This painting does not present Saint Jerome as a cardinal and founder of the church, but as a hermit who lives in isolation in the desert of Chalcis in Syria, seeking penance and self-reflection. His body seems drained by the sun. He is enveloped by a large mantle in crimson red befitting a cardinal. Next to him is his companion the lion; in its slumber it embodies the tranquillity of the desert. The books at his feet call to mind Jerome’s diligence in translating the scriptures. Here too, he is seen devoting himself to bible work.

This work, painted around 1615/16, is one of van Dyck’s earliest. An earlier painting by Rubens depicting Jerome as a penitent (Staatliche Kunstsammlungen Dresden, Picture Gallery) served as van Dyck’s inspiration. Ruben’s painting goes back to a famous sketch by Titian.

It is noteworthy that van Dyck imitated the gestures of the Rubens work in his own painting. He did not, however, imitate Rubens’ careful, enamel-like colour composition. Instead of smooth precision, the paint is applied with energetic brush strokes. This daring technique is similar to Rubens’ oil sketches. Indeed, van Dyck seems to have transferred the master’s technique from sketches to life-size easel works.

According to the ancient myth Mars falls in love with Rhea Silvia, a priestess in the temple of Vesta, the goddess of the hearth, who was also revered for protecting the family, hospitality and ordered community life.

For this painting Rubens chose the scene where Mars, borne by a cloud, ardently approaches the priestess, who shrinks back in fear. Mars has put his helmet, and with it his belligerent intentions, temporarily aside.

Amor, the god of love, announces the romance between the two. Virgil wrote that Mars and Rhea Silvia produced the twins, Romulus and Remus, who later founded Rome. On the right hand side of the altar the eternal fire of Vesta is burning. As there was no picture of Vesta with human features, she is represented instead by the statuette of the goddess Pallas Athena.

This painting served as the modello for a tapestry. This is evidenced by the weapons of the goddess, which appear as if she were left-handed. Rubens’ own sketch for this painting is also to be found in the Princely Collections.

Venus, the goddess of love, is doing her toilet, sitting in front of a looking-glass. Her back faces the viewer, whom she looks at through the mirror, her face framed like a portrait. The viewer feels drawn into the scene.

The picture allocates ample space to the sensual rendition of Venus’ skin and silky, shining hair, which vividly contrasts with the dark-skinned servant. The nakedness of the figure is emphasised by the few precious accessories which otherwise serve as decorative elements of elaborate dress. One of the charms of this painting lies in the contrast between the apparently random staging of the scene and the beauty of Venus, which is conceived with the viewer in mind.

Rubens’ mastery as a painter derives from the deceptively lifelike quality of his work. He changes from sketchy brushstrokes, drawn like a veil across the ground, to compact and elaborately painted sections. This gives the picture an almost tangible quality. The image of the goddess of love becomes the very symbol of beauty.

This erotic depiction of King Cecrops’ daughters has its roots in a horrible tale. Vulcan attempted to rape the virgin Minerva, but she managed to escape. The god’s seed fell on the ground and impregnated Gaea, the earth goddess. She then gave birth to Erichthonius. His legs were formed like snakes, and Minerva had to hide the little monster in a basket, that she entrusted to King Cecrops’ daughters. Female curiosity soon had them forget Gaea’s command never to open it, and Aglauros revealed the secret.

Other elements of the painting, such as the fountain sculpture of the Ephesian Diana, the dolphins and the herma of Pan, are symbols of lust and allude to the story at the core of this scene.

Rubens’ source is Ovid, in whose Metamorphoses the daughters are not punished for their curiosity.

Rubens modelled Herse and her prudent gesture, concealing her private parts, on the famous antique statue of Venus Pudica. This work was painted subsequent to Rubens’ picture Venus in front of the Mirror (also in the Princely Collections) around 1616. The image of Venus’ profile is repeated in the third sister, Pandrosos.

The body of Christ lies on a stone slab. Joseph of Arimathea, who had asked Pilate for Christ’s remains, supports the upper body of the deceased. Next to him stands Nicodemus. With a pale face the Virgin Mother closes the eyes of her son and carefully removes a thorn from his forehead. Next to her, Saint John watches attentively and supports the arm of the Virgin. Along with the other women, Mary Magdalene mourns the dead saviour.

Rubens’ realisation of the subject follows the Italian tradition of medieval Bible illustration. The special feature of this type of portrayal is the Stone of Unction upon which Christ lies. In the Rubens picture, however, the body has not been cleaned and anointed. Here the painter borrows from the Revelation of St. Bridget, once again demonstrating his profound education.