The key to interpreting this scene is situated just above the top of the throne on which the young man is seated. There, suspended from the ceiling, hangs the skin of a bearded male figure, its mouth and the openings where the eyes used to be are stretched wide open. Rubens’ learned contemporaries will have immediately recognized in these human remains the figure of Sisamenes. The writings of both Herodotus and Valerius Maximus recount how this Persian judge (sixth-century BC) was skinned alive and then executed by his king Cambyses as a punishment for taking bribes. The young man sitting on the throne is Otanes, Sisamenes’ son and successor. Rubens’ scene depicts the moment when the dignity of the judge, as symbolized by the rod, is transferred to Otanes. The skin of Sisamenes hangs above his throne as a warning not to succumb to corruption like his father.
Date
between 1626 and 1700
date QS:P,+1500-00-00T00:00:00Z/6,P1319,+1626-00-00T00:00:00Z/9,P1326,+1700-00-00T00:00:00Z/9
preparatory version of a much larger painting that Rubens made for the town hall in Brussels somewhere between 1622 and 1626. It hung in the courtroom and was probably accompanied by two other paintings by the same master; Last Judgment and Judgment of Solomon. These three artworks were destroyed, together with most of the centre of Brussels, during the brutal bombing of the city by the troops of the French King Louis XIV on 13, 14, and 15 August 1695.
Possibly one of the greatest, surely one of the most famous enthusiasts of the painting was Frederick the Great, King of Prussia (1712–1786). He had in his possession not only the sketch that is still in the Neues Palais today and that was bought on Frederick’s orders from a Dutch collector in 1763, but also a much larger (possibly studio) copy on canvas (220 x 274 cm), which hung in the same palace.
Frederick the Great’s two versions of Rubens’ Justice of Cambyses remained in Potsdam until 1942. In that year the large canvas copy was moved from the Neues Palais to Schloss Rheinsberg, further away from Berlin and from allied air raids, where it was last seen in 1947. For a long time it was believed to have been destroyed during the war (Kriegsverlust, as it is called in German), like its original two and a half centuries earlier. Only recently have new data about the work’s whereabouts come to the surface. Actually it wasn’t destroyed but taken to the Soviet Union by the Red Army and subsequently bought by a private collector in Moscow, who donated the work to the Russian state. Today the canvas is conserved in The Hermitage in Saint Petersburg, although the online catalogue of the museum does not mention it.
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