CORPUS RUBENIANUM LUDWIG BURCHARD Ne gs’/Aoj PART XXIII COPIES AFTER THE ANTIQUE IN THREE VOLUMES I •TEXT II • CATALOGUE III • PLATES & INDEX 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-SEVEN PARTS The Editors and Publishers gratefully acknowledge the support given by the Board of the Franqui-Fonds towards the preparation of this publication SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE 'NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN VAN DE X V Ide EN DE X V IIde EEU W ' R.-A. D'HULST, P resid en t • F. B au d ou in , S ecretary ■ a. balis, T reasu rer DE PAUW-DE VEEN • N. DE POORTER ■ H, DEVISSCHER • P. HUVENNE • H, NIEUWDORP M. VANDENVEN • C. VAN DE VELDE • H. VLIEGHE RUBENS COPIES AFTER THE ANTIQUE BY MARJON VAN DER MEULEN VOLUME I • TEXT ED ITED BY ARNOUT BALIS HARVEY MILLER PUBLISHERS HARVEY MILLER PUBLISHERS Knightsbridge House • 197 Rnightsbridge, 8th Floor • London SW7 1RB AN IMPRINT OF G + B ARTS INTERNATIONAL © 1994 Nationaal Centrum voor de Plastische Kunsten van de 16de en de 17de Eeuw British Library Cataloguing in Publication Data Meulen, Marjon Van Der Rubens' Copies After the Antique. - Vol. 1 : Introduction. - (Corpus Rubenianum Ludwig Burchard) I. Title II. Series 759.9493 ISBN 1-872501-56-7 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Harvey Miller Publishers Composition by Jan Keller, London Printed and bound by BAS Printers Ltd • Over Wallop • Stockbridge • Hampshire Manufactured in Great Britain CONTENTS Author's Preface Page I Abbreviations 5 Introduction 25 I • Rubens and the Sculpture Collections of Rome 41 Public Monuments (p. 44); Private Collections (p. 46); Sculptures outside Rome (p. 64); Unidentified Locations (p. 65); Other Collections (p. 66) II • Drawings by Rubens after the Antique 69 Three-dimensional Sculptures: Nude Statues (p. 69); Small-scale Bronzes (p. 81) Two-dimensional Models; Sarcophagi, Reliefs (p. 82); Coins (p. 89); Engraved Gems and Cameos (p. 93) III • Philip and Peter Paul Rubens as Antiquarians 97 Philip Rubens's 'Electorum Libri Duo' (p. 97) Rubens as an Antiquarian Artist (p. 113) IV • Rubens and Ancient Portraiture 129 The Gem Book (p. 132); Twelve Famous Greek and Roman Men (p. 142) Appendices 153 I. Rubens's 'Raman Itinerary' (p, 153) II. Descriptions of the Gemma Tiberiana and Gemma Augustaea (p. 158) III. Letters concerning Pasqualino's Collection (p. 178) IV. Descriptions of Gems intended for the Gem Book (p. 184) V. Descriptions of Engraved Gems and Cameos belonging to P. P. Rubens (p. 189) VI. Descriptions of Vases and a Spoon belonging tp P. P. Rubens (p. 210) VII. Inventory of the Duke of Buckingham's Estate (1635) (p. 220) VIII. Catalogue of the Gem Collection of Albert Rubens (1658) (p. 233) IX. 'De Pueris' (p. 251) X. 'De Figurae Humanae Statibus Sive Modis Standi' (p. 254) List of Text Illustrations 263 List of Figures in Volume III 265 I AUTHOR'S PREFACE h is p a r t of the Corpus Rubenianum Ludwig Burchard deals with copies T that Rubens made of ancient monuments. They range from sculptures, mainly free-standing marbles, to portrait busts, sarcophagus reliefs and vases. His drawings of small objects such as coins and engraved gems and cameos are also included. For the preparation of this study, the files of the late Dr Ludwig Burchard, now in the Nationaal Centrum voor de Plastische Kunsten van de XVIe en XVIIe Eeuw at Antwerp, served as a basic source. They contain a wealth of material on classical sculptures, although it is unedited and far from com­ plete. Some of the material was used for the entries on ten drawings dis­ played at the exhibition, Tekeningen van P.P. Rubens (Antwerp, 1956), and the later publication, Rubens Drawings (2 vols., Brussels, 1963), in which five entries deal with copies after the Antique. Both were written by Burchard in cooperation with Professor R.-A. d'Hulst, Director of the Rubenianum. However, Burchard's documentation yields little information on Rubens's interest in numismatic and glyptic works of art. Engraved gems and cameos were the subject of my Ph.D. thesis for the University of Utrecht, Petrus Paulus Rubens Antiquarius, Collector and Copyist of Antique Gems (Alphen on the Rhine, 1975). Since the death of Burchard in 1960 much new material has come to light. Of particular importance were the rediscovery of the album of Padre Resta in the Biblioteca Ambrosiana in Milan and the reappearance of two tran­ scripts of Rubens's lost Notebook, the so-called MS Johnson and MS de Ganay. A considerable number of recent publications focus on Rubens's antiquarian interests as well as on the influence of classical art in his oeuvre. Four introductory chapters precede the catalogue raisonné. The first de­ scribes the sculpture collections in Rome, and inevitably it responds to the irresistible challenge to pinpoint the exact models drawn by the artist. In the past, all too often works of art have been named as models for drawings by Rubens, even when they would not yet have been available to him. It was not always possible to track down the exact early seventeenth-century location of a sculpture. I have grouped the drawings together according to where Rubens could have produced them. The location of the model may provide clues to the itinerary of the artist and the date of a drawing. I have attempted to define the dates of his drawings more precisely to either the first or second Roman period. _ l PREFACE The second chapter investigates Rubens's approach to and usage of classi­ cal statuary. In copying classical art, he originally followed the rules of Cinquecento art theorists as well as the humanistic trend of the era. The presence of his brother Philip during his second stay in Rome may have stimulated his antiquarian studies and resulted in a more scholarly selection of sculptures. This is the subject of the third chapter. Rubens's interest in ancient portraiture and his contribution to the understanding of this field are examined in the fourth chapter. The catalogue raisonné, Volume Two of this work, lists individual drawings by Rubens, together with copies and engravings made from them. In most cases, Burchard's attributions are still valid. In a few cases, however, new research has changed attributions. In several instances, where Burchard did not express an opinion, I have used my own judgement. This also holds for drawings that have come to light after Burchard's death. Although the text for this publication was virtually complete three years ago, the literature published since that time has been taken into account and the bibliographic references are up to date as far as possible. In preparing this publication I have received the assistance of many scholars, friends and relatives. My greatest debt is to the late Dr Jan G. van Gelder, my teacher and Ph.D. adviser, and his wife Dr Ingrid van Gelder­ Jost, who so liberally shared their knowledge and experience with me. Sadly enough, neither lived to see the present volume completed. I was much helped by the staff of the Rubenianum in Antwerp, who first hosted me in 1965 at the Museum Ridder Smidt van Gelder on the Belgiëlei. I thank Professor Roger-A. d'Hulst for his advice concerning the authorship of the drawings in Russia. To Dr Carl van de Velde I owe sincere thanks for assisting me in several ways, and also to his collaborators, Paul Huvenne and Marc Vandenven. I am particularly indebted to Arnout Balis for reading the manuscript and improving it with many creative suggestions and cor­ rections. Much appreciated was the expertise and connoisseurship of Dr Julius Held, who also put his collection of rare books at my disposal. A special word of thanks goes to Elizabeth McGrath for correcting the Latin translations and Clare Reynolds for editing the manuscript. This study required extensive archaeological knowledge, often a terra incognita for art historians, and I have drawn upon several specialists in this field. At a very early stage in my studies, the late Dr Jan H. Jongkees initiated me in archaeology and advised on iconographical matters; while much later Dr D. Mannsperger from Tubingen University gave me great assistance in identifying portraits drawn after coins. I have benefited from a discussion 2 PREFACE with Dr C.C. Vermeide in Boston concerning Rubens's sculptural models. The Fondation Custodia, the Marquis de Ganay in Paris, the Earl of Ply­ mouth in Oakly Park, Shropshire, and Prince Torlonia in Rome have made their collections of manuscripts, drawings and sculptures accessible to me, while F. Anzelewski, R. Bacou, Helen Braham, R.E.O. Ekkart, Dr Nancy T. de Grummond, Dr E. Haverkamp Begemann, C. van Hasselt, J. Kuznetsov, Dr Anne-Marie Lqgan, P. Marlow, C. Pietrangeli, and Ella Snoep-Reitsma have assisted in many different ways by supplying information or answer­ ing queries. I am indebted to the staff of the Bibliothèque de Méjanes in Aix-en- Provence, the Rijksprentenkabinet in Amsterdam, the Staatliche Museen in Berlin, the Musée des Arts in Besançon, the Art Institute in Chicago, the Kobberstiksamling of the Statens Museum for Kunst in Copenhagen, the Staatliche Kunstsammlungen in Dresden, the Archivio di Stato in Florence, the Fogg Art Museum of Harvard University in Cambridge, Mass., the Department of Prints and Drawings of the British Museum in London, the Museum für Kunst und Kulturgeschichte in Lübeck, the Biblioteca Ambro­ siana in Milan, the Museo Nazionale in Naples, the Pierpont Morgan Library and the Metropolitan Museum of Art in New York, the Musée des Beaux- Arts in Orléans, the Ashmolean Museum, Bodleian Library and Christ Church Library Collection in Oxford, the Cabinet des Médailles and the Cabinet des Estampes of the Bibliothèque Nationale in Paris, the Départe­ ment des Arts Grecques et Romaines and the Cabinet des Dessins of the Musée du Louvre in Paris, the Villa Torlonia in Rome, the Museum Boy- mans-van Beuningen in Rotterdam and the Albertina in Vienna.