Woven Splendour: The Tapestries at St John's Co-Cathedral, Valletta, Malta

ST JOHN’S CO-CATHEDRAL, VALLETTA, MALTA

WOVEN SPLENDOUR THE TAPESTRIES

AT THE CONVENTUAL CHURCH OF THE KNIGHTS OF MALTA

CYNTHIA DE GIORGIO

I AM THE WAY, THE TRUTH, THE LIFE JOHN 14:6

2

St John’s Co-Cathedral, Valletta, Malta

WOVEN SPLENDOUR THE TAPESTRIES

AT THE CONVENTUAL CHURCH OF THE KNIGHTS OF MALTA

Cynthia de Giorgio

3

For my brother, Jonathan

Published by 6 Strait Street, Valletta, Malta www.midseabooks.com

Literary Copyright ∏ Cynthia de Giorgio, 2017 Editorial Copyright ∏ Midsea Books Ltd, 2017 Photography Copyright ∏ St John’s Co-Cathedral Foundation/Midsea Books, 2017, and all thr rightful copyrirght holders, as below No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form by any means, electronic, mechanical, photocopying, recording or otherwise, without the previous written permission of the authors and/or rightful owners.

Main Photography Joe P. Borg Photo Credits ∏ Patrimonio Nacional, Madrid, for images on pages 32, 39, 46, 51, 52, 53, 56, 57 ∏ Museo Nacional del Prado, Madrid, for images on pages 31, 38, 45, 50, 53 ∏ The Fitzwilliam Museum, Cambridge, for images on pages 31, 38, 45, 50, 52, 56 ∏ The National Galleries, Edinburgh, image on page 73 All rights reserved.

The publishers also thank the following Daniel Cilia; Peter Bartolo Parnis; Giovanni Bonello; Hampton Court Palace, London; Wikipedia; Norton Simon Art Foundation, London; City Print Collection, Antwerp; Victoria and Albert Museum, London

Design & Layout Joseph Mizzi First published, 2017 Copyeditor: Martin Bugelli Printed at Gutenberg Press, Malta ISBN: 978-99932-7-603-6

Contents

Preface Acknowledgements Gifts of Splendour

The Eucharist and the Catholic Reformation

The Infanta Isabella Clara Eugenia, her rule and devotion

Peter Paul Rubens and the Triumph of the Eucharist Series

Ramon Perellos y Roccaful, his gift of Splendour

The Commission of the Triumph of the Eucharistic Tapestries

Judocus de Vos and Tapestry Weaving in Belgium

Iconography and Stylistic Influences

The Commission of the Grand Master’s Portrait

7 10 13 18 24 29 60 64 68 72 80

The Tapestries

97

Notes Bibliography Index

140 141 144

6

Preface

I

Fig. 1 Detail, border, The Triumph of the Catholic Church, wool and silk, St John’s Co-Cathedral Museum, Valletta

FIG. 1

n 1697, as the Spanish Grand Master Ramon Perellos y Roccaful sat in his palace, contemplating on the gift which he should give to the conventual church of the Hospitaller Order of the Knights of St John the Baptist in order to immortalise his magestry, it was the Catholic monarchs of Europe that he sought to emulate. The Spanish Infanta Isabella’s taste for exuberance influenced his choice most and, like her, he gave a set of extraordinary tapestries. He must have thought of how this gift would portray him as a devout religious ruler and how, just like the Infanta Isabella’s legacy immortalised her as a key figure in Habsburg patronage, so would he be immortalised. The gift of tapestries portraying the Triumph of the Eucharist was a completely original Catholic Reformation graphic narrative conceived by Peter Paul Rubens in consultation with the Infanta and her retinue of theological advisors. Isabella had reigned over the Southern Netherlands together with her husband, Archduke Albert VII, as an Archduchess. After her husband’s death, in 1621, her nephew King Philip IV appointed her Governor-General of the Southern Netherlands. Despite her wish to retire in widowhood, Isabella’s political presence in the north was seen as being too valuable in the eyes of the King.

In the seventeenth century, the Catholic Church was faced with the religious and political challenge of Protestantism, and therefore sought to reaffirm its centrality by any means available. A major aspect of this effort, known as the Counter-Reformation (also called the Catholic Reformation), was the use of the visual arts as propaganda. As a result, the Church and the Catholic nobility across Europe commissioned and financed some of the most spectacular works of art in diverse and costly media.

Amongst the most spectacular of these commissions we find the set of tapestries known as The Triumph of the Eucharist series, financed by the Infanta Isabella Clara Eugenia, governor of the Southern Netherlands at around 1622. This was a gift to her favourite convent, the Franciscan Monasterio de las Descalzas Reales in Madrid, where 7

she wished to enter once she retired. To carry this out, she engaged the renowned artist Peter Paul Rubens, then already diplomat and court painter to the Spanish crown, to create the series. Peter Paul Rubens was a prodigious artist and one of the most extraordinary figures of the seventeenth century. As a devout Catholic, a diplomat, and one of the best-known artists of the period, he was the perfect candidate for a commission of this scale. In typical Counter-Reformation fashion, he used the secular theme of triumph, an ancient Roman celebration of war victory, which had become popular once again in Renaissance Italy, and applied it in a religious context. The Eucharist series commission turned out to be one of the most marvellous artistic feats of his career, which would have a permanent influence on the path that high baroque art would follow.

Tapestries as decorative wall hangings were ubiquitous in castles and churches as from the late medieval and Renaissance eras, but perhaps the most spectacular period of tapestry production was during the baroque age. At a practical level, they provided a form of insulation and decoration that could be easily transported. In addition, the process of tapestry weaving, where every stitch is woven by hand, enabled the creation of complex figuration images on an enormous scale. The ruling sovereigns of Europe had long since recognised the value of tapestry as propaganda and as an index of their wealth and status. The Grand Masters of the Order emulated ruling sovereigns and other monarchies in the same manner, and gave lavish gifts to their conventual church dedicated to St John the Baptist. Grand Master Perellos’s investment in didactic magnificence was in perfect keeping with the tradition of the grandest of courts.

With a particular interest on the St John’s Eucharist series this book gives an account of particular events that surround some of the outstanding personalities of the seventeenth century who shaped Europe’s cultural scene. The importance given to the interpretation of the Eucharist, and its influence on the arts, is one significant fact that emerges from the study of these important personalities. The avid promotion of the Eucharist turned out to be a symbolic reflection of the importance given by ruling religious monarchs to their Catholic values and right to rule. From the Middle Ages until the late eighteenth century, the courts of Europe lavished vast expenditure on tapestries made in precious materials, after designs by the leading artists of the day. Ostentatious gifts were powerful statements of those rights. Yet, the art history establishment continued to misrepresent this medium as a decorative art of lesser importance. With this book, I am attempting to change this perception, demonstrating that tapestry remained among the most prestigious figurative media throughout the seventeenth and early eighteenth centuries, prized by the wealthy for its artistry, and as a propaganda tool.

8

Previous authors who have written about the St John’s Eucharist series have contributed valuable information. The fact that the St John’s Eucharist series was modelled on the Descalzas Reales tapestry series not considered nor how Perellos wanted to emulate the Infanta Isabella. There was little attention given in previous writings to the political and religious role that the gift of tapestries played so perfectly for the Grand Master and for the image of power which he wanted to portray in line with the other reigning monarchs of Catholic Europe. This book offers a glimpse into one of the most significant commissions of the Catholic Reformation still very valid in the late seventeenth century when Perellos was placing his commission. Recent scholarship sheds light on many facets of the historical context of the commission, its ambitious patron and the weavers’ approach to the design of the tapestry series. Studies based on archival research illuminate the details of the design, and the commission for their manufacture.

An analysis of the political and religious upheaval in the territories of Catholic Europe in the late seventeenth century sheds light on the difficult rule Grand Master Perellos experienced, and the intention of his ostentatious gift.

The book treats the importance of the Eucharist series, which would become a timeless major artistic contribution and the hallmark of the high baroque style. It traces its influence that led to the final commission of the set that is housed at St John’s conventual church. This book is a consequence of my curatorial career at St John’s Co-Cathedral where I was responsible for the conservation of the tapestries which commenced in 2006.

My personal interest in the story of these magnificent tapestries led me to write this book. I trust that this book will serve to bring the knowledge of this outstanding set, The Triumph of the Eucharist series of tapestries, to the reader.

9

Acknowledgements

My research for this book relied on many libraries, archives and institutions over the course of these last five years. I am grateful for the facilities offered by the National Library of Malta, the University of Malta, the Fitzwilliam Museum in Cambridge, the Prado Museum and the Descalzas Monastery both in Madrid and Rubenshuis in Antwerp. The research carried out by other authors, especially Professor Guy Delmarcel on the Triumph of the Eucharist series, Professor Koenraad Brosens and Nora De Poorter was an incredible font of knowledge. I also thank Henrietta Ward, Assistant Keeper at the Fitzwilliam Museum, Cambridge, for providing access to the bozzetti and their images, Dr Simon Stoddard from Cambridge University for the introduction to the Fitzwilliam Museum, Dr Conca Herrero Carretero, curator of the tapestries at the Descalzas Monastery in Madrid for allowing me to examine the tapestries. I am also grateful to Juan Carlos de la Mata form Patrimonio Nacional, Madrid, Alejandro Vergara from the Museo del Prado, Madrid. I would like to acknowledge the support of the St John’s Co-Cathedral Foundation especially Presidents Mgr Louis Camilleri, Dr Philip Farrugia Randon, Mgr Carmelo Zammit, and council members Dr Raymond Bondin, Mgr Joseph Bugeja, Mr Wilfrid Buttigieg, Mgr Lawrence Mifsud and Mgr Victor Zammit McKeon.

A special word of thanks goes to Mr Yvan Maes de Wit, director of the De Wit Restoration Laboratories, Belgium and his dedicated team of conservators for the restoration process of the tapestries over the last ten years. Gratitude is due to Archbishop Monsignor Charles Scicluna of the Diocese of Malta.

I would like to express thanks to Professor Dennis De Lucca, Head of the International Institute for Baroque Studies. My acknowledgments go to the following persons who have in some way assisted my research – Mgr John Azzopardi, former archivist of the Metropolitan Church in Mdina, Ms Maroma Camilleri, National Library Malta, Professor Francis Ciappara, Professor Carmen Depasquale, International Institute for Baroque Studies Malta, Dr Anthony Pace, Superintendent of Cultural Heritage, Professor John T. Spike and Michelle Spike. The support of my colleagues – Valentina Saliba, Charles Montebello, Adriana Alescio, Mark Muscat and Anthony Casha - was infinite, for which I thank them.

Last but certainly not least my deepest gratitude to my daughters Yasmin and Amber for their constant support.

q Abbreviations AOM - Archives of the Order of Malta NAV - Notarial Archives MLN - National Library of Malta ACM - Archives of the Cathedral of Malta

10

Fig. 2 Detail, coat-of-arms of Grand Master Ramon Perellos y Roccaful embellished with trophies of war, from St James, wool and silk, St John’s CoCathedral Museum, Valletta

FIG. 2

11

12

Gifts of Splendour

W

Fig. 3 Detail, The Defenders of the Eucharist, wool and silk, St John’s Co-Cathedral Museum, Valletta

FIG. 3

hen Isabella, Infanta of Spain and Sovereign of the Southern Netherlands, got together with Peter Paul Rubens to design a set of tapestries that would express the Triumph of the Eucharist as an instrument to counter the onslaught of the Reformation, she started a fascinating story. More than half a century later, on his election as Grand Master of the Order of the Knights of St John in Malta, the Spanish knight Ramon Perellos y Roccaful conceived a plan to commission a full set of tapestries in the same theme, as a gift to the conventual church of St John. The assignment was so big that, in Brussels, people feasted for a week to celebrate the commission that was going to give work to all the weaving houses of the city.

The cycle of the Triumph of the Eucharist, designed by Peter Paul Rubens, was by far the most important and influential series of religious tapestries made in the Southern Netherlands. The set of tapestries based on this series, belonging to the conventual church (now known as St John’s Co-Cathedral), is a result of this influence.

It is the largest series of tapestries woven in the late seventeenth century, and one of the most impressive sets in the world. The ensemble was woven in Brussels, having been commissioned to the weaving house of Judocus de Vos between the years 1697 and 1702.

The tapestry set consists of the series of allegories depicting the Triumph of the Eucharist and other scenes from the life of Christ chosen from amongst the major artistic feats of Peter Paul Rubens (1577-1640). Few images were more extraordinary and instrumental in changing the early realism of the baroque artistic expression to one of exuberance and luxury. The original series that Rubens created as small oil-on-panels called bozzetti, were transformed into large-scale tapestries woven by some of the most skilled weavers in Brussels. The series is recognised as one of the most revolutionary events in seventeenth century tapestry design.

13

FIG. 15

FIG. 16

38

FIG. 17

Fig. 15 The Victory of Truth over Heresy, Peter Paul Rubens, bozzetto, oil on panel, 16.2 x 21.3 cm, Fitzwilliam Museum, Cambridge Fig. 16 The Victory of Truth over Heresy, Peter Paul Rubens, modello, oil on panel, 64.5 x 90.5 cm, Museo Nacional del Prado, Madrid Fig. 17 The Victory of Truth over Heresy, wool and silk, woven by Jan Raes I after designs by Peter Paul Rubens, 470 cm x 652 cm, Patrimonio Nacional, Madrid Monasterio de las Descalzas Reales.

Fig. 18 Detail, The Victory of Truth over Heresy, Peter Paul Rubens, modello, oil on panel, Museo Nacional del Prado, Madrid

won by the Spanish Crown over the Protestant forces in the United Provinces, taking the city of Breda. In that year, Isabella had also visited Rubens’s workshop in Antwerp to have her new official portrait, dressed in the habit of the nuns of St Clare, painted by him, where it is also argued that the discussion of her wish to give a gift to the Descalzes nuns would have started. Yet if the record of the Chaplain Philippe Chifflet, a close prelate of the Infanta, when he noted that in 1628 he saw wagons laden with tapestry cloth ready for Madrid, are correct, it would make the year 1625 as commencement of the order rather difficult when considering the laborious and time-consuming craft of tapestry weaving.36 It would have been a rather outstanding feat for the weavers to have completed the set in just three years, although it is not sure if all the twenty pieces at the Descalzes formed part of the original commission. The set that already decorated the Descalzes Reales, ordered by Emperor Charles V in 1546 and consisting of twelve tapestries depicting the Siege of Tunis, had only been completed in 1554, showing that it took several years to produce large, complicated sets. The cartoons for this set had been designed by Jan Vermeyen, and the pieces, which were larger than the Eucharist series, incorporated gold and silver metal threads which were woven in a single workshop by Willem de Pannemaker.37 Another difficulty in dating the commission arises from the fact that Rubens was very busy in the 1620s with the ceiling cycle for the Jesuit church in Antwerp, and the twenty-five canvasses of the Life of Maria de Medici 39

THE CONFIGURATION OF THE TAPESTRIES IN THE NAVE OF ST JOHN THE CHAPEL OF THE ANGLO-BAVARIAN LANGUE

THE VICTORY OF THE EUCHARIST OVER PAGAN SACRIFICE

ST PETER

THE TRIUMPH OF FAITH

THE CHAPEL OF OUR LADY OF PHILERMOS

THE CHAPEL OF THE LANGUE OF PROVENCE

ST PAUL

THE SANCTUARY THE CHAPEL OF THE LANGUE OF AUVERGNE

THE CHAPEL OF THE LANGUE OF FRANCE

CHRIST THE SAVIOUR

THE TRIUMPH OF DIVINE LOVE

THE CHAPEL OF THE LANGUE OF ITALY

THE CHAPEL OF THE LANGUE OF ARAGON

THE DEFENDERS OF THE EUCHARIST

ST JAMES THE GREATER

THE RAISING OF THE CROSS

THE RESURRECTION

MAIN NAVE

ST JOHN

ST THOMAS THE CHAPEL OF THE LANGUE OF CASTILLE, LEON AND PORTUGAL

THE CHAPEL OF THE LANGUE OF GERMANY

ST JAMES THE LESS

CHRIST’S ENTRY TO JERUSALEM

ST PHILIP

THE ADORATION OF THE MAGI

THE ADORATION OF THE SHEPHERDS

ST BARTHOLOMEW

ST MATTHEW THE FOUR EVANGELISTS

86

THE TRIUMPH OF THE CATHOLIC CHURCH

THE VIRGIN MARY

ST ANDREW

THE LAST SUPPER

THE VICTORY OF TRUTH OVER HERESY

THE ANNUNCIATION MAIN ENTRANCE

ST SIMON

ST JUDE THADDEUS

GRAND MASTER RAMON PERELLOS Y ROCCAFUL

THE ANNUNCIATION

GRAND MASTER RAMON PERELLOS Y ROCCAFUL

ST SIMON

THE FOUR EVANGELISTS

ST JUDE THADDEUS

FIG. 60

Fig. 60 Digital rendering of the tapestries at the entrance of St John’s Co-Cathedral

87

96

FIG. 65

The Tapestries

Grand Master Ramon Perellos The St John’s Eucharist series includes a tapestry portraying the donor, Spanish Grand Master Ramon Perellos y Roccaful. This tapestry originally hung over the main entrance to the church. Portrayed in the tapestry is the full-length figure of the Grand Master, accompanied by the apostles Thaddeus and Simon. Minerva, as the allegory of the Order Melita, crushes a Moorish slave beneath her feet, whilst the allegorical figure of Charity distributes alms to the poor.

The Grand Master sits on a throne wearing the modest knight’s black robe but also wearing a long wig as a sign of his magistry. His elegant posture indicates his noble birth. Confident and intelligent, his steely gaze, directly making eye-contact with the viewer, commands attention. The winged allegory of the Order holds a sword in her hand as she overcomes a Moorish figure. The Grand Master is accompanied by his page, whilst another angel hands out alms to the poor. Popular legend has it that Perellos gave fifty scudi a day in alms. The portrait of the Grand Master is thus in keeping with the virtues that he wanted to attribute to his image, those of a generous and strong ruler who vanquished infidelity and succoured the poor. The portrait is in a gilt frame woven into the tapestry. The frame rests on two large corbels, where the inscription records the commission. Below, an interlacing monogram is set between a pair of wings with two trumpets in the scrolled end. These symbolise the fame of the Grand Master. The Perellos coat-of-arms is embedded in the top section of the frame and crowned with a coronet as a sign of his nobility. The ensemble is then framed with acanthus leaves, with the top part adorned with a garland of vegetables and fruit to honour divine generosity.

Lit: Mallia-Milanes, Descrittione de Malta, Malta 1988 pp. 83-87, (recorded in Giacomo Capello’s secret report which he sent to Venice in 1716)

97

98

The Triumph of the Catholic Church From the tapestry series of allegories, one of the most eloquent pieces is the tapestry that depicts the triumph of the Catholic Church. The tumultuous composition focuses on Ecclesia, personified by a female figure in liturgical dress. She is representing the Church, holding the triumphant monstrance out with both hands as she overcomes all her enemies. She is riding a golden chariot drawn by four white horses led on by other female personifications of the Cardinal Virtues: Prudence, Fortitude, Temperance and Justice, who holds her attribute, a sword, in her hand. An angel descends from the skies and is about to place the papal tiara on Ecclesia’s head. In front, another angel holding a canopy and the keys of St Peter, the emblem of her Divine Power and Absolute Supremacy, looks out at us seeking complicity. Ecclesia is accompanied by other allegories such as Fame, represented by angels blowing their trumpets, Victory holds a laurel wreath in her hand, whilst Peace holds an olive branch. A blindfolded man in rags is the symbol of moral and spiritual blindness, and Ignorance has donkey’s ears. Both follow behind the wagon whilst a female figure with an oil lamp leads towards the light.

Ecclesia is strengthened by the possession of the Holy Eucharist as her chariot tramples upon heresy, personified by Invidia, and evil as she opens the way to righteousness and eternal glory.

Rubens’s immense creative ability gave form to the essence of the CounterReformation to express an abstract subject in pictorial terms with an impressive triumphal procession. Drawing from classical antiquity, he adopted the theme of the triumphal procession and combined allegorical and emblematic elements, deriving an iconography, which gave clear pictorial narrative to convey the triumph of the Catholic Church. Rubens’s synthesis, between the processions of the Roman triumphators and Catholic victory, was a theme that was immediately understood and embraced. The representation of its iconographical composition became emblematic throughout the seventeenth century. The fine draughtsmanship of this composition, together with the rich use of opulent colours, renders this piece a veritable masterpiece of baroque art.

Lit: Poorter 1978., see chapter on this subject; Schroeder 1978; Scriber 1975 and 1980.

FIG. 66

99

INDEX Abraham before Melchizedek, 37 Act of Cession, 27 Albert, Archduke of Austria, 7, 22, 23, 26, 27, 28, 32 Algardi, Alessandro, 131 Ancona, 80 Antwerpen, 22, 30, 32, 35, 39, 44, 53, 68, 71, 72, 76, 103, 113, 115, 127, 129 Apostles, 34, 37, 78, 81, 83, 97, 123, 124, 130-8 Baroque, 8, 9, 13, 14, 15, 22, 34, 53, 59, 61, 83, 99, 103, 115, 117, 123, 127, 130, 131, 132, 139 Bernini, Gian Lorenzo, 131 Breda, 24, 39 Brosens, Koenraad, 10, 71 Bruges, 78 Bruncould, Charles Le, 78 Brun, Charles le, 67, 70, 71 Brussels, 13, 20, 24, 25, 27, 29, 32, 34, 35, 43, 51, 53, 61, 64, 66, 67, 68, 69, 70, 71, 72, 78, 79, 81, 83, 115, 119, 130 Calvin, John, 103 Caravaggio, Michelangelo Merisi da, 123, 127 Carracci, Annibale, 34 Carrillo, Juan, 20, 26 Catholic Reformation, 7, 9, 18, 79, 83, 101, 115 Chambray, Fra Jacques, 62 Cambridge, 10, 48, 111 Charles V, 25, 26, 39, 71, 72 Chifflet, Chaplain Philippe, 39, 46 Christ, 13, 18, 22, 23, 27, 35, 66, 68, 72, 76, 78, 80, 83, 101, 107, 109, 117, 119, 121, 123, 124, 127, 129, 130, 131, 133, 135, 136, 137, 138, 139 Christ the Saviour, 78, 86, 89, 90, 130, 131 Cologne, 80 Constantine, Story of, 22, 32, 43, 44 Coppens, Augustine, 72, 74, 75 Corpus Christi, 15, 20, 22, 26, 27, 80 Cotoner, Nicholas and Raphael, grand masters, 14, 62 Council of Trent, 15, 23, 26, 27, 35, 44, 66, 129 David playing the Harp, 37 Defenders of the Eucharist, The, 12, 19, 21, 24, 37, 50, 51, 67, 74, 76, 80, 86 Descalzas, Monastery, 7, 9, 10, 20, 22, 26, 27, 43, 59, 73, 105, 107, 109 Disputation of the Holy Sacrament, The, 76, 77, 113 Dos Aguas, Baron, 60 Edinburgh, 76, 117, 123 Erardi, Alessio, 81 Euclid, 48 Fleurigny, de, Commander, 81 Fobert, Jacob, 43 Forchondt, 72 Four Evangelists, The, 52, 67, 72, 86, 87, 111 Fourneau, Charles Antoine de, fra, 66, 67, 68, 70, 81, 83 Geubels, Jacob, 43 Giner, Don, 60 Guicciardini, Ludovico, 68 Hapsburg, 29

144

Hautefeuille, 68, 83 Hecke, Van den, 24, 70, 73 History of Constantine, The, 43 History of Telemachus, The, 75 Hondt, Philipe de, 74 Innocent XII, 61 Isabella, Clara Eugenia, Infanta, 7, 9, 13, 20, 22, 23, 24-9, 32, 37, 39, 43, 53, 59, 66, 73 Janssens, Victor, 74, 75 Jerusalem, 66, 78, 121, 134, 136, 138 Langon, Fra Joseph, 62 Last Supper, The, 43, 66, 74, 78, 86, 88, 111, 121, 123, 124, 125 Leo X, 32 Leyniers, Doodtboeck, 72 Life of Maria de Medici, The, 39 Luther, Martin, 103 Louis XIV, 64 Lyons, 76 Madrid, 7, 10, 20, 22, 24, 28, 29, 30, 35, 39, 43, 46, 51, 53, 73, 107, 121 Maes, Godfried, 78, 129 Mantua, 34 Marlborough, 71, 72 Marsala, 34 Maximilian II, emperor, 26 Medici, Maria di, 22, 32, 39 Michelangelo, 127 Naulaetrs, 72 Netherlands, 7, 13, 20, 22, 23, 24, 25, 27, 28, 29, 34, 35, 43, 59, 65, 66, 67, 68, 69, 129 New Testament, 66, 75, 131, 132, 137 Old Testament, 24, 44 Oncala, 80 Oran, 64 Orley, Jan van, 72, 74, 75, 78, 115 Oudenaarde, 71, 72 Palazzo del Te, 34 Palm Sunday, 121 Pannemaker, Willem de, 39 Paris, 30, 34, 43, 67, 69, 70, 71 Perellos, Ramon, grand master, 7, 8, 9, 13, 14, 15, 60, 61, 62, 64, 65, 75, 81, 83, 86, 87, 97, 101, 127, 130, 133 Philip IV, king, 7, 24, 27, 28, 29 Poor Clares, 26, 28 Poorter, De Nora, 10, 24, 66, 72, 73, 99, 105, 107 Portocarrero, Fernander de, cardinal, 70 Pozzo, Cassiano del, 123 Preti, Mattia, 14, 80, 81, 83 Prado, 10, 51, 121 Poussin, Nicolas, 78, 123, 124 Protestant, 18, 22, 23, 29, 30, 39, 43, 103 Raising of the Cross, The, 74, 76, 86, 92, 127 Raes, Jan, 24, 43 Raphael, 34, 37, 60, 113 Resurrection, The, 66, 78, 86, 89, 129 Rubens, Peter Paul, 7, 8, 13, 14, 20, 22, 23, 24, 28, 29, 30, 32, 34, 35, 37, 39, 43, 44, 46, 48, 51, 53, 57, 59, 67, 69, 71, 72, 73, 74, 75, 76, 78, 83, 99, 101, 103, 105, 107, 109, 111, 113, 115, 117, 119, 123, 127, 129 Rudolf I, 44, 121 Sacrifices of the old Covenant, The, 37

Saint St Andrew, 86, 89, 133 St Bartholomew, 86, 88, 135 St Francis, 22, 28 St Gregory, 113 St Gudula, 78, 83, 130 St James the Greater, 86, 92, 138 St James the Less, 86, 88, 134, 136, 138 St John, 8, 19, 13, 14, 15, 17, 18, 68, 80, 83, 86, 88, 101, 111, 121, 127, 131, 134, 135, 137, 138 St Joseph, 119 St Jude Thaddeus, 86, 87, 136 St Mark, 111, 131 St Matthew, 86, 93, 111, 131, 132, 136 St Michael, 38, 83, 130 St Paul, 86, 91, 139 St Peter, 86, 90, 99, 133 St Philip, 86, 93, 137 St Simon, 81, 86, 87, 135 St Thomas, 86, 93, 113, 137 Saratosa, 30 Saul, 139 Schoor, Lodewijk Van, 74, 75, 78, 115 Seven Sacraments, The, 123 Shernmehorn, 62 Spinola, 62 Tintoretto, 127 Titus and Vespasian conquest of Judea, 34 Toledo, 25, 70, 80 Tormo, Elias, 72 Transubstantiation, 18, 23, 44, 80, 113 Triumph of the Catholic Church, The, 7, 30, 32, 36, 37, 48, 66, 86, 91, 99 Triumph of Divine Love, The, 37, 44, 45, 46, 48, 66, 72, 86, 89, 109 Triumph of Faith, The, 37, 44, 56, 57, 58, 66, 72, 86, 90, 107 Triumph of Julius Caesar, 34 Triumph of Scipio, 34 Tunis, 26, 39, 59, 62, 71, 72 Twelve Years Truce, 27, 35 United Provinces, 23, 27, 30, 39 Urban IV, pope, 18, 113 Valencia, 26, 60, 80 Valenciennes, 53 Veen, Otto van, 44 Venius, Otto, 32 Vermeyen, Jan, 39, 72 Vertot, 64 Victory of the Eucharist over Pagan Sacrifice, The, 37, 54, 55, 57, 67, 72, 86, 105 Victory of Truth over Heresy, The, 37, 38, 39, 42, 43, 72, 86, 91, 101, 102 Vilhena, Antonio Manoel de, grand master, 62 Virgin Mary, 22, 78, 86, 91, 92, 115, 127, 130, 132, 136 Vos, Judocus de, 13, 24, 61, 66, 67, 68-80 Wervoert, Hans, 43 Vorsterman, Lucas, 76, 117 Wildens, Jan, 44 Witdoeck, Jan, 76, 117 Ximenez, Francisco, de Texada, 80 Zane, Matteo, 29