2020 The Rubenianum

Quarterly 1

After the Plague Cultural Victims

After what seems an agonizingly long period of closure in response to the Prompted by the return of two masterpieces coronavirus, the , like all museums, is looking forward to reopening by Titian and Tintoretto to their native to the public. We are especially eager because we intend to surprise our visitors Venice, the Rubenshuis, in collaboration with a new display of the permanent collection and a number of new long-term with the Fondazione Musei Civici di loans, including outstanding works by Titian, Otto van Veen and Rubens. The most Venezia, recently organized ‘From Titian to imposing of these acquisitions, certainly in terms of scale, is The Capture of , Rubens: Masterpieces from and a rediscovered masterpiece by Rubens’s last teacher, Otto van Veen. From the other Flemish Collections’ (Venice, Palazzo same collection comes Titian’s Portrait of a Venetian Admiral. This portrait, almost Ducale, until 1 March 2020). The exhibition certainly painted during the last decade of the artist’s life, was copied by Van Dyck featured exceptional loans from the leading in a lively pen-and-wash drawing in his Italian sketchbook (1621–27). Flemish museums, as well as an outstanding Most of the new acquisitions, however, are by Rubens. The unfinished, half- selection of works from private collections, length Portrait of a Young Woman, Holding a Chain surfaced only a decade ago. most of which had never before been shown A beautifully preserved early work, it was painted in Italy, most likely in Genoa, to the public. ‘From Titian to Rubens’ enjoyed and is thus datable to 1605–06. We will also present two oval bust portraits of the an immense success. The exhibition attracted Roman emperors Vitellius and Vespasian, the latter of which was formerly owned 180,000 visitors, despite unprecedented by Ludwig Burchard. They probably belonged to a series of twelve panels that misfortunes: last November Venice suffered Rubens possibly painted for his elegantissimo museo, his domed sculpture gallery (see Koenraad Jonckheere, CRLB, xix). The most spectacular temporary acquisition, its worst flooding since the annus horribilis however, is a rediscovered Self-Portrait by Rubens in oil on paper. As suggested of 1966, and the exhibition was forced to by Liz McGrath back in 1981, this rare work is most likely a study for the self- close more than a week earlier than planned portrait that Rubens included in the principal scene of his most important Gonzaga due to the corona crisis. We were the lucky commission, a painted frieze for the cappella maggiore of the Jesuit church in ones, however. Other institutions have Mantua, which showed the whole Gonzaga family in Adoration of the Trinity. been less fortunate. Among the first real Standing modestly in the background, peering out among the peripheral witnesses ‘cultural victims’ of Covid-19 were ‘Van Eyck: of the religious drama, Rubens observes the viewers observing his painting. As the An Optical Revolution’ at the MSK Ghent and participants in our Mantua trip in October 2019 will undoubtedly remember, the ‘Caravaggio–Bernini’ at the Rijksmuseum, Adoration of the Trinity (now in the two major exhibitions that had to close in Palazzo Ducale) is only partially mid-flight. At the Scuderie in Rome, ‘Raffaello preserved. Large parts, including 1483– 1520’ – the largest-ever Raphael the self-portrait, are lost. Luckily exhibition, insured for the improbable sum of the study recently resurfaced. four billion euros – was open for a mere three I would like to take this days. Now it is only a ghost exhibition. Other opportunity to thank all Lenders shows, such as ‘Artemisia Gentileschi’ at the for their support of our beloved National Gallery in London, were postponed Rubenshuis. We are determined at the last minute. Not only have these to reopen, safely and responsibly, institutions been dealt a serious financial as soon as we can. In the meantime, blow, but many curators have been deprived please continue to look after of the grand finale to years of dedicated yourselves and each other. and passionate work. Our sympathy goes Ben van Beneden out to all the colleagues affected by the ramifications of this tragic pandemic. , Self-Portrait as a Young Man. Oil on paper. Private collection, on loan to the Rubenshuis, Antwerp Ben van Beneden Corpus Rubenianum

Corpus Rubenianum Ludwig Burchard, part XVII Genre Scenes by Nils Büttner

The latest volume of the Corpus instead by the referential framework, class. Although no umbrella term existed Rubenianum is dedicated to Rubens’s genre visual and intellectual, which the artist for such images in Rubens’s day, they clearly pieces. It has often been noted that Rubens shared with his principal audience. This have a conceptual common denominator was not a genre painter in the accepted referential framework includes works of that reached back to classical antiquity. meaning of the term. Considering the fact art nowadays classified as genre paintings. The Garden of Love is among Rubens’s that the present volume contains no more Nonetheless, these make up only a tiny most frequently copied and imitated than fourteen pictures by Rubens – a tiny part of the pictorial cosmos within which pictorial inventions. It continues the number in view of the thousand images the Rubens’s pictures must be placed if they tradition of the Gardens of Love that artist invented – it would indeed be odd to are to be understood in a historically decorated palaces throughout Europe present Rubens as a genre painter. In the informed manner. With the exception of in the late Middle Ages. In ancient Rome, same way, close inspection of the paintings The Garden of Love, Rubens did not sell gardens had been dedicated to Venus, the and drawings featured here shows them to most of the paintings featured in this goddess of love, and they retained amorous be anything but straightforward depictions volume, which suggests that those works associations in post-antiquity. Rubens’s of everyday life. They do not correspond should be viewed as a personal legacy. painting is susceptible to a broad spectrum to the usual definitions of genre painting, Besides their character as personal artistic of metaphorical readings, and a picture such as showing scenes of ordinary people statements, all these works addressed a as The Garden of Love was doubtless meant engaged in common activities, a subject wider audience. Exceptions are those items to be understood allegorically, with its classification introduced relatively late that formed part of the store of images in figures prompting, for instance, a discussion in the history of art. The Garden of Love, Rubens’s workshop, including the studies of the relations between the sexes. As the for example, with its fluttering amoretti, for The Garden of Love, the designs for image was exceptionally popular, it was could be more accurately described as an the woodcut of the same subject, or the copied many times. Given that it is the allegory. To include the ahistorical term oil sketch now in Milan and the drawing of ambitious goal of the Corpus Rubenianum ‘genre’ in the title of a volume forming the young woman churning butter. to discuss not only the original works, but part of a catalogue raisonné of Rubens’s The justification for presenting the also all known copies thereof, this volume complete oeuvre may therefore appear paintings in a separate volume and as a discusses far more than only fourteen problematic. distinct category comes from the fact that paintings. Sometimes we know of only one Nevertheless, no history of genre painting they share certain characteristics. They all copy, sometimes of only two or three, but can fail to mention Rubens. His pictures depict human beings, but are not portraits: often there are more than one hundred occupy a firm place in the relevant section the people represented are anonymous. copies, as for example of The Garden of Love of any musée imaginaire of European The pictures often tell stories, but their in the Prado Museum. art, no matter how many guides to that narratives come neither from the Christian The present publication features the museum stress that he was not a genre religion, nor from classical mythology or paintings that Ludwig Burchard (1886–1960) painter as such. Artists who did specialize from history. Instead, they feature episodes gathered under the heading ‘Genre’ in the in the field chose to copy and vary many in which everyday figures appear less as course of working on his planned catalogue of his pictorial inventions, and that individuals than as typical representatives provides indirect justification for the title of their age group, their sex or their social (continued on page 5) of the present volume: Rubens made a major contribution to the history of genre painting, whether he intended to do so or not. For Rubens genre painting represented just one of many modes of artistic expression linked inextricably to emotional stimulation, to instruction and pleasure. These were the functional categories, borrowed from rhetorical theory, in which Rubens and his contemporaries described and assessed the form and content – and the aesthetic qualities – of images. His aim would have been to appeal directly to the viewer’s feelings as a means of encouraging allegorical interpretations of single moments from larger narratives. This we must bear in mind when analysing the paintings in historical terms. The ‘Genre’ volume therefore does not aim to define Rubens’s place in the history of genre painting. Its main analytical coordinates are determined Peter Paul Rubens, The Garden of Love, c. 1630–35. Museo Nacional del Prado, Madrid

2 ‘Solar Eclipse in Mantua’, 1605, by Peter Paul Rubens: Chronology of a Hypothesis

Roger Van der Linden

At 10:38 a.m. on 20 March 2015, a partial, 81% solar eclipse was observed from Antwerp. the Earth. His correspondents included The event attracted a great deal of attention, during which it was noted that Rubens Michiel Coignet (brother of the painter had faithfully represented the same natural phenomenon in his magnificent Raising of Gillis Coignet) who was court astronomer the Cross in Antwerp Cathedral (fig. 1). The account of the Crucifixion in Luke 23 : 44–45 and mathematician to Archduke Albert states, after all: ‘It was now about noon, and darkness came over the whole land until and the Infanta Isabella, governors of three in the afternoon, for the sun stopped shining.’ the Southern . Coignet duly made and dispatched the requested The most striking aspect is the naturalistic Astronomical records reveal that a observations.2 In the end, Kepler was way in which Rubens depicted the 90% solar eclipse visible from the west unable to achieve his goal, as some of eclipse, compared to the more symbolic coast of Italy and from Mantua, where the data he received proved inaccurate. treatment we find in earlier art. In terms Rubens was staying at the time, did indeed Rubens’s contemporaries were of astronomical correctness, however, occur in the afternoon of 12 October immensely interested in celestial he slipped up in three respects. Firstly, the 1605. It lasted almost three hours (as phenomena, several of which were moon is shown in front of the clouds, which Luke’s Gospel states). Unlike their lunar described and discussed at length in is obviously not possible outside of René equivalents, solar eclipses are only 100% the literature at the time, including a Magritte’s 1956 Surrealist painting 16th visible from a narrow strip along the Earth’s supernova in 1604 and the comet of September. What’s more, it is moving left surface. While the one viewed from Mantua 1618 (hence the gilded comet decorating to right. A solar eclipse lasts roughly three was not total, a certain darkening of the the roof of the Rubens House; fig. 2). hours, but totality – the point at which the surroundings is very likely to have been Nicolas-Claude Fabri de Peiresc, who moon covers the sun entirely – is just two observed. The minor errors Rubens made became a correspondent and friend of minutes long and coincides in the Gospel in the Raising of the Cross will therefore Peter Paul Rubens, got hold of one of with the moment Jesus died and gave up have been due to the fact that he painted the first telescopes and is credited with his human essence in exchange for the it in 1610, five years after witnessing the discovery of the Orion Nebula. Even divine. Since the moon always crosses the an eclipse at first hand. These findings the Vatican got in on the act, building sun from right to left in a solar eclipse were published in 2015 in Antwerpsche the Gregorian Tower in 1580 to make and since Christ is still plainly alive during Tijdinghen, the Antwerp City Guides’ astronomical observations. The papal the raising of the cross, the moon ought magazine.1 The article also mentioned astronomers later transferred to Castel properly to be to the right of the sun. Rubens’s painting The Friends from Mantua Gandolfo and even today there is a Vatican Lastly, the lunar disc is shown in its entirety, (fig. 5), suggesting that it might include a Observatory in Tucson, Arizona. The while it is normally only possible to see portrait of Galileo Galilei. Jesuits in particular numbered several the part covering the sun. Despite these The topic was revisited in 2019, during prominent astronomers within their order, mistakes, the painted detail shows that the preparation of a lecture on ‘Astronomy which was likewise an important patron Rubens understood the process of a solar in Art’ for the Rubenianum. Study of of Rubens. eclipse very well. He was, after all, an artist astronomy/astrology in the sixteenth Three other paintings suggest that rather than a trained astronomer. A brief century has made very clear just how Rubens himself was interested in investigation in Antwerp swiftly turned up important this subject was in that period. astronomy too. The 1617 Allegory of Sight, three similar images: the Coup de Lance and The court astrologer to Emperor Rudolf II painted in collaboration with Jan Brueghel, at the KMSKA in Antwerp in was Johannes Kepler, whose features several perfectly rendered and a modello featuring Christ on the Cross three laws of planetary motion are still astronomical instruments: quadrants, with Mary, Mary Magdalene and St John crucial to lunar and Mars missions to this an armillary sphere, an astrolabe and at the Snyders&Rockox House. The latter day. When a solar eclipse was forecast for a magnificent telescope. In other words, work – which Rubens painted and Van Dyck 1605, Kepler wrote to colleagues all over Rubens painted this top-of-the-range worked out further for St Michael’s Church Europe asking them to carefully record the optical device barely eight years after in Ghent – is especially convincing. It was exact timing and to send the data to him. it had first occurred to Galileo to turn a becoming increasingly clear, therefore, He correctly theorized that he could use small Dutch telescope towards the stars that the artist must have witnessed a solar their measurements to calculate precise in 1609. Jan Brueghel and Rubens will have eclipse at first hand. distances and hence the circumference of seen these instruments at the home

Fig. 1 Peter Paul Rubens, The Raising of the Cross, c. 1609–10. Onze-Lieve-Vrouwekathedraal, Antwerp.

3 Fig. 2 The comet on the roof of the Rubenshuis, Antwerp.

Fig. 3 Peter Paul Rubens, Saturn Devouring his Son, 1636. Museo Nacional del Prado

Fig. 4 Galileo’s sketches of Saturn seen through a telescope

1610: Galileo’s first sketch of Saturn

1616: sketch made using a better telescope

1623: etching published in Il Saggiatore

of their neighbour Michiel Coignet, the The Friends from Mantua clearly received a university education that will court astronomer and mathematician with features a self-portrait of the young artist have included astronomy/astrology as an outstanding European reputation, who surrounded by several other men and with one of the liberal arts, while his mentor, manufactured the devices in his workshop. the Mantua skyline in the background the Neostoic Justus Lipsius, will also Surviving examples can still be admired in (fig. 5).3 The friends that the work depicts have held pronounced views on astrology many museums all over the world. Another have not been unambiguously identified, similar to those expressed in Seneca’s painting by Rubens, Saturn Devouring his although most authors believe they Naturales Quaestiones. It is tempting to Son of 1636 (fig. 3), shows the planet Saturn include Justus Lipsius and the painter’s identify the other figure in the foreground in the upper left corner, flanked by two elder brother, Philip Rubens. The group as Galileo Galilei, one of Europe’s great ‘stars’. We now know that these are Saturn’s is depicted, moreover, in a darkened mathematicians and physicists at the rings, but when Galileo first observed them landscape, suggesting a nocturnal scene. time and whose reputation was then still in 1610, he did indeed draw a couple of stars Most experts date the work to between unblemished. There is a strong resemblance like this, which means Rubens must have 1602 and 1608. However, in view of the at any rate with the famous portrait of the been familiar with Galileo’s drawing (fig. 4). facts set out above, it is not unreasonable scientist by Ottavio Leoni (fig. 6). The third work is the marvellous to suppose that what the young and All this clearly remains a hypothesis visualization, done in 1620, of the origin ambitious Rubens painted here is actually with numerous questions unanswered. of the Milky Way, now in the Prado. The the 1605 solar eclipse that he witnessed The present article is merely intended to keen-eyed astronomer will quickly spot the in Mantua, with the associated darkening suggest an angle for further research into mistake here too: the Milky Way was not somewhat exaggerated. Given that the the circumstances and significance of what really created from milk spilled by Juno phenomenon was a topic of discussion we currently call The Friends from Mantua, while nursing the infant Hercules, but from amongst the European intelligentsia of but which we might one day refer to as the gravitational contraction of a cold cloud the time, it would have been natural for ‘Solar Eclipse in Mantua’, 1605. of molecular hydrogen. But it is noteworthy the young Rubens to have turned it into nonetheless how Rubens has the mother’s a statement: I was there, I saw it and have milk turning into dozens of tiny stars: Galileo reflected on it. If this hypothesis is correct, .1 R. Van der Linden, ‘Driemaal een zonsverduistering’, discovered in 1610 that the Milky Way is not 3 p.m. on Wednesday 12 October 1605 can Antwerpsche Tijdinghen 36.2 (June 2015). some kind of haze but is made up instead be given as the work’s terminus post quem. 2 J. Van Camp and R. Van der Linden, ‘Michiel Coignet: of individual stars – a realization that The other figures in the painting briljant maar vergeten wiskundige, astronoom marked the first step towards an entirely might then be acquaintances of the artist en instrumentenmaker’, Heelal 64.8 (August 2019). new understanding of the structure of the familiar with the phenomenon of a solar 3 ‘Peter Paul Rubens in a Circle of Friends’ in Portraits I universe. eclipse. His brother Philip, for instance, (Corpus Rubenianum Ludwig Burchard, XIX, no. 37).

Fig. 5 Peter Paul Rubens, The Friends from Mantua, 1602–04. Fig. 6 Ottavio Leoni, Portrait of Galileo Galilei. Wallraf-Richartz-Museum & Fondation Corboud, Cologne Biblioteca Marucceliana, Florence Rubeniana

(continued from page 2) Max Rooses Archival Project raisonné of Rubens’s oeuvre. In 1938 a Help wanted leaflet was issued by Elzevir Publishers, The Rubenianum obtained a grant from Amsterdam, inviting subscriptions to The the Flemish Community to research and Work of Peter Paul Rubens: An Illustrated publish the dispersed archives of Max Catalogue of the Paintings, Drawings and Rooses (1839–1914). Rooses was the first Engravings in Six Volumes Demi Quarto. director of the Plantin-Moretus Museum, As in Rooses, the genre scenes were planned but also a ground-breaking figure in the for volume four, and an item from this Flemish cultural movement of his day, section was chosen to give potential buyers a man of letters and a politician. To our readers he is of course best known as a an idea of how the final publication would pioneer of the emerging Rubensforschung, look. The work in question, A Sailor and his author of impressive early reference works Mistress (No. 5), did not appear in Rooses’s and a pioneering curator of old master catalogue and a reproduction of it had been exhibitions. By inventorying and digitizing first published only a few years previously, his papers scattered over the Rubenianum, by Glück. Burchard gave it the number 841a, the Letterenhuis, the Plantin-Moretus placing it between Soldier and Girl (No. 6) Museum and the Royal Museum of Fine Unidentified interior, Collection of kik-irpa, and Shepherd and Shepherdess (No. 7) in Arts, we aim to complete his fascinating neg. no. a144990. Rooses’s sequence. The leaflet included a biography, and to disclose the full research catalogue entry on the painting written by potential of his legacy for art history. Browsing through Burchard, and it remained the only one by In telling his story, we will also involve him ever to be published. Yet even this entry the still-existing allegorical wall-painting the Van Herck history remained unfinished. In his own copy of the cycles in the salons of his former mansion. The Rubenianum is proud to announce its leaflet he later noted numerous additions Are you aware of documents, letters, first online exhibition in collaboration with and corrections to his text. Nevertheless, annotated books etc. from Max Rooses Archiefbank Vlaanderen. The exhibition is this sample text became the pattern for all in other collections? Please inform project the result of the study day on the Van Herck Corpus entries. associate [email protected]. art dealers’ business and family organized The starting point of each entry is the by the Rubenianum in 2019. We introduce original painting with its material substance, you to the family history and share articles supported by the latest art-technological by the conference speakers on the scattered findings. The second step follows Ludwig archival and art collections. The texts are Burchard’s tradition and traces the history illustrated by numerous images of archival of the motifs in an iconographical reading. records and linked to inventories and databases. The material is surprisingly rich, At the same time, I aim to illustrate the not only for the Antwerp art-market history, connection between this particular image but also for interior decoration studies, and related motifs in other works by Rubens Antwerp museum history, and of course for on the one hand, and images by other art history, especially the field of baroque artists on the other, trying to establish sculpture. Go explore this new application the referential framework. The reader can now, and discover the hidden gems in the follow this not only through a verbal, but Van Herck collections. also the visual argumentation illustrated Eduard Pellens, Portrait of Max Rooses. Woodcut by a copious amount of images. Including all known copies, there are nearly 400 works mentioned in this Rubenianum Lectures 2020 new book, for which I gathered as much Due to Covid-19, we have rescheduled our 2020 programme of Rubenianum Lectures information as possible: the provenances for after the Summer. This year’s cycle reflects, in its varied choice of topics and of the copies and repetitions, as well as acclaimed speakers, the international outreach and exchange that characterize both a bibliography as complete as possible. Flemish art history in Rubens’s day and present-day scholarship in the field. We look Apart from hopefully being valuable work forward to welcoming you to the following talks: for generations of following researchers, 20 September: Prof. Filip Vermeylen (Erasmus University, Rotterdam),The Art of this work is worthwhile because it teaches Collaborating: Artistic partnerships in Antwerp during the 16th and 17th centuries 25 October: Peter van den Brink (Suermondt-Ludwig-Museum, Aachen), Dürer was about the changing perceptions of Rubens’s here… and portrayed Antwerp (amongst other things) images. Decisions on whether paintings 15 November: An Van Camp (Ashmolean Museum of Art and Archaeology, Oxford), were made in Rubens’s studio or elsewhere, Drawing after Antiquity: Flemish artists in Italy are based on the viewing of the original 13 December: Prof. Nils Büttner (Staatliche Akademie der Bildenden Künste, paintings whenever their photographs Stuttgart), Rubens recto/verso. Writing the Corpus Volume on Rubens’s Medici Cycle seemed promising. I have experienced a lot of support from colleagues in museums The dates of these lectures are subject to national regulations regarding public events, from Basel to New York, and in the houses which remain unclear at the moment of publication of this newsletter. Possible of private collectors, for which I am very changes in the programme will be communicated through our website. grateful.

Fig. 6 Ottavio Leoni, Portrait of Galileo Galilei. Biblioteca Marucceliana, Florence 5 CORPUS RUBENIANUM LUDWIG BURCHARD

PATRON H S H Prince Hans-Adam II von und zu Liechtenstein Rubenianum Fund BOARD Thomas Leysen (Chairman) Dominique Allard, Arnout Balis, Michel Ceuterick, Gregory Martin, Ben van Beneden BENEFACTORS Fonds Baillet-Latour The Colnaghi Foundation Fonds Léon Courtin–Marcelle Bouché, managed by the King Baudouin Foundation Catherine Lewis Foundation / Schorr Collection The Samuel H. Kress Foundation The Michael Marks Charitable Trust vzw Natuurbehoud Pater David Broere Charitable Foundation The Hans K. Rausing Trust

Allaert-d’Hulst family Jules-André Hayen Otto Naumann Arnout Balis Fiona Healy Natan Saban Joris Brantegem Steven Heinz Cliff Schorer Annette Bühler Willem Jan and Karin Hoogsteder Léon Seynaeve Michel Ceuterick Baroness Paul Janssen Vic and Lea Swerts Herman De Bode David Koetser Daniel Thierry Georges De Jonckheere David Kowitz Michel Thoulouze Eijk and Rose-Marie de Mol van Otterloo Eric Le Jeune Johnny Van Haeften Dr Willem Dreesmann Bettina Leysen Eric Verbeeck Antoine Friling Thomas and Nancy Leysen Juan Miguel Villar Mir Bob Haboldt Stichting Liedts-Meessen Matthew & Susan Weatherbie Gaëtan and Bénédicte Hannecart Pierre Macharis Mark Weiss Patrick Maselis

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