thulden (1606–69) and Van Diepenbeeck. While ‘Unknown pupil of Jordaens’ would be a safer attribution for DPG123, Vlieghe’s and Balis’s attribution to Thomas is worth consideration.The traditional title of DPG123, A Shepherd and Shepherdess, needs to be re-thought. The woman’s yellow silk dress is unlikely to have been worn by a shepherdess, and the man’s costume is quite extravagant, consisting of animal skins and unusual boots with ornamental hare heads – similar to those of an Antique statue (Related works, no. 8) [8] – suggesting that the painting was intended to illustrate some Arcadian tale. There are some light provocative elements, such as the pole in the hand of the woman (as in Rubens’s painting in Munich), the phallic spout of the vessel, and the pipes of the bagpipe behind the man.In Classical literature two figures like these are often called Coridon and Silvia.28 The theme was quite popular in 16th- and 17th-century art: there are prints by Hendrick Goltzius (1558–1617), Jacob Matham (1571–1631) and Crispijn de Passe I (1564–1637), which might have influenced both Rubens and his pupils, including the artist of DPG123. In the Northern Netherlands the theme was often treated by the Utrecht School, in both pa...

Jakob Ernst THOMANN VON HAGELSTEIN

... in the blue pigment and the foliage has discoloured a little. There is minimal restoration and the varnish is only very slightly discoloured. Previous recorded treatment: 1866, revived and varnished.RELATED WORKS1) Jakob Ernst Thomann von Hagelstein, Judith with the Head of Holofernes, signed and dated J.E.T. (as monogram) 1605, copper, 41.2 x 36.9 cm. Zeppelin-Museum, Friedrichshafen, ZM1963/5/M [1].52) Johann König, Susannah and the Elders, copper, 52 x 76.6 cm. Kunsthalle, Hamburg, 687.63) Johann König, The Toilet of Bathsheba, signed Johannes[?] König fecit, copper, 23 x 33 cm. Ashmolean Museum, Oxford, WA1945.100 [2].74) Crispijn de Passe I, Susannah and the Elders, engraving, 110 x 145 mm. RPK, RM, Amsterdam, RP-P-OB-2171 [3].8This picture was long thought to be by Elsheimer, an umbrella name under which many pictures were sheltered. Kugler in 1846 was already doubtful: he called it ‘ascribed to Elsheimer’. It remained an Elsheimer, even an early one, until Bauch suggested Johann König (1586–1642), who might have met Elsheimer in Rome in 1610; in a Susannah and the Elders by König the elders are dressed in a somewhat similar way (Related works, no. 2). Soon after that, Thomann von Hagelstein was put forward as the author. This was prompted by a picture that is signed J.E.T and dated 1605 (Related works, no. 1) [1], which is stylistically very close to DPG22. The œuvre of Thomann von Hagelstein is difficult to establish, but it seems to differ from that of other followers of Elsheimer. Murray returned to the König attribution, comparing DPG22 unconvincingly with a Bathsheba in the Ashmolean Museum (Related works, no. 3) [2].Weizsäcker in 1936 noted a print by C...

Bibliography T – V

... Dress. A costume and social history, London 1983...

... redam’, pp. 293–8...

... van de schilderijenverzameling van Frederik Hendrik en Amalia’, in Van d...

Bibliography L – M

... n grondig werd onderweezen, ook door redeneeringen en prentverbeeldingen v...

... erp’, in A. Spicer and S. Hamilton (eds), Defining the Holy. Sacred space in medieval and early modern Europe, Aldershot/Burling...

... redeneerde catalogus van de prenten naar Pieter Bruegel de Oude, Brussels 1969 [exh. Bibliothèque Royale Al...

... redeman de Vries to Dirck van Delen: Sources of Imaginary Architectural Painting’, Bulletin of Rhode Island Sc...

... redam’, in Turner 1996, xxvii, pp. 507–11...

... ther artists of the Flemish and Dutch Schools, with which the proprietors have favoured the British Institution [...], London 1815 [exh. British Institution, London]. S...

... ish, Flemish, Dutch, and French Schools, with which the proprietors have favoured the British Institution [...], London 1818...

... sh, Flemish, Dutch, and English Schools. With which the proprietors have favoured the Institution, London 1824 [exh. British Institution, London]...

... Spanish, Flemish, and Dutch masters, with which the proprietors have favoured the Institution, London 1828 [exh. British Institution, London]...

... reden probleem’, in Nederlandse kunstnijverheid en interieurkunst, opgedragen aan professor Th. H. Lunsingh Scheurleer, Haarlem 1...

... Netherlandish art in honour of Alfred Bader, London 2004...

... Dress in North America. The New World, 1492–1800, vol. i, New York/London 1990...

... redeneerde lijst van geschilderde en gebeeldhouwde portretten van Noord-Nederlanders in vorige eeuwen, 2 vols, Ams...

... redeneerde beschrijving van Nederlandsche historieplaten, zinneprenten en historische kaarten, 4 vols, Amsterdam 1863–82...

Karel SLABBAERT

... red in the province of Zeeland. He worked in the style of Rembrandt (1606/7–69) and Gerard Dou (1613–75), pai...

... ith fine, predominantly vertical, network craquelure, and has suffered from cupping and flaking, which has been a particular problem in the dark background. Some darkened retouchings are visible. Stretcher bar marks can be seen, particularly at the vertical sides of the painting. The outer edges of the painting are vulnerable and a small chunk is missing from the top right corner. Dark layers of discoloured or toned varnish obscure elements of the painting’s composition, and its subtlety of colour and detail. Previous recorded treatment: 1981, blisters treated with wax/resin adhesive, varnished, National Maritime Museum, C. Hampton.RELATED WORKS1a) Karel Slabbaert, Portrait of a Boy with a Bird, signed k. slabbaert, c. 1650, canvas, 59.8 x 41.4 cm. Herzog Anton Ulrich Museum, Brunswick, 280 [2].21b) Kar...

François RYCKHALS

... Biblical scenes, and also sumptuous still lifes with silver and gold objects or with fruit and fish, often with a seascape in the background. Still lifes in kitchens or barns were also a specialty.LITERATUREBredius 1917b; Klinge-Gross 1976, pp. 88–91; Bol 1982, pp. 21–9; Buma 1994; Meijer 1995; Van der Willigen & Meijer 2003, p. 174; Heyning 2018, pp. 62–63; Ecartico, no. 6485: http://www.vondel.humanities.uva...

... Red wascot taking tabacco a fire before him, A parsell of kettells, cherns & earthing picherds in 3 quarters clouth ...

Willem ROMEYN

... ardin).TECHNICAL NOTESPlain-weave linen canvas. The ground is buff, with grey priming under the sky. Glue-paste lined; the original tacking margins are present. 4 mm at the left of the canvas is unpainted. Like its pair, DPG3, this painting’s stretcher appears to have been enlarged at some point, possibly at the same time as the lining was carried out. The lining is poorly attached to the original canvas. The verso is primed and there is an indistinct red seal on the reverse of the stretcher.15 There are areas of abrasion and restored old losses. Previous recorded treatment: 1911, cleaned, Holder; 1935, frame paraffined; 1953–5, Dr Hell; 1986, surface cleaned and some retouching, AMSSEE.RELATED WORKS1) After (?) Willem Romeyn, View of the Porta del Popolo in Rome, canvas, 75 x 120 cm. Present whereabouts unknown (Bonhams, London, 6 July 2005, lot 155, Dutch School, 18th century) [2].162) Willem Romeyn, Mountainous Landscape with Sleeping Shepherd, panel, 27 x 32.5 cm (oval). Present whereabouts unknown (Lempertz, Cologne, 18 May 1996, lot 1133; Dorotheum, Vi...

After Rubens DGP130, DPG403, DPG630

... o. 1a) [1].860 In that picture the child is looking archly at us, sitting on a white cushion, while his mother looks towards him; based on photographs, she seems to have one bare breast. DPG130 excludes the figure of Joseph and lets the Virgin look at us, just as her son does. A landscape is added at the left. Another source may have been a composition like the picture now in Cologne with a larger group, called Madonna with the Goldfinch, which includes the figures of St Elisabeth and St John the Baptist (Related works, no. 2a.I) [3]. In that picture the child is looking at us, and one of the breasts of his mother is shown.861 In this composition the figure of the Madonna looks more like the one in DPG130 (the heads of the Madonna and Child form one line) than the one in the Crocker picture (where they form more or less a triangle). The pose of the child is different position from that in the Crocker composition: he is seated with his left side towards us, and his left leg hides most of his right leg. In the print by Schelte Adamsz. Bolswert both the breast of the Madonna and the back of St John are covered (Related works, no. 2a.II). These pictures (and the print) all have an upright format. In the picture now in Zürich, with a landscape format, a landscape and an angel offering a bowl of fruit are added to the Holy Family, and the Madonna looks at the angel (Related works, no. 1b) [2]; the child has the same pose as in DPG130 and the Crocker picture. In every case the child looks at us; his mother does that as well only in DPG130.The provenance of DPG130 is unclear, and is not likely to become clearer, since there were very many Madonna and Child pictures attributed to Rubens on the London market in the late 18th and early 10th centuries....

... ferences, where this picture seems to have been restored by Robert Brown in 1817....

... ction as no. 1; boy on the left) Joshua London after Peter Paul Rubens, Old Woman and a Boy with Candles, c. 1680–1720, inscriptions, mezzotint, 212 x 157 mm. BM, London, S.7685.8704d) (same direction as no. 1; boy on the left) Jacques Meheux after Peter Paul Rubens, Old Woman and a Boy with Candles, mezzotint, 230 (trimmed) x 217 mm (trimmed). BM, London, 2000,U.14.8714e) (same direction as no. 1; boy on the left) ?Cornelis Visscher II after Peter Paul Rubens’s print (3), Old Woman and a Boy with Candles, etching, 217 × 190 mm. Lent by Fondation Lucas van Leyden to BvB, Rotterdam, BdH 5719 (PK).8724f) (same direction as no. 1; boy on the left) Pieter Soutman after Peter Paul Rubens (no. 1), Old Woman and a Boy with Candles, inscriptions (see text), etching, 209 (trimmed) x 177 mm. BM, London, S.6719 [7].8735a) (study for 5b; boy on the right) Willem Panneels, Cursus Mundi (Course of the world), c. 1631, inscriptions in Latin, red chalk, pen, brown and black ink, brush, white bodycolour on yellowish paper, c. 242 x 164/168 mm. SMK, Copenhagen, 258r.8745b) (in reverse; boy on the left) Willem Panneels after no. 5a, Cursus Mundi, inscriptions in Latin, etching, 243 x 171 mm. BM, London, R,4.87.875‘Godefridus Schalcken’6a) Godefridus Schalcken (?) after the print by Peter Paul Rubens (3a; boy on the right), panel, 30.1 x 24 cm. Narodni Museum, Warsaw, no. 1152 (inv. 120).8766b) After Godefridus Schalcken (?) (6a) after Peter Paul Rubens (3a; boy on the right), Old Woman and a Boy with Candles, panel, 40.5 x 30.2 cm (estimate). Shipley Art Gallery, Gateshead, TWCMS:B6228 (previously SAG 229).8776c) Circle of Godefridus Schalcken (?) after Peter Paul Rubens (3a–b; boy on the right), Old Woman and a Boy with Candles, monogram on basket S, panel, 43.3 x 31.3 cm (estimate). Victoria Art Gallery, Bath, BATVG:P:1934.4.8786d) Follower of Godefridus Schalcken (?...

... r at least the best version of the survivors, was acquired by the Mauritshuis in 2005 (Related works, no. 1) [...

... in 1955. The scene depicts Lucian’s ‘Judgement of the Goddesses’ (Dialogues of the Gods, 20), where Paris presents a golden apple to Venus as the most beautiful of the three goddesses. For another depiction of this subject see DPG147 (Adriaen van der Werff). Venus stands between Minerva and Juno; behind Paris to the right is Mercury. Above is the Fury, Alecto; there is a winged cupid in the lower left. There is a peacock at Juno’s feet, and Minerva stands before her armour. Rubens was no doubt attracted to the subject by the opportunity to depict three beautiful women in a state of undress; he made several versions of the Judgement of Paris, and also The Three Graces, a closely related subject (DPG264 and its Related works)....

Peter Paul Rubens DPG19

... a) Modello for 5b: Peter Paul Rubens, Mars and Rhea Silvia, c. 1616–17, canvas (originally on panel), 46.4 x 65.6 cm. Liechtenstein. The Princely Collections, Vaduz-Vienna, GE 115.3265b) Peter Paul Rubens, Mars and Rhea Silvia, c. 1616–17, canvas, 209 x 272 cm. Liechtenstein. The Princely Collections, Vaduz-Vienna, GE 122.3276a) Tapestry cartoon: Thomas Willeboirts Bosschaert or Jan Boeckhorst (?), Two Romulus subjects, gouache on paper glued to two pieces of canvas, 303.5 x 274.3. John and Mable Ringling Museum of Art, Sarasota, Fla., SN 222a and b.3286b) Tapestry cartoon: Thomas Willeboirts Bosschaert or Jan Boeckhorst (?), The Death of Turnus and another subject, gouache on paper glued to two pieces of canvas, 302.9 x 142.2 cm (a), 303.5 x 139.7 cm (b). John and Mable Ringling Museum of Art, Sarasota, Fla., SN 223a and b.329Other men in armour by Rubens7) Peter Paul Rubens, Miles Christianus / Study of a Roman Hero or Martyr holding a Lance, possibly Longinus (previously St Maurice), c. 1614–16, panel, 36.2 x 13.8 cm. Present whereabouts unknown (Sotheby’s, 9 July 2008, lot 20; Neuerburg collection) [9].3308a) Modello for 8b: Peter Paul Rubens, Decius Mus relating his Dream (or Addressing the Legions), probably 1616, hardboard (originally painted on wood panel), 80.7 x 84.7 cm. NGA, Washington, 1394, Samuel H. Kress Collection 1957.14.2.3318b) Peter Paul Rubens, Decius Mus relating his Dream, c. 1616–17, canvas, 294 x 278 cm. Liechtenstein. The Princely Collections, Vaduz-Vienna, GE 47.3328c) Peter Paul Rubens and studio, A Trophy, 1618, canvas, 289 x 126 cm. Liechtenstein. The Princely Collections, Vaduz-Vienna, GE 53.3339) Peter Paul Rubens, The Birth of Henri IV, 1628, panel, 21.2 x 9.9 cm. The Wallace Collection, London, P523.33410) Peter Paul Rubens, The Trophy raised to Constantine, c. 1622–3, panel, 37 x 29.4 cm. Present whereabouts unknown (Saul P. Steinberg collection).33511) Peter Paul Rubens, The Vision of Aeneas, 1630s, panel, 47 x 32 cm. National Museum Cardiff, NMW A 34.336Men in armour by other artists12a) Guido Reni, Vision of St Maurice, c. 1619, canvas, 242 x 143 cm. Santa Maria dei Laghi, Avigliana.33712b.I) Agostino (and Annibale?) Carracci, Romulus dedicates to Jupiter Feretrius the Trophies of the defeated King Acron (part of Romulus and Remus, History of Rome series), fresco. Palazzo Magnani, Bologna.33812b.II) Print after 12b.I: Louis de Châtillon after Annibale Carracci and Carlo Bononi, Romulus dedicates to Jupiter Feretrius the Trophies of the defeated King Acron, 1659, etching and engraving on beige paper, 447 x 440 mm (image). Teylers Museum, Haarlem, KG 14527.339Antique sources13a) Antique cameo, Gemma Tiberiana (The Apotheosis of Germanicus), five-layered sardonyx, 31 x 26.5 cm. Cabinet des Médailles, Bibliothèque Nationale de France, Paris.34013b) Peter Paul Rubens, Gemma Tiberiana (The Apotheosis of Germanicus), pen and brown ink, washed, heightened with white, 327 x 270 mm. Stedelijk Prentenkabinet, Antwerp, 109.34113c) Peter Paul Rubens, The ‘Apotheosis of Germanicus’: copy after an Antique cameo (the ‘Gemma Tiberiana’), canvas, 100 x 82.6 cm. Ashmolean Museum, Oxford, 3522.34213d) Engraving of Antique coins illustrating the history of Romulus, from Hubert Goltzius, Fastos Magistratuum, Bruges 1566 (also in Hubert Goltzius, Opera, Antwerp 1645, i, pl. 1) [10].343Burgonets14a.I) Burgonet of the Emperor Charles V, Augsburg, c. 1530, embossed, etched, chased, and gold-damascened steel, fabric and leather, h 19 cm, w 25 cm, d 34 cm, weight 1,705 gr. Real Armeria, Patrimonio Nacional, Madrid, A.59.34414a.II) Circle of Filippo Negroli (c. 1510–79), Parade Burgonet, low-, medium-carbon steel and copper alloy, embossed, weight 1,800 gr. The Wallace Collection, London, A106.34514b.I) Assistant of Rubens ?after Filippo Negroli, retouched by Rubens, A Parade Burgonet in the Shape of a Dolphin, inscribed in Italian, black chalk, retouched in pen and ink, 275 x 300 mm. Bibliothèque Nationale de France, Paris, MS Dupuy 667, fol. 159r [11]. 34614b.II) Michel François Demasso after Rubens after Filippo Negroli, A Parade Burgonet, engraving in Jacob Spon, Miscellanea eruditae antiquitates.34714c) Peter Paul Rubens, Portrait of a Man in Armour, probably as Mars, panel, 82.6 x 66.1 cm. Present whereabouts unknown (Rafael Valls 2012, pp. 119–23, no. 51).34814d.I) Tapestry cartoon: Jacques Jordaens, Bust of a helmeted Warrior, c. 1660, watercolour and black chalk on grey paper, 509 x 470 mm. Musée des Beaux-Arts et d'Archéologie, Besançon, D.2609.34914d.II) Matthys Roelants et al. after Jacques Jordaens, Charlemagne, the Conqueror of Italy, presented with a Crown and Keys, tapestry, c. 500 x 300 cm. Prince de Ligne collection, Château d’Antoing.350Comparable enlargement of a sketch15a) Sketch for 15b: Peter Paul Rubens, The Rape of Ganymede, c. 1636–40, panel, 33.5 x 24.5 cm. Present whereabouts unknown (Sotheby’s, 5 Dec. 2007, lot 18).35115b) Peter Paul Rubens, The Rape of Ganymede, c. 1636–40 (part of the Torre de la Parada series), canvas, 181 x 87 cm. Prado, Madrid, 1679.352Stylistically comparable sketches16a) Modello: Peter Paul Rubens, St Teresa intercedes for Souls in Purgatory, c. 1630–33, panel, 44.8 x 37.1 cm. Museum Wuyts van Campen-Baron Caroly, Lier, 41.35316b) Modello: Peter Paul Rubens, Constantine investing his Son Crispus with Command of the Fleet (318?), 1622, panel, 37.6 x 30 cm. Private collection, Sydney.354...

... and crowning his head with a laurel garland, his hair gracefully flowing, carried the trophy resting erect upon his right shoulder, and so marched on, singing songs of triumph, and his whole army following after, the citizens all receiving him with acclamations of joy and wonder. The procession of this day was the origin and model of all after triumphs.365McGrath paid particular attention to the textual sources of the Romulus carrying the Trophy of Acron scene, and concurs with Held that the scene largely derives from Plutarch, noting that Rubens follows him in showing Romulus carrying the spolia opima or trophy on foot and in depicting the ferculum as a wooden pole on which the armour was hung.366 She noted, however, that Rubens took the setting of the scene on a slope and under a tree not from Plutarch’s sketchy account but from Livy (Ab urbe condita, I.x), who described Romulus ascending the Capitol:He [Romulus] routed their army and put it to flight, followed in pursuit of it when routed, cut down their king in battle and stripped him of his armour, and, having slain the enemy's leader, took the city at the first assault. Then, having led back his victorious army, being a man both distinguished for his achievements, and one equally skilful at putting them in the most favourable light, he ascended the Capitol, carrying suspended on a portable frame, cleverly contrived for that purpose, the spoils of the enemy's general, whom he had slain: there, having laid them down at the foot of an oak held sacred by the shepherds, at the same time that he presented the offering, he marked out the boundaries for a temple of Jupiter, and bestowed a surname on the god. ‘Jupiter Feretrius,’ said he, ‘I, King Romulus, victorious over my foes, offer to thee these royal arms, and dedicate to thee a temple within those quarters, which I have just now marked out in my mind, to be a resting-place for the spolia opima, which posterity, following my example, shall bring hither on slaying the kings or generals of the enemy.’367A picture with Mars and Rhea Silvia, the parents of Romulus and Remus, a scene that belongs to an earlier phase of the Romulus story, was related to the Romulus sketches, including DPG19. That picture however and the modello for it (Related works, nos 5a–b) must have been made earlier.368Held pointed out that one of Rubens’s pictorial sources may have been the reverse of an ancient coin reproduced in an engraving in the book Fasti Magistratuum et Triumphorum Romanorum ab Urbe Condita by Hubert Goltzius (1526–83), reprinted in 1645. This showed Romulus on foot holding the trophy in one hand and with the other holding a spear over his shoulder (Related works, no. 13d) [10]. However, more Antique men in armour were studied by Rubens, as is seen in his work after the Gemma Tiberiana (Related works, nos 13a–c). Rubens used such studies for compositions with stories from Antiquity, the Bible, or more recent history (Related works, nos 7–11).369 Later Romulus series were also known to Rubens, such as that in the Palazzo Magnani in Bologna, by one or more of the Carracci brothers (Related works, nos 12b.I–II), but the posture of Romulus in DPG19 looks more like a somewhat earlier St Maurice by Guido Reni (1575–1642; Related works, no. 12a) than like the Carracci Romulus.Rubens was interested in armour and even possessed a burgonet, which he thought to be Antique; he studied it in at least one drawing (Related works, no. 14b.I) [11] and used it again in a painting (Related works, no. 14c). In the Liechtenstein Collection in Vienna there is a modello for an entre-fenêtre, a narrow tapestry that hangs between two windows, which shows a picturesque accumulation of weapons (and a severed head). It is quite possible that in DPG19 Rubens depicted an existing burgonet, since some 16th-century ones have survived (Related works, nos 14a.I–II). Rubens’s helmeted warriors in turn inspired Jacques Jordaens I (1593–1678; Related works, nos 14d.I–II)....