Mucius Scaevola before Lars Porsenna

It is now assumed that the original picture was destroyed by a fire in the Royal Alcázar of Madrid in 1735 and this painting is a studio copy dating to 1626-1628.[2][3] The subject matter of the painting is drawn from Livy 2:12 and Plutarch (Publicola, 17, 1) and in particular their account of Mucius Scaevola's bravery before Lars Porsenna after the former's failed attempt to assassinate the latter.Rubens seems to have followed Plutarc's treatment of the story h in particular, because it is this author who implies that Scaevola left his sword in the body of his victim.[4] These show that Rubens produced the overall composition, with van Dyck adding details and other elements and finishing the painting.The drawings now in the British Museum shows two men holding their nose at the smell of burning flesh, whereas van Dyck only included one, immediately behind Scaevola himself.
Mucius Scaevola before Lars Porsenna (c. 1626-1628) by workshop of Rubens
Presumed oil sketch for the work by Rubens, Pushkin Museum
RubensAnthony van DyckMuseum of Fine ArtsRoyal Alcázar of MadridMucius ScaevolaLars PorsennaPushkin MuseumBritish MuseumWenzel Anton, Prince of Kaunitz-RietbergAloys von Kaunitz-RietbergPál Antal EsterházyNetherlands Institute for Art HistoryPeter Paul RubensThe Descent from the CrossLeda and the SwanThe DepositionSelf-Portrait in a Circle of Friends from MantuaEquestrian Portrait of the Duke of LermaPortrait of a Young WomanHercules and OmphaleHeraclitus and DemocritusVirgin and ChildThe Fall of PhaetonThe Baptism of ChristThe Gonzaga Family in Adoration of the Holy TrinityTransfigurationThe CircumcisionPortrait of Marchesa Brigida Spinola-DoriaPortrait of Maria di Antonio SerraPortrait of a Noblewoman with an AttendantPortrait of Giovanni Carlo Doria on HorsebackSaint Gregory with SaintsMadonna della VallicellaSusanna and the EldersThe Head of Saint John the Baptist Presented to SalomeAdoration of the MagiSamson and DelilahHoneysuckle BowerCoronation of the VirginJuno and 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