Law and order in Ruben's 'Wolf and Fox Hunt.'

67. Heikamp (as in n. 57), 50; Collections de Louis XIV, dessins, albums, manuscrits, exh. cat., Orangerie des Tuileries, Paris, 1977, 131-32.

68. Rooses-Ruelens (as in n. 2), II, 99-100. Although the phrase "escape or resistance" is Matthew's, it surely reflects a comment by Rubens.

69. Quoted from the 1598 English translation, A Tracte Containing the Artes of Curious Paintinge, repr., Amsterdam/New York, 1969, 83; Lomazzo (as in n. 49), II, 156.

70. Rubens appears to have been the first artist to paint foam on the lips of horses in modern times. For the stories about Protogenes and Nealkes, see The Elder Pliny's Chapters on the History of Art, trans. K. Jex-Blake, commentaries by E. Sellers and R. V. Schoder, S.J., Chicago, 1976, 139 (Natural History, 35.102-4).

71. See J. Rowlands, Rubens Drawings and Sketches, London, 1977, 56.

72. See Belkin, 101-3, 126-28, figs. 68, 115.

73. Louis XIII is identified as "Le Roy" in the engravings. See Liedtke (as in n. 64), figs. 107B, 108.

74. See Schneebalg-Perelman (as in n. 61), 31, 56, for hats, and 52, for a drawing said to be by van Orley; this drawing is convincingly attributed by Balis to a follower of van Orley. See A. Balis et al., Les Chasses de Maximilien, exh. cat., REunion des Musees Nationaux, Paris, 1993, 74-78, fig. 74; see Belkin, fig. 20, for a similar bonnet. Rubens's drawing depicts the 15th-century noble Josse de Lalaing in 16th-century fashion, according to Belkin.

75. J. Lavalleye, Pieter Bruegel the Elder and Lucas van Leyden: The Complete Engravings, Etchings, and Woodcuts, New York, n.d., fig. 119 (Bartsch 174). For the iconography of the feather as a hair-and-hat ornament, see E. de Jongh, Tot Lering en Vermaak, Amsterdam, 1976, 59; and E. Buijsen et al., Music and Painting in the Golden Age, exh. cat., Hoogsteder and Hoogsteder, The Hague, 1994, 152.

76. Belkin, 130-34, figs. 128, 134.

77. Ibid., 44, 131, suggests that this sheet may have been added to the Costume Book by Pierre Crozat.

78. Ibid., 139-42, figs. 77, 151, 232. In the somewhat earlier Conversion of Saint Bavo [ILLUSTRATION FOR FIGURE 30 OMITTED], ca. 1611-12, Rubens dresses the 7th-century saint's female relatives, Gertrude and Bega, in attire closely resembling the noblewoman's in A Wolf and Fox Hunt; they also wear off-the-shoulder garments and have braids.

79. E.g., Belkin, figs. 54, 77, 142, 177. For contemporary riding costume, see Baillie-Grohman (as in n. 65), fig. 109, The Elector and Electress of Bavaria Hunting (July) (ca. 1603-9), tapestry designed by Pieter de Witte, known as Candito; and fig. 93, David Vinckboons, Hawking (1612).

80. Liedtke, I, 206, n. 29, reports that Egbert Haverkamp-Begemann and Martha Wolff remarked on the anachronistic costumes of the riders and related them to van Orley's hunting tapestries. See also Balis, 54-55.

81. A. M. Bonenfant-Feytmans, "Antoine de Succa et l'historiographie de son temps," in Les Memoriaux d'Antoine de Succa, catalogue by M. Comblen-Sonkes et C. Van den Bergen-Patens, Les Primitifs Flamands: III. Contributions a l'etude des Primitifs flamands, Brussels, 1977, 16-20; M. Soenen, "Inventaire analytique des documents relatifs a l'impression et au commerce des livres (1546-1702) contenus dans les cartons 1276-1280 du conseil prive espagnol," Archives Generales du Royaume, Brussels, 1983, 48, docs. 343 (Jan. 24, 1600) and 347 bis (Mar. 7, 1612). Soenen summarizes the "lettres circulaires," where Jean-Baptiste Grammaye is identified as "historiographe" and "historiographe des Archiducs" respectively. On June 19, 1615, the bishop of Ghent charged Jacques Cornille de Lummen, called de la Marca, to write "l'histoire belgique de nostre temps"; Soenen, 49.