Saint Francis of Paula receiving the infant Christ from the Virgin Mary; two cherubs are watching the scene. Engraving by M. Lasne after P.P. Rubens, ca. 1640.

  • Rubens, Peter Paul, 1577-1640.
Date:
1600-1699
Reference:
563171i
  • Pictures
  • Online

Available online

view Saint Francis of Paula receiving the infant Christ from the Virgin Mary; two cherubs are watching the scene. Engraving by M. Lasne after P.P. Rubens, ca. 1640.

Public Domain Mark

You can use this work for any purpose without restriction under copyright law. Read more about this licence.

Credit

Saint Francis of Paula receiving the infant Christ from the Virgin Mary; two cherubs are watching the scene. Engraving by M. Lasne after P.P. Rubens, ca. 1640. Wellcome Collection. Public Domain Mark. Source: Wellcome Collection.

Selected images from this work

View 1 image

About this work

Publication/Creation

[Antwerp] : Th. Galle excud

Physical description

1 print : engraving ; image 31.8 x 22 cm

Lettering

S. Franciscus de Paula; Delicijis affluens innixus super dilectum. Cant. 8. Deliciae meae esse cum filiis hominum. Prov. 8. Quid mihi est in caelo? et a te quid volui super terram? Ps. 72. Defecit caro mea et cor meu(m), Deus cordis et pars mea Deus in aeternum. Ps. 72. P.P. Rubbens inuent.; M. Lasne fe. Lettering: Charitas.

References note

Hans Vlieghe, Corpus Rubenianum Ludwig Burchard, vol. VIII. Saints, 1972-1973, part 1, no. 95, pp. 147-148 and fig. 167 (the painting in Lille); no. 95a, pp. 148-149 and fig. 168 (the drawing in an unknown location copied by Lasne); no. 94, pp. 145-147 and fig. 165 (the painting in Sint-Antoniuskerk, Antwerp); and fig. 166 (an engraving by M. Lasne after that painting, with dedication to Octavius Pisanus). The present engraving is discussed by Vlieghe under no. 95a but not reproduced
Roger-Armand Weigert and Maxime Préaud, Inventaire du fonds français, graveurs du XVIIe siècle, Bibliothèque nationale, tome VII, Paris, 1976, pp. 60-61 no. 83 ("Saint François de Paule recevant l’Enfant Jésus des mains de la Vierge, d’après P.P. Rubens. Le saint est à genoux devant la Vierge, à g., qui se penche pour lui remettre son précieux fardeau. Au bas, à g., vers le milieu: Th. Galle excud. Vers la dr.: P.P. Rubbens invenit. A dr., sur une pierre: M. L'Asne fe. 35,5 (avec la marge) x 22 cm. … Autre état, avec la lettre et des versets du Cantique des Cantiques, des Proverbes et du Psaume 72. D’après un tableau des élèves de Rubens, largement retouché par lui, au musée de Lille, provenant du musée des Capucins. Cela d’après Max Rooses, op. cit., t. 2 (1888), p. 252-253, pl. 144, lequel fait état d'une dédicace à "Octavio Pisani Jo. Antonii fîlio... par Th. Galle". Max Rooses ajoute : "Dans la gravure de Michel Lasne, le moine qui assiste a l'apparition a été omis, les anges sont traités plus explicitement. On voit, au-dessus de leur groupe, un écusson rayonnant, avec l’inscription Charitas. Cette inscription indique que le graveur, tout en reproduisant un tableau qui représente saint François d’Assise, a changé le saint personnage et en a fait un saint François de Paule. En effet, dans les estampes, cette inscription accompagne souvent les effigies de ce dernier saint. Le changement est d’ailleurs indiqué par l'omission des stigmates et pl (us explicitement par le titre de la gravure: S. Franciscus de Paula." Ce titre est absent de l'épr. cat., mais ce n’est pas cette composition, mais le "Saint François d’Assise recevant l'Enfant Jésus", toile de l’église Saint-Antoine à Anvers, qui présente la dédicace à Octavio Pisani.")

Reference

Wellcome Collection 563171i

Creator/production credits

"This sketch [of Saint Francis of Assisi] was used by Michel Lasne as the basis for his engraving of St. Francis of Paola: he followed the composition very carefully and made only the minimum alterations, chiefly by way of adapting it to the iconography of the later Saint. Thus he added to the Capuchin habit the scapular of the Minim Friars, and placed in the right-hand upper corner the latter's emblem, the word Charitas in a circle of rays. The design for the engraving, executed and signed by Lasne, is still in the Print Room at Antwerp (Delen, 1, no. 372); it is about the same size as the present sketch. Lasne's engraving provides us with a terminus ante quem for the Madonna of the Capuchins at Lille and the design for that work. We know that the French artist paid a sum of 6 guilders in the financial year 1617-18 to be allowed to work at Antwerp "for the space of two months" (P. Rombouts and T. van Lerius, De Liggeren en andere historische archieven van het Antwerpsch Sint Lucasgilde, 1, Antwerp, n.d., pp. 540, 541)."—Vlieghe, op. cit., no. 95a, pp. 148-149

Reproduction note

After a drawing by Rubens of Saint Francis of Assisi receiving the Christ Child, according to Vlieghe p. 149. The drawing is a sketch for a painting in the Musée des beaux-arts, Lille. In the drawing, the saint's hands do not display the stigmata, but in the painting they do. The engraver has made various other changes required to suport the change of the identity of the saint

Type/Technique

Languages

Where to find it

  • LocationStatusAccess
    Closed stores

Permanent link