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Lot Essay
The two Princes of the Apostles, identified by their emblems of keys and a sword, are depicted standing at a portico obviously designed to be viewed from below. This modello is generally accepted as having been executed in preparation for the two large-scale depictions of the Saints, offered at Christie's Amsterdam, 11 December 1984, lot 58, which in the form they have come down to us are rendered independently in arched top formats without architectural settings.
The two paintings are thought to be identical with those recorded, before circa 1748, as occupying the window niches in the choir of the Capuchin Church in Antwerp. The date of constructon of the church of 1613-14 would provide a terminus post quem for the execution of the canvases and the modello. And indeed a date of circa 1615-20 seems acceptable on stylistic grounds for the latter as Vlieghe has maintained although, in fact, Held suggested a date of circa 1614-15, while Jaffé last proposed a date of circa 1614.
While the large canvases may well have been originally intended for the Capuchin Church, it is unlikely that they were executed as they now appear, because the modello depicts them as occupying a single support, and Van Dyck's St. John the Baptist and St. John the Evangelist, formerly in the Kaiser-Friedrich-Museum in Berlin was clearly inspired by Rubens' finished, single format, rectangular formulation, as Vlieghe has pointed out (under his no. 51).
Vlieghe points to the influence of the 'somewhat analogous figures of Plato and Aristotle' in Raphael's School of Athens in the impressive poses devised by Rubens for the two Saints.
He also suggests (under his no. 51) that their placement before a portico may have been intended as a reference to the vision of Dionysius the Areopagite, as relayed in the Golden Legend, in which he saw the two Saints entering the gates of a city together.
The two paintings are thought to be identical with those recorded, before circa 1748, as occupying the window niches in the choir of the Capuchin Church in Antwerp. The date of constructon of the church of 1613-14 would provide a terminus post quem for the execution of the canvases and the modello. And indeed a date of circa 1615-20 seems acceptable on stylistic grounds for the latter as Vlieghe has maintained although, in fact, Held suggested a date of circa 1614-15, while Jaffé last proposed a date of circa 1614.
While the large canvases may well have been originally intended for the Capuchin Church, it is unlikely that they were executed as they now appear, because the modello depicts them as occupying a single support, and Van Dyck's St. John the Baptist and St. John the Evangelist, formerly in the Kaiser-Friedrich-Museum in Berlin was clearly inspired by Rubens' finished, single format, rectangular formulation, as Vlieghe has pointed out (under his no. 51).
Vlieghe points to the influence of the 'somewhat analogous figures of Plato and Aristotle' in Raphael's School of Athens in the impressive poses devised by Rubens for the two Saints.
He also suggests (under his no. 51) that their placement before a portico may have been intended as a reference to the vision of Dionysius the Areopagite, as relayed in the Golden Legend, in which he saw the two Saints entering the gates of a city together.