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PADRE
RESTA'S
RUBENS
DRAWINGSAFTER
ANCIENT
Giorgio
Fubini
SCULPTURE
and
Julius
S. Held'
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JULIUS
S. HELD
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Fig. I
LetterAddressedto the
PaintersandArtLovers
of Milan.
Milan, Biblioteca Ambrosiana.
1"
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mm. Pl. 5.
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PADRE
RUBENS
RESTA'S
DRAWINGS
Fig.2 Copyafter
PETER
PAUL
RUBENS.
The BrazenSerpent.
Milan, Biblioteca Ambrosiana.
in an engraving.
its age,he hadframedandreproduced
well preserved
considering
- undoubtedly
Francesco
He claimstohavereceivedit from"ilflamingo"
Duquesalievo"
of
both
Rubens
Habe'
"diletto
it
from
the
"Monsu
had
who
noy,
mysterious
andVanDyck,whomwe knowfromotherwritingsof PadreResta.5In the British
Museum'sLansdownemanuscript802 (p. 235 v?), he says of him: "QuestoHabe
a nostri
fu un Fiamingodiscepolodi Vandyckche venne ancoper la Lombardia
feroso'.6"Habe"claimedthatthe Michelangelo
drawings
giorni,fu d'Enthusiasmo
hadbeen in the possessionof PeterPaul Rubensand had been obtainedby him
afterthisartist'sdeath.
treasurewhichhe is donating
Afterexpressing
thehopethattheMichelangelo
to theAcademywillbe heldin deservedveneration
by itsmembersandmentioning
brieflytherespectpaidby Del Sartoto the MichelangeloandLeonardocartoonsin
Florence,Restagoeson to a lengthydiscussionof the album'sfirstdrawingwhich
[126]
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JULIUS
S. HELD
afterCorreggio,
Polidoro,Titian,andVeronese
which,he says,he mayenclosewith
anothergift. He concludeswith the hope that the drawingsmayencouragethe
one supposes,to
youngMilanesepaintersto makethe tripto Rome,presumably,
studythe antique.
In contrastto his carefuldiscussionof the provenanceof the Michelangelo
drawing,Restaremainssilentaboutthe sourcesfromwhichhe had obtainedthe
drawingsby Rubens.In view of the closeconnectionRubensin his last Italian
fathers,it mightbe temptingto thinkthatRestahad
yearshadwith the Oratorian
foundthemrightthereon thepremisesof the ChiesaNuova.This, unfortunately,
aswe shallsee. Severalof the drawingsmusthavebeenin Antwerp
is impossible,
aroundI630,andit is hencelikelythattheywerepartof Rubens'estateandwere
sold only in the greatdispersalsale of i657.8 If so, they too may have been brought
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RUBENS.
RUBENS.
Reclining Hercules.
Copenhagen,
The RoyalMuseum
of Fine Arts.
[129]
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Laocoon.
Copenhagen,The RoyalMuseumof Fine Arts.
A Fisherman.
Copenhagen,The RoyalMuseumof Fine Arts.
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outlines. In the copy of Laocoon seen from the back (Fig. 4) he neglects, for
instance, to render the first tentative lines with which Rubens sketchedthe coils
of the serpent.When he copiedthe recliningHercules(?)(Fig. 5) fromthe correspondingfigureon the lowerleft of Rubens'drawing,he relaxedthe poseand
increasedtheproportions,
makingthe figuremorelumpishandsoft.In his copyof
Laocoonwith his YoungerSon (Fig.6), he managesto transform
the noblepathos
of Rubens'Laocooninto the clumsyposturingof a near-simian
figure.
Yetit is preciselythisdrawingwhichexemplifiesthevalueof the Copenhagen
copies.It haslongbeenrecognizedthattheypermitus to roundoutourknowledge
of Rubensas draughtsman
with workslost todayin theiroriginalversions.In the
presentcase,the copycontributesin anotherway to ourknowledge.It permitsus
to statethat Rubenswas not responsiblefor the combinationof the silhouetted
figureof the olderson with the sheeton which he had drawnLaocoonand his
madehiscopy(probably
around
youngerson.When theCopenhagendraughtsman
I628-30), he evidentlyfoundonly the fatherand youngerson on the sheetfrom
left armandof theentwining
whichhe worked.Hiscopydepictspartsof Laocoon's
serpentwhichin theMilanoriginalarenowhiddenby thearmof thesuperimposed
figureof theolderson.Sinceit is unlikelythatRubensshouldhavebusiedhimself
in the lastyearsof his life with the pastingtogetherof someof his earlysketches,
the integrationof the wholeLaocoongroupby graftingthe studyof the olderson
onto the sheet containingthe othertwo figuresis probablythe workof a later
collector.I rathersuspectthatthe crudesilhouettingof the figureof the olderson
of the two sheetswas the workof none otherthan
and the ultimatecombination
PadreRestahimselfwho,accordingto Popham,"seemsto havehada predilection
for smalldrawingsand must,I am afraid,havebeen in the habitof cuttingout
singlefiguresfromlargersheets''
The survivalin Milanof no lessthanfivedrawingsafterthe Laocoon(countthe
ing drawingof theeldersonasa separateitem)is a welcomestrokeof goodluck.
Hitherto,onlyoneoriginaldrawingby Rubensafterthe Laocoonhasbeenknown.
That drawing,now preservedin the DresdenPrint Room (Fig. 8),12renders
torsoseenfromtheleftandbelow.However,astherearetwelvedrawings
Laocoon's
afterthe Laocoonamongthe Copenhagencopies,includingone of the Dresden
sheet,it waseasyto postulatethatat leasttwelveoriginaldrawingsmustoncehave
existed.13
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PADRE
RUBENS
RE
TA'S
DRAWINGS
* '' **;St . ^ ^
;'?i:?..
*;*
*:f""
;t
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i;
Fig.8
PETER
PAUL
a,:
-0S^s.,s
RUBENS.
Laocoon.
Dresden,StaatlicheKunstsammlungen.
Fig.9
PETER
PAUL
RUBENS.
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PADRE
RUBENS
RESTA
DRAWINGS
JULIUS
S. HELD
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PADRE
RUBENS
RESTA'S
DRAWINGS
JULIUS
S.
HELD
".
.
'
.i
nature, Rubens endowed his model with the immediacyof life and in doing so
absorbedhis borrowingscompletelyinto the elan vital of his art.
Nor did he follow the ancient marblein the arrangementof the children. He
used both of them in almostidentical poses, but in reverse,and they have traded
places,as it were. Thus the one sitting up is furtherfrom the watchful head of the
animal, while the one reclining and suckling is nearer to it. The reason for this
change is obvious. Since Rubens made the center of interest what in the Tiber
grouphad been only a marginalelement, he felt the need of creatinga composition
in which the elements were neatly balanced.Indeed, the group of the Lupa with
Romulusand Remusin the Capitolinepaintingformspartof a grandcompositional
curve from the rivergod at the left to the astonishedfarmerapproachingfrom the
right.
However, there is probablystill anotherreasonfor this change. Virgil's text
which Rubens had inscribedon his drawing specificallydescribesthe animal as
"lickingthe children into shape'' In the Louvre marble and in Rubens' drawing
basedon it, the childrenareplacedtoo farfromthe animal'shead to serveas a literal
illustrationof these words.By the ingeniouslysimple device of reversingthe order
of the children,Rubenseliminatedthis interval.Nor did he omit the licking tongue
of the wolf, a detail not consideredby the later, and less erudite, restorerof the
Louvregroup.29
Analogy with the previousdrawingsand internalevidence both suggest that
the last drawing,too, was done from a classicalsculpture(P1.8). The main figure,
an elderlybut athletic man, in a reclining position,was drawn twice from slightly
differentangles. He probablyheld a drinkingvessel in his right hand. A younger
companionlying behind him supportsthe older man's right wrist, while placing
his left hand familiarlyon his partner'sshoulder.Both figuresare drapedwith or
rest on animalskins, in one case surelya lion's.
[136]
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........
:(i~i!:,
?l
.7Pr~i~ '
PADRE
RUBENS
:f
'"
[?~'
*~A
',.:,d,Z ,~
:!''7
:Ij
~q
Fig. I1
RESTA
DRAWINGS
PETER
PAUL
RUBENS.
The She-Wolfwith
RomulusandRemus
:'__,:,...,
,
It is fairly certain,however, that the main group depicted the drunken Hercules. Both the vigorousbuild of the man and the large lion's paw of the skin on
which he reclinesarguein favorof this theory.The theme is one frequentlytreated
in ancient art.3' The companiondrapedwith the skin of a much smaller animal
(leopard?)was probablya satyr.The Bacchicassociationsof the scene arereinforced
by the faun'shead peeping out frombehind "Hercules'.'
Whatever the model, it was probablya piece of some prominence. Rubens
normally did not go out of his way to study obscure objects. Moreover,though
damaged, it was obviously a work of considerableartistic merit. One wonders
whether it might not also have influencedsome of Michelangelo'sreclining figures
such as thoseof the Medici tombs,especiallyEvening and Night, or even Raphael's
rivergod in the Judgmentof Paris,engravedby MarcantonioRaimondi.
An echo of this figureis found in Rubens'paintingsof Lot and his Daughters
(KdK 40) and the Birth of Marie de Medicis (KdK 244). The grinning faun's mask
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(detail).
JULI US S. HELD
been done before I608 and probablydates precisely from that year. As the only
the Baker
drawingof thiskindforwhicha terminuspost quem can be established,
sheetassumesa keypositionin the chronologyof Rubens'drawingsafterthe angroupprotique.It lendsadditionalsupportto the datingof the Milan-Dresden
posed here.39
1. The drawingspublishedhere were discoveredand identifiedin 1955 by Dr. Giorgio
at the Ambrosiana.
In recognition
of thisdiscovery
and
fordrawings
Fubini,consultant
the fact that he suppliedsome generalinformationand the photographsof the album,
the presentarticleappearsunderboth Dr. Fubini'sand my name. This is done with the
agreementof Dr. Fubini and of the Prefectof the Ambrosiana,MonsignoreCarloCastiglioni. However,I must take full responsibilityfor the text since Dr. Fubini left me
completelibertyto deal with the scholarlyaspectsof the problem.I shouldlike to thank
[138]
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Mr. K. G. Boon for having first drawn my attention to this group of works, and Dr. ! 0.
Kristeller and Dr. Sheila Edmunds for having provided me with some pertinent informa-
I923,
10. Held, op. cit., nos. 3, 4, and 7. I owe Dr. Miiller Hofstedethe informationthat the in
scriptionon the Entombmentin Rotterdam(Held, no. 4), examinedin ultra-violetlight,
has been found to read:"focushic ad miscendumet mirramet aloen'
11. See G. Falck, "En Rubenselevs Tegninger' Kunstmuseets Aarskrift, 9I 8, p. 64, and
Held, op. cit., pp. 13 and 48-5I.
12. See L. Burchard and R.-A. d'Hulst, Rubens Drawings, Brussels, I963, no. 15, p. 32:
"The only originalstudyby Rubensafter the Laocoongroupso far known' In Heemskerck'sfamous sketchbookin Berlin there is a view of Laocoonfrom the same angle
(Christian Hiilsen and Hermann Egger, Die Romischen Skizzenbiicher von Marten van
Heemskerck, Berlin, 1913, I, f. 39 recto), but this is probably sheer coincidence.
13. See Held, op. cit., p. 5 .
14. In the light of the drawings,the theoryexpressedby Burchardand D'Hulst (op. cit.,
p. 33) that Rubens may have made his drawingsof Laocoonfrom a plastercast must
be rejected.
15. See A. Brandi,"LaFortunadel Laocoontedallasua scopertanelle termedi Tito' Rivista
dell' Instituto Nazionale d'Archeologia e Storia dell'Arte, n.s. II, I954, p. 78, and
Filippo Magi, "I1 Ripristino del Laocoonte' Atti della Pontifica Accademia Romana di
Archeologia, II, 1960.
[139]
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PADRE
RUBENS
RE STA'S
DRAWI
NGS
JULI
U S S. H E L D
28. See for instancethe case of the Amsterdamand Londondrawingsof a lioness (M. Jaffe,
"Rubensen de Leeuwenkuil'Bulletinvan het Rijksmuseum,Amsterdam,I955, no. 3)
whereRubensderivedthe movementfroma Paduanbronzebut successfullycamouflaged
his borrowingwith naturalisticdetailbasedon his observationof live animals.
29. Anothervariantof the groupis renderedon the title-page,designedby Rubens,of Jacob
Biaeus, Numismata ImperatorumRomanorum,Antwerp, 1617, and used again for
LudovicusNonnius, Commentariusin Nomismata,Imp. Iulii, Augustiet Tiberii, Antwerp, I644.
[140]
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37. Hithertoit had been assumedthat the Hermaphroditenow preservedin the Uffizi had
been Rubens' model; see Drawings & Oil Sketches by P P. Rubens from American Col-
II,
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PA D R E RE s TA'S
RUBENS
DRAWINGS
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Plate2
PETER PAUL RUBENS.
The Younger Son of
Laocoon, from the Back.
Milan, BibliotecaAmbrosiana.
Plate3
PETER PAUL RUBENS.
Laocoon, from the Back.
Milan, BibliotecaAmbrosiana.
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