When we view "The Crucifixion," in the Cathedral at Antwerp, we conclude
that he admired the "Hercules" not wisely but too well, for the muscles
stand out on all the figures, even of the Savior, in pure Farnese style.
Two years after that picture was painted, he did his masterpiece, "The
Descent From the Cross," and we behold with relief the change that had
come over the spirit of his dreams. Mere pride in performing a difficult
feat had given place to a higher motive. There is no reason to suppose
that the Apostles had trained to perform the twelve labors of Hercules,
or that the two Marys were Amazons. But the burly Roman forms went back
to Flanders, and for many years staid citizens were slipped into classic
attitudes to do duty as Disciples, Elders, Angels--all with swelling
biceps, knotted muscles, and necks like the Emperor Vespasian.

The Mantuan Envoy at Rome had private orders from Chieppo to see that the
Fleming was well treated. The Envoy was further requested to report to
the Secretary how the painter spent his time, and also how he was
regarded by Cardinal Montalto. Thus we see the wily Secretary set one
servant watching another, and kept in close touch with all.

The reports, however, all confirmed the Secretary in his belief that the
Fleming was a genius, and, moreover, worthy of all the encouragement that
was bestowed upon him. The Secretary sent funds from time to time to the
painter, with gentle hints that he should pay due attention to his
behavior, and also to his raiment, for the apparel oft doth proclaim the
man.

The Duke of Mantua seems to have regarded Rubens as his own private
property, and Rubens had too much sense to do anything by word or deed
that might displease his patron.