Rubens’s <i>Dying Seneca</i> and Masculinity

Hults, Linda C.

doi:10.1086/scj4903002

The Sixteenth Century Journal

2018

DOI: 10.1086/scj4903002

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Rubens’s Dying Seneca and Masculinity

Linda C. Hults

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2023

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The Body of Christ and the Embodied Viewer in Rubens’s Rockox Epitaph

Grimmett

2023

Arts

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On behalf of the Catholic Church, the Council of Trent (1545–1563) confirmed the usefulness of religious images and multisensory worship practices for engaging the bodies and the minds of congregants, and for moving pious devotees to empathize with Christ. In the center panel of the Rockox Epitaph (c. 1613–1615), a funerary triptych commissioned by the Antwerp mayor Nicolaas Rockox (1560–1640) and his wife Adriana Perez (1568–1619) to hang over their tomb, Peter Paul Rubens (1577–1640) paints an awe-inspiring, hopeful image of the Risen Lord that alludes to the promise of humankind’s corporeal resurrection at the Last Judgment. In the wings, Rockox and Perez demonstrate affective worship with prayer aids and welcome onlookers to gaze upon Christ’s renewed body. Rubens’s juxtaposition of the eternal, incorruptible body of Jesus alongside five mortal figures—the two patrons and the three apostles, Peter, Paul, and John—prompted living viewers to meditate on their relationship with God, to compare their bodies with those depicted, and to contemplate their own embodiment and mortality. Ultimately, the idealized body of Christ reminds faithful audiences of both the corporeal renewal and the spiritual salvation made possible through Jesus’s death and resurrection.

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The Body of Christ and the Embodied Viewer in Rubens’s Rockox Epitaph

Grimmett

2023

Arts

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Rubens’s Dying Seneca and Masculinity

Cited by 1 publication

References 39 publications

The Body of Christ and the Embodied Viewer in Rubens’s Rockox Epitaph

The Body of Christ and the Embodied Viewer in Rubens’s Rockox Epitaph

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