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CORPUS RUBENIANUM LUDWIG BURCHARD PART XVI THE DECORATIONS FOR THE POMPA INTROITUS FERDINANDI JOHN RUPERT MARTIN 1 ARCADE CORPUS RUBENIANUM LUDWIG BURCHARD AN ILLUSTRATED CATALOGUE RAISONNÉ OF THE WORK OF PETER PAUL RUBENS BASED ON THE MATERIAL ASSEMBLED BY THE LATE DR. LUDWIG BURCHARD IN TWENTY-SIX PARTS SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE "NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN VAN DE x v id e EN x v n d e EEUW” R.-A. d’HULST, President - F. BAUDOUIN, Secretary M. DE MAEYER - J . DUVERGER - L. LEBEER - H. LIEBAERS J.-K . STEPPE - W. VANBESELAERE THE DECORATIONS FOR THE POMPA INTROITUS FERDINANDI JOHN RUPERT MARTIN BRUSSELS - ARCADE PRESS - MCMLXXII NAT ION' AL CENTRUM VOOR DE PLASTISCHE KUN8TEN IN DE 16» EN DE 17* EEUW 7^/Wo COPYRIGHT IN BRUSSELS, BELGIUM, BY ARCADE PRESS, 1972 PUBLISHED IN THE UNITED KINGDOM BY PHAIDON PRESS LTD. 5 CROMWELL PLACE, LONDON SW 7 . PUBLISHED IN THE U.S.A. BY PHAIDON PUBLISHERS INC., NEW YORK DISTRIBUTED IN THE U.S.A. BY PRAEGER PUBLISHERS INC. I l l FOURTH AVENUE, NEW YORK, N.Y. IOOO3 LIBRARY OF CONGRESS CATALOG CARD NUMBER : 68-21258 PRINTED IN BELGIUM - LEGAL DEPOSIT D/1972/0721/3I CONTENTS LIST OF ILLUSTRATIONS X SOURCES OF PHOTOGRAPHS 7 ABBREVIATIONS 9 a u th o r ’s p r e f a c e 15 INTRODUCTION 17 I. ANTWERP AND THE CARDINAL-INFANTE I9 II. THE PREPARATIONS FOR THE JOYOUS ENTRY 23 III. POMPA INTROITUS FERDINANDI 35 IV. THE SEQUEL 222 APPENDIX I : THE SPECIFICATIONS FOR THE STAGES AND TRIUMPHAL ARCHES DESIGNED BY RUBENS 228 APPENDIX II : THE INSCRIPTIONS OF THE STAGES AND TRIUMPHAL ARCHES 256 INDEXES : I. COLLECTIONS 259 II. SUBJECTS 262 III. OTHER WORKS BY RUBENS MENTIONED IN THE TEXT 268 IV. NAMES AND PLACES 2 7 1 PLATES 279 THE DECORATIONS FOR THE POMPA INTROITUS FERDINANDI LIST OF ILLUSTRATIONS 1. Route of the Procession, traced on a detail of P. VerBieSt’s Map of Antwerp, ca. 1650, A. Stage of Welcome B. Arch of Philip C. Portico of the Emperors D. Stage of Isabella E. Arch of Ferdinand F. Temple of Janus G. Stage of Mercury H. Arch of the Mint I. Arch at St. Michael's 2. T. van Thulden, The Stage of Welcome, etching (No. 1) 3. Rubens, The Stage of Welcome, oil sketch (No. xa). Leningrad, Hermitage 4. Pattern Sheet with Inscriptions for The Stage of Welcome. Antwerp, Stadsarchief 5. M. van der Goes after Rubens, Title-page of Aedo y Gallart, El memorable ... Via je ... (Antwerp, 1635), engraving 6. T. van Thulden, The Advent of the Prince, etching (No. 2) 7. Rubens and assistants, The Voyage of the Prince from Barcelona to Genoa (No. 3). Dresden, Gemäldegalerie 8. Rubens, The Voyage of the Prince from Barcelona to Genoa, oil sketch (No. 3a). Cambridge, Mass., Fogg Art Museum 9. Detail of Fig. 8 xo. M. Raimondi after Raphael, Neptune Slilling the Storm, engraving (detail) 1 1 . C. Schut, Prince Ferdinand greeted by the Archbishop of Cologne. Ghent, Museum van de Bijloke 12. G. Bonasone after P. del Vaga, The Shipwreck of Aeneas, engraving 13. Rubens and assistants, The Meeting of the Two Ferdinands at Nördlingen (No. 4). Vienna, KunSthiStorisches Museum 14. Rubens, The Meeting of the Two Ferdinands at Nördlingen, oil sketch (No. 4a). New York, Coll. Dr. Sonja BinkhorSt-Kramarsky 15. After L. Nonnius, The Front Face of the Arch of the Portuguese, etching 16. T. van Thulden, The Front Face of the Arch of Philip, etching (No. 5) 17. T. van Thulden’s etching of The Front Face of the Arch of Philip with photo­ graphs of paintings superimposed I 18. After Rubens, The Front Face of the Arch of Philip (No. 5a). Antwerp, Rubens- huis 19. School of Rubens, Jupiter and Juno, cut-out (No. 5). Antwerp, Coll. A. J. Lilar 20. F. Wouters, Jupiter and Juno (No. 5). Stuttgart, Staatsgalerie 2 1. T. van Thulden, The Marriage of Maximilian of AuSlria and Mary of Burgundy, etching (No. 6) 22. J. Jordaens (?), The Marriage of Maximilian of AuSlria and Mary of Burgundy (No. 6). Whereabouts unknown, 23. C. de Vos, retouched by Rubens, Maximilian I (No. 7). Vienna, Akademie der bildenden KiinSte 24. C. de Vos, retouched By Rubens, Charles V (No, 8). Vienna, Akademie der Bilden­ den KiinSte 25. C. de Vos, Philip I of Spain (fragment; No. 9). Mexico, Coll. Francisco Gonzales de la Fuente 26. D. V. Coornhert after M. van Heemskerdk, The Submission of all the Princes to Charles V, engraving 27. L, Vorfterman after Rubens, Charles V with drawn Sword, engraving 28. C. de Vos, retouched by Rubens, Philip 111 of Spain (No. 11). Raleigh, N.C., North Carolina Museum of Art 29. C. de Vos, retouched By Rubens, Philip IV of Spain (No. 12). Raleigh, N.C., North Carolina Museum of Art 30. T. van Thulden, The Rear Face of the Arch of Philip, etching (No. 13) 31. After Rubens, The Rear Face of the Arch of Philip (No. 13a). Antwerp, Rubens- huis 32. T. van Thulden, The Marriage of Philip the Fair and Joanna of CaSlile, etching (No. 14) 33. VelazQuez, Equestrian Portrait of Philip III (detail). Madrid, Prado 34. C. de Vos, Archduke ErneSl of AuSlria (No. 19 ). Brussels, Musées royaux des Beaux-Arts 35. C. de Vos, retouched by Rubens, Archduke Albert of AuSlria (No. 17 ). Brussels, Musées royaux des Beaux-Arts 36. C. de Vos, retouched by Rubens, Infanta Isabella Clara Eugenia (No. 18 ). Brussels, Musées royaux des Beaux-Arts 37. T. van Thulden, The Portico of the Emperors, etching (No. 2 1) 2 38. T. van Thulden, Rudolph 1 (No. 22) and Albert I (No. 23), with Sol and Pallas, etching 39. T. van Thulden, Frederick III (No. 24) and Albert 11 (No. 25), with Mars Ultor and Ceres, etching 40. T. van Thulden, Frederick IV (No. 26) and Maximilian I (No. 27), with Juno and Vulcan, etching 41. T. van Thulden, Charles V (No. 28) and Ferdinand 1 (No. 29), with Hercules and Neptune, etching 42. T. van Thulden, Maximilian 11 (No. 30) and Rudolph II (No. 31), with VeSta and Mercury, etching 43. T. van Thulden, Matthias I (No. 32) and Ferdinand II (No. 33), with Venus Viârix, Jupiter Conservator and Diana, etching 44. T. van Thulden, Plan of the Portico of the Emperors, etching 45. Rubens, Rudolph I, oil sketch (No. 22a). Leningrad, Hermitage 46. Rubens, Albert I, oil sketch (No. 23a). Leningrad, Hermitage 47. Rubens, Frederick III, oil sketch (No. 24a). Leningrad, Hermitage 48. Rubens, Albert II, oil sketch (No. 25a). Formerly Aachen, Suermondt-Museum, destroyed 49. Rubens, Maximilian I, oil sketch (No. 27a). Oxford, Ashmolean Museum 50. Rubens, Charles V, oil sketch (No. 28a). Leningrad, Hermitage 51. Rubens, Ferdinand I, oil sketch (No. 29a). Formerly Aachen, Suermondt-Museum, destroyed 52. Rubens, Ferdinand II, oil sketch (No. 33B). Leningrad, Hermitage 53. Rubens, A Handing Habsburg Emperor, drawing (No. 33a). Portinscale, Coll. Dr. and Mrs. Francis Springell 54. Rubens, A seated Ecclesiastic, drawing (verso of No. 33a). Portinscale, Coll. Dr. and Mrs. Francis Springell 55. Pattern Sheet with Inscriptions for the Terms on The Portico of the Emperors. Antwerp, Stadsarchief 56. P. van der Borcht, The Arch of the Genoese, engraving (J. Bochius, Historica Narratio..., Antwerp, 1602) 57. Pattern Sheet with Sketches of the Emblems of the Twelve Emperors. Antwerp, Stadsarchief 58. T. van Thulden, Emblems of the Twelve Emperors, etching 59. P. Pontius after A, van Diepenbeeck, De iure maieSlatis, engraving (detail) 3 60. T. van Thulden, Rudolph I (No. 22) and Albert 1 (No. 23) with Pallas, drawing. New York, Coll. Emile Wolf 61. Maximilian I, engraving (D. CuStos, Atrium heroicum, AugsBurg, 1600) 62. Ferdinand I, engraving (Schrenck von Notzing, AuguSlissimorum Imperatorum verissimae imagines) 63. T. van Thulden, The Stage of Isabella, etching (No. 34) 64. Rubens, The Stage of Isabella, oil sketch (No. 34a). Moscow, Pushkin Museum 65. G. Seghers, Philip IV appoints Prince Ferdinand Governor of the Netherlands (fragment; No. 35). Antwerp, RuBenshuis 66. T. van Thulden, Philip IV appoints Prince Ferdinand Governor of the Nether­ lands, etching (No. 35) 67. T. van Thulden, The Front Face of the Arch of Ferdinand, etching (No. 36) 68. After Rubens, The Front Face of the Arch of Ferdinand, (No. 36a). Antwerp, Rubenshuis 69. J. van den Hoecke, retouched By J. Jordaens (?), Ferdinand 111 of Hungary (No. 38). Vienna, KunSthiStorisches Museum 70. J. van den Hoecke, retouched by Rubens, Cardinal-Infante Ferdinand (No. 39). Vienna, KunSthiStorisches Museum 71. J. van den Hoecke, retouched by J. Jordaens, The Battle of Nördlingen (No. 37). London, Royal Collection 72. J. van den Hoecke, retouched by J. Jordaens, The Triumph of Prince Ferdinand (No. 4 1). Florence, Uffizi 73. T. van Thulden, The Rear Face of the Arch of Ferdinand, etching (No. 40) 74. Rubens, The Rear Face of the Arch of Ferdinand, oil sketch (No. 40a). Leningrad, Hermitage 75. J. van den Hoecke or assistant, The Liberality of the King (No. 42), Lille, Musée des Beaux-Arts 76. J. van den Hoecke or assistant, The Foresight of the King (No. 43). Lille, Musée des Beaux-Arts 77. W. Kilian, Ferdinand III of Hungary, engraving (Dess... Haus OUereichs Her­ zogen..., AugsBurg, 1629) 78. After Rubens, The Liberality of the King (No. 40a). Whereabouts unknown 79. After Rubens, The Foresight of the King (No. 40a). Whereabouts unknown 80. The Arch of the Spaniards, woodcut (C. Grapheus, De seer wonderlijcke schoone Triumphelijcke IncompB..., Antwerp, 1550) 4 81. L. VorSterman after Rubens, Title-page of F. Haraeus, Annales Ducum (Antwerp, 1623), engraving 82. T. van Thulden, The Temple of Janus, etching (No.
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  • Religious Violence in the English Civil War, 1642-1646

    Religious Violence in the English Civil War, 1642-1646

    “God is pleased to be called a man of Warre”: Religious Violence in the English Civil War, 1642-1646 Micheline Jessica Astley-Boden BA (Hons) A thesis submitted for the degree of Master of Philosophy at The University of Queensland in 2014 School of History, Philosophy, Religion, and Classics Abstract In the seventeenth century, daily lives were shaped by religious observance; the Bible was the means by which the world was understood, and Biblical language was one of the most comprehensive tools of expression. However, religious orthodoxy was a hotly contested issue that pervaded political discourse and fired loyalties at all levels of society. This thesis therefore analyses the extent to which religious convictions and difference permeated the civil war armies and continued to drive soldiers’ actions throughout the First Civil War (1642-1646). Dedication to religious observance safeguarded the Christian soldiers’ immortal souls, but each side’s religiosity, and perception of the world, resulted in the use of religious doctrine to explain difference and validate violence against ‘God’s enemies’. Although providing evidence for the role of religion in both the Parliamentarian and Royalist armies, this thesis, at times, places emphasis on the Royalists due to their relative historiographical underrepresentation. While the Parliamentarian army has been viewed as deeply religious – ‘godly’ – there is evidence that the Royalist side, too, structured army life around divine services. It is also apparent that the high command on both sides undertook a determined campaign to disseminate the language of holy war to their troops. These ideas diffused through the civil war armies. They were reflected by the soldiers – those in high positions of power to those among the lower ranks – on military banners and in letters, diaries, and journals.