Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2008)
JÚLIA TÁTRAI AND LÁSZLO LENGYEL: Archduke Albert († 1621) on the Catafalque: A Picture of Old-New Acquisition
ing of the castles at Tervueren and Mariemont. In addition, the church and monastery of the Barefoot Carmelites in Brussels was constructed on his design, as well as the pilgrimage church of Our Lady of Scherpenheuvel. The couple appointed Robrecht de Noie, who came from a family of sculptors, to the position of court sculptor. Among his most important works were the new rood screen for the church of Saint Gudule in Brussels, the tomb of Archduke Ernst, several sculptures for the church of the Barefoot Carmelites and the pilgrimage church in Scherpenheuvel, as well as sculptural decoration for the archducal couple's three residences. Among the court painters of Albert and Isabella were masters such as Otto van Veen, Hendrick de Clerck, Denis van Alsloot and of course Rubens himself, as well as the archducal couple's favourite master, Jan Brueghel the Elder. The works created in the most diverse of genres were not merely a means to display the wealth and status of the archducal couple but also contributed considerably to creating the image the ruling couple wished to present about themselves. 16 Accordingly, apart from their traditional portraits, Albert and Isabella were also depicted, for example, during a visit to an art collection (Willem van Haecht: Cornells van der Geesfs Picture Collection on the Occasion of the Archducal Couple's Visit, 1628, Antwerp, Rubenshuis); as they are shooting on a practise range (Unknown painter: The Archducal Couple at a Celebration of the Guild of Saint George on the Kouter, 1618, Gent, Bijloke Museum); as they are walking among deer, stags and fowl (Jan Brueghel the Elder, The Archducal Couple in Brussels Park, Antwerp, Rubenshuis), or taking part in a village celebration (Jan Brueghel the Elder, A Peasants Wedding with the Participation of the Archducal Couple, Madrid, Prado). The series depicting the five senses, jointly painted by Jan Brueghel the Elder and Rubens, provides an emblematic summary of the mentality that characterised the court of Albert and Isabella. In addition to providing an insight into the archducal couple's art collection, each picture in the series is an allegorical allusion to a particular virtue of the rulers: The Sense of Sight alludes to their contemplating objects produced by science and art, as well as introspection and, along with that, to a pure and virtuous way of life; the unused arsenal in The Sense of Touch to their bringing of peace to the country; the instruments in The Sense of Hearing by musical harmony to social harmony; The Sense of Taste to their refined taste, the propagation of which they regarded as a mission; and the flowers in The Sense of Smell not only to the magnificent archducal gardens, but also to the "scent of sanctity", to religious piety. 1 '
