Matthaeus Yrsselius (1541-1629), Abbot of Sint-Michiel s Abbey in Antwerp Peter Paul Rubens (1577-1640)
Peter Paul Rubens – Matthaeus Yrsselius (1541-1629), Abbot of Sint-Michiel s Abbey in Antwerp
~1624. Danish National Gallery, Copenhagen
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Painter: Peter Paul Rubens
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THE ALLURE OF POWER
There is a bitter charm,
A brain-intoxicating delight –
To elevate your personal courage,
Denying the noble bravery of others.
Distorting history, time and the world,
To declare the sanctity of a foul fate.
... Busts are mandatory in every apartment.
Squares need monuments, museums need paintings!
The seminary from which you were expelled,
Destroy it, shooting the priests without hesitation.
And experience half-blind raptures,
Abolishing religion – pseudo-teaching.
Drink wines of the finest brands, cognac and Madeira,
Torturing quails with your sick teeth.
And use any sphere in science,
Glorifying yourself with expensive words.
Skillfully wielding black clairvoyance,
Make contact with the darkest power,
Having temporarily abandoned your decrepit body
And no longer dreaming of earthly prospects.
Find the beginning of rebellion, so that
You can further enjoy revenge, and – with a speech
Absolutely false at a magnificent grave,
Where the river of human suffering flows abundantly.
But in the morning, when in the grand palace
A lavish feast flares up, serve it – and suddenly –
The general is roasted – they watch nervously,
Dazed comrades, not at all enthusiastically.
On the platter – a comrade, nuts and greens.
Help yourselves! – Guards appeared in the doorway.
Without arresting your associates,
Even a sunny day will be lost, golden and multifaceted.
But at night, take a deep walk
With a huge wolfhound or Doberman.
And call the moon a meager bun,
And talk to God, rudely and fiercely.
You cannot comment Why?
The composition is carefully structured to emphasize the subject’s authority and position within the Church. To his left, a heraldic crest is visible, signifying lineage and noble connections. A mitre, richly ornamented with intricate detailing, rests on a cushion beside him, symbolizing ecclesiastical rank and power. The crook of a pastoral staff, also elaborately decorated, extends from behind the figure, further reinforcing this symbolic representation of spiritual leadership.
The lighting in the painting is dramatic, highlighting the contours of his face and robes while leaving portions of the background in shadow. This chiaroscuro effect draws attention to the subject’s features and creates a sense of depth within the composition. The artists handling of light also serves to emphasize the texture of the fabrics, adding to the overall realism of the depiction.
Subtly, there is an element of austerity present in the portrait. While the rich details of the mitre and staff suggest status, the subject’s expression and posture convey a sense of solemnity rather than ostentation. The muted color palette – dominated by white, red, and silver – contributes to this impression of restrained dignity. It is likely that the artist intended not only to record a likeness but also to communicate something about the character and spiritual standing of the individual portrayed.