{"id":16049,"date":"2025-02-26T15:38:30","date_gmt":"2025-02-26T14:38:30","guid":{"rendered":"https:\/\/phoebusfoundation.org\/?post_type=phoebus_findings&p=16049"},"modified":"2025-02-28T16:01:57","modified_gmt":"2025-02-28T15:01:57","slug":"8","status":"publish","type":"phoebus_findings","link":"https:\/\/phoebusfoundation.org\/en\/phoebus_findings\/8\/","title":{"rendered":"Master & Manager: Peter Paul Rubens\u2019 Modello of Saint Margaret"},"content":{"rendered":"\n
Sven Van Dorst & Dr Leen Kelchtermans<\/pre>\n\n
<\/p>\n\n
The Antwerp Jesuit Church, today\u2019s Saint Charles Borromeo\u2019s Church, was likely one of the most impressive Baroque buildings in Europe following its construction in 1615. Beyond its richly decorated fa\u00e7ade, the interior was particularly renowned for its grandeur. In 1620, none other than Peter Paul Rubens was commissioned to create, among other artworks, a series of thirty-nine ceiling paintings. Although these were tragically lost in a fire in July 1718, Rubens\u2019 modello of Saint Margaret \u2013 the design for one of the lost ceiling pieces \u2013 preserved in The Phoebus Foundation\u2019s collection, offers unique insight into this monumental project. Recently restored, this exceptional work not only offers valuable insights into Rubens\u2019 creative process but also reveals his highly efficient working methods.<\/p>\n\n
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Peter Paul Rubens, Design for a Ceiling Piece in Antwerp\u2019s Jesuit Church: Saint Margaret<\/em>, c.<\/em>1620. Oil on panel, 33.1 x 46.3 cm. Antwerp, The Phoebus Foundation<\/figcaption><\/figure>\n\n\n\n
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Unknown master, Fa\u00e7ade of Antwerp\u2019s Jesuit Church<\/em>, c.<\/em>1680. Engraving, 540 x 454 mm. Antwerp, The Phoebus Foundation<\/figcaption><\/figure>\n<\/div>\n\n
Grand Commission, Grand Challenges<\/strong><\/p>\n\n
The commission for thirty-nine ceiling paintings for the Jesuit Church was among the most prestigious in Rubens\u2019 illustrious career. On 29 March 1620, the artist signed a contract with Father Jacobus Tirinus, in which the scope and objectives of the project were explicitly defined. The ceiling pieces were intended to adorn both the upper and lower levels of the side aisles. The upper level focused on stories from the Old and New Testaments, while the lower level depicted saints. Rubens was given a tight deadline. The works had to be completed preferably as soon as possible: \u2018before the end of the current year or at the beginning of the following year.\u20191<\/a><\/sup> Thus, the painter was given roughly nine months to a year to finish the project.<\/p>\n\n
The timeline and scale of this commission compelled the master to adopt a highly efficient approach. He relied on his well-organized studio, a practice explicitly permitted by the contract, which stated that Rubens could involve his pupils, including Anthony Van Dyck. However, the preliminary sketches and finishing touches of the monumental canvases were to be executed by Rubens himself.<\/p>\n\n
On 13 February 1621, Rubens received 7,000 guilders for the ceiling series, a considerable sum underscoring the project\u2019s importance. The payment also confirms that the master met his deadline.2<\/a><\/sup> In less than a year, he completed all thirty-nine monumental canvases. By October 1621 at the latest, the works were installed in the church.<\/p>\n\n
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Antoon Gheringh, Interior of Antwerp\u2019s Jesuit Church<\/em>, c.<\/em>1665. Oil on canvas, 75.6 x 95.5 cm. Antwerp, The Phoebus Foundation<\/figcaption><\/figure>\n\n
Modello of Saint Margaret<\/strong><\/p>\n\n
To prepare for the ceiling paintings, Rubens personally created chalk drawings and modelli, or oil sketches. The master placed great importance on these preparatory studies. Initially, the Jesuits wished to keep Rubens\u2019 modelli for the ceiling series, but the painter successfully negotiated an agreement: he could retain the sketches in exchange for another painting by his hand, destined for one of the four side altars.3<\/a><\/sup> Rubens\u2019 oil sketches served a dual purpose: they were submitted for approval to his patrons, and functioned as artistic models for his pupils, who used them to execute the ceiling paintings to scale.<\/p>\n\n
Rubens\u2019 modello for the ceiling piece of Saint Margaret depicts her with a lamb on a rocky hill.4<\/a><\/sup> She holds a palm branch, the characteristic attribute of a saint, and restrains a dragon with a curly tail using a rope. According to her vita, the saint escaped from the belly of this monster, making her an apt patron saint for pregnant women. At the same time, this scene emphasised Margaret\u2019s courage. More broadly, it symbolised the triumph of faith over evil. The entire ceiling paintings series aimed to highlight the victory of Catholicism over Protestantism. The piece of Saint Margaret was installed in the southern side aisle of the Jesuit Church.<\/p>\n\n
Minimal Means, Maximum Effect<\/strong><\/p>\n\n
The modello of Saint Margaret was painted on a small panel measuring 33.1 by 46.3 cm. The reverse is finished on all four sides with a beveled edge, known as a \u2018chamfer\u2019. Interestingly, it consists of two vertically joined oak planks. Professional panel makers would likely have crafted such a small panel from a single piece of wood; therefore, it was probably produced in Rubens\u2019 studio using repurposed wood. This pragmatic choice, not uncommon in his oeuvre, exemplifies the painter\u2019s economical use of materials.<\/p>\n\n
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Reverse of Rubens\u2019 modello of Saint Margaret<\/figcaption><\/figure>\n\n
The front of the panel is covered with a pale ground layer containing chalk and animal glue. On top of this, Rubens applied an ocher-coloured imprimatura, a layer characteristic of his work. The vertical streaks from the stiff brush used to spread the ocher paint are clearly visible. The imprimatura reduced the absorbency of the chalk layer and served as a mid-tone.5<\/a><\/sup> Its visibility to the naked eye in several areas of the painting indicates Rubens\u2019 direct working method. Consistent with this approach, an analysis of the modello using infrared reflectography (IRR) revealed no evidence of an underdrawing. This suggests that Rubens painted directly onto the panel, working quickly and decisively. However, it should be noted that certain drawing materials, such as white or red chalk, are undetectable by IRR or could have dissolved into the overlying paint layer.<\/p>\n\n
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Infrared reflectography (IRR) scan of Rubens\u2019 modello of Saint Margaret<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Impastos visible under raking light on Rubens\u2019 modello of Saint Margaret<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n
Despite the minimal time and resources invested in creating the modello of Saint Margaret, Rubens achieved a maximum effect. His dynamic brushstrokes vividly depict the saint, the dragon, and the lamb in a detailed and skillfully foreshortened perspective. Rubens applied the paint thickly, with impastos visible under raking light, adding further dynamism to the composition. In short, Rubens demonstrated that less is more.<\/p>\n\n
Refining the Composition<\/strong><\/p>\n\n
Because Rubens involved his studio and the strict deadline left no room for errors, the name of the saint was inscribed at the top of the modello to identify the composition. This highlights the master\u2019s methodical approach, meticulously planning every aspect of his work.<\/p>\n\n
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Inscription on Rubens\u2019 modello of Saint Margaret<\/figcaption><\/figure>\n\n
The adaptability of Rubens\u2019 designs is well illustrated by the modello of Saint Margaret. Initially, the scene was conceived in an octagonal format, most evident at the top. As Antoon Gheringh\u2019s interior view of the Jesuit Church from around 1665 shows, the ground-floor side aisles alternated between ceiling paintings with octagonal and oval frames. From the Amsterdam artist Jacob de Wit\u2019s drawing of the ceiling piece of Saint Margaret, made around 1711, and Jan Punt\u2019s print based on it in 1751, it is evident that the final work deviated from the octagonal form initially suggested by Rubens in the modello. Both the drawing and print depict an oval composition.6<\/a><\/sup><\/p>\n\n
Rubens had already modified the proposed composition of Saint Margaret earlier. The 1620 contract stipulated that the saint should hold a cross.7<\/a><\/sup> Rubens chose to omit this element, instead giving the saint a palm branch in her hand. The Antwerp Jesuits approved this change, as De Wit\u2019s drawing and Punt\u2019s print of the final ceiling painting show a palm branch, not a cross.<\/p>\n\n
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Antoon Gheringh, Detail: Interior of Antwerp\u2019s Jesuit Church<\/em>, c.<\/em>1665. Oil on canvas, 75.6 x 95.5 cm. Antwerp, The Phoebus Foundation<\/figcaption><\/figure>\n\n
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Rubens\u2019 modello of Saint Margaret<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Jan Punt after Jacob de Wit after Peter Paul Rubens, Saint Margaret<\/em>, 1751. Engraving, 400 x 565 mm. Antwerp, The Phoebus Foundation<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n
Later, Rubens\u2019 modello itself was altered. The restoration treatment revealed that the four corners of the panel were overpainted. Initially, Rubens left them bare, as he did in other surviving modelli. These areas were originally covered only by the imprimatura. The overpaints, likely intended to give the piece a more finished appearance, were preserved for their historical significance.<\/p>\n\n
From Modello to Ceiling Painting<\/strong><\/p>\n\n
Once Rubens\u2019 modello was approved, it became the basis for the intended ceiling painting. To scale up the small design to monumental dimensions, Rubens used a grid system, also known as squaring-up. Along the edges of the panel, a series of small incisions in the paint were discovered, spaced approximately 4 cm apart. These were likely used to stretch strings across the composition, forming a grid to scale the design accurately. On the canvas, the grid would then be replicated proportionally. The ceiling pieces in the Jesuit Church are estimated to have measured around 300 by 420 cm, meaning Rubens\u2019 modello was scaled up approximately 9.3 times, with the grid on the canvas consisting of squares measuring approximately 37.2 by 37.2 cm. The squaring-up and scaling were likely entrusted to Rubens\u2019 studio assistants, further illustrating his efficient workshop practice.<\/p>\n\n
Squaring-up was a common technique in the Low Countries from the sixteenth century onward.8<\/a><\/sup> Artists such as Antwerp still life painter Joachim Beuckelaer had already employed this method. Rubens used it not only for the Jesuit Church ceiling paintings but also for other monumental projects, such as his designs for temporary triumphal arches and his tapestry series depicting the life of the ancient Greek hero Achilles.9<\/a><\/sup><\/p>\n\n
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Incisions along the bottom edge of Rubens\u2019 modello of Saint Margaret<\/figcaption><\/figure>\n\n
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Incisions along the right edge of Rubens\u2019 modello of Saint Margaret<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Grid of strings on Rubens\u2019 modello of Saint Margaret<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n
Master & Manager<\/strong><\/p>\n\n
The modello of Saint Margaret provides invaluable insight into Rubens\u2019 artistic process. The work demonstrates how the painter achieved impressive results quickly and with limited resources. His pragmatic use of materials and assured painting style reinforce his reputation as a grandmaster of his time. Moreover, the modello stands as an important testament to Rubens\u2019 effective workshop management and serves as a tangible reminder of one of his most significant commissions: the now-lost thirty-nine ceiling paintings for the Antwerp Jesuit Church, which he completed under intense time pressure. The modello embodies Rubens\u2019 artistic ingenuity, masterful style, and efficient approach, combining these elements into a design that continues to captivate audiences centuries later.<\/p>\n\n
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How to cite this item?<\/strong><\/p>\n\n\n\n
S. Van Dorst & L. Kelchtermans, \u2018Master & Manager: Peter Paul Rubens\u2019 Modello of Saint Margaret\u2019, Phoebus Findings<\/em>, https:\/\/phoebusfoundation.org\/en\/phoebus_findings\/8\/, accessed on [dd.mm.yyyy].<\/p>\n\n\n\n
All rights reserved. No part of this\u00a0Phoebus Finding<\/em>\u00a0may be reproduced, stored in an information storage and retrieval system or transmitted in any form or by any means, whether electronic or mechanical, including copying, recording or otherwise, without prior permission in writing from The Phoebus Foundation. If you have comments or want to make use of our images, we\u2019d like to hear from you. Contact us at: info@phoebusfoundation.org.<\/p>\n<\/div>\n\n
<\/p>\n
Footnotes<\/h2><\/div>
  1.  \u2018voor het uytgaen van desen tegenwoordigen Jaere ofte met het beginsel van het toekomende Jaer\u2019. The standard publication on Rubens\u2019 paintings for the Antwerp Jesuit Church remains J.R. Martin, The Ceiling Paintings for the Jesuit Church in Antwerp<\/em>, Corpus Rubenianum Ludwig Burchard, 1, London\/New York, 1967. For the contract, see Martin 1967: 213-219, quotation on p. 213.[↩<\/a>]<\/span><\/li>
  2.  Martin 1967: 40.[↩<\/a>]<\/span><\/li>
  3.  Martin 1967: 38.[↩<\/a>]<\/span><\/li>
  4.  Martin 1967: 164-166; L. Kelchtermans, \u2018Design for a Ceiling Piece in the Jesuit Church in Antwerp: Saint Margaret, c.<\/em>1620\u2019, in: K. Van Cauteren et al., From Memling to Rubens. The Golden Age of Flanders<\/em>, Veurne, 2020: 352-353.[↩<\/a>]<\/span><\/li>
  5.  A. Balis & N. Van Hout, Rubens doorgelicht. Meekijken over de schouder van een virtuoos<\/em>, Antwerp, 2010: 42-45.[↩<\/a>]<\/span><\/li>
  6.  Jacob de Wit\u2019s drawing after Rubens\u2019 ceiling piece of Saint Margaret is preserved in The British Museum in London. For an image, see https:\/\/www.britishmuseum.org\/collection\/object\/P_1921-0411-54<\/a>, accessed on 31.12.2024.[↩<\/a>]<\/span><\/li>
  7.  The contract described the scene as \u201818: Margareta cum cruce in manu calcans draconem\u2019. Martin 1967: 216.[↩<\/a>]<\/span><\/li>
  8.  M. Wolters, \u2018Met kool en crijt\u2019: de functie van de ondertekening in de schilderijen van Joachim Beuckelaer<\/em>, doctoral dissertation, University of Groningen, 2011, especially chapter \u201c\u2018Ruyten en netten of raemkens met draden cruyswijs ghespannen.\u201d Het kwadraatnet in schilderijen van Joachim Beuckelaer\u2019.[↩<\/a>]<\/span><\/li>
  9.  Balis & Van Hout 2010: 60-61.[↩<\/a>]<\/span><\/li><\/ol>","protected":false},"excerpt":{"rendered":"
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