Attributed to Jacob Isaacz. van SWANENBURGH (Leiden, 1571 - Utrecht, 1638) Aeneas and the Cumaean Sibyl in the Underworld Copper Marked by the Antwerp copper manufacturer Pieter Staes and dated '1606' on the reverse (Minor damage and accidents, old restorations) Aeneas and the sibyl of Cumes in the underworld, copper, attr. to J. I. van Swanenburgh 17.32 x 25.99 in. 44 x 66 cm Provenance: In the same family since In the same family since 1920 ; Then by descent ; Private collection, Paris The subject illustrates verses 264 to 315 of the sixth canto of Virgil's Aeneid, the journey of Aeneas and the Sibyl of Cumae into the underworld. Aeneas wanted to see his dead father, Anchises, again, and is guided by the priestess to the Underworld. The two figures advance side by side, surrounded by representations of the miseries of the human condition. The Trojan hero in armour sheathes his sword, the sibyl having dissuaded him from fighting the shadows. She hands him the golden branch that allows him to enter the kingdom of Hades (she is old, since she is supposed to have lived for a thousand years). The image is full of fascinating and intriguing details, including in the centre the galloping sphinx and the archer satyr, the Medusa of Discord with her reptilian hairstyle and legs squeezing a heart to extract evil thoughts, various real and imaginary animals, allegorical figures, grylles and other hybrid or skeletal characters inspired by the world of Jérôme Bosch and his followers. Similarly, the tree with the hanged men and the diabolical structure in flames at the back belong to the Boschian repertoire. On the right, we see the river Acheron (a tributary of the Styx), with Charon's boat and the crowd of souls waiting to cross for hundreds of years. Infernal views, with their glowing luminist effects, were a favourite theme of Jacob Van Swanenburgh, who depicted this iconography or fire landscapes on several occasions. Other interpretations of our subject, each with a different composition, are preserved at the Muzeum Narodowe in Gdańsk and in Leiden at the Musée De Lakenhal (canvas, 93.5 x 124 cm). It was also painted around 1600 by Jan Brueghel the Elder (several versions are known: Rome, Galleria Colonna and Budapest, Szépművészeti Múzeum). The artist lived in Italy from 1591 to 1618. He is also known to have been Rembrandt's first master in Leiden from 1621 to 1623. Attributed to Jacob Isaacz. van SWANENBURGH (Leiden, 1571 - Utrecht, 1638) 44 x 66 cm The subject illustrates verses 264 to 315 of the sixth canto of Virgil's Aeneid, the sojourn of Aeneas and the Sibyl of Cumae in the underworld. Aeneas wanted to see his dead father, Anchises, again, and is guided by the priestess to the Underworld. The two figures advance side by side, surrounded by representations of the miseries of the human condition. The Trojan hero in armour sheathes his sword, the sibyl having dissuaded him from fighting the shadows. She hands him the golden branch that allows him to enter the kingdom of Hades (she is old, since she is supposed to have lived for a thousand years). The image is full of fascinating and intriguing details, including in the centre the galloping sphinx and the archer satyr, the Medusa of Discord with her reptilian hairstyle and legs squeezing a heart to extract evil thoughts, various real and imaginary animals, allegorical figures, grylles and other hybrid or skeletal characters inspired by the world of Jérôme Bosch and his followers. Similarly, the tree with the hanged men and the diabolical structure in flames at the back belong to the Boschian repertoire. On the right, we see the river Acheron (a tributary of the Styx), with Charon's boat and the crowd of souls waiting to cross for hundreds of years. Infernal views, with their glowing luminist effects, were a favourite theme of Jacob Van Swanenburgh, who depicted this iconography or fire landscapes on several occasions. Other interpretations of our subject, each with a different composition, are preserved at the Muzeum Narodowe in Gdańsk and in Leiden at the Musée De Lakenhal (canvas, 93.5 x 124 cm). It was also painted around 1600 by Jan Brueghel the Elder (several versions are known: Rome, Galleria Colonna and Budapest, Szépművészeti Múzeum). The artist lived in Italy from 1591 to 1618. He is also known to have been Rembrandt's first master in Leiden from 1621 to 1623.