It was his first major commissioned work made for the private chapel of Eleonora de’ Medici Gonzaga (1567–1611), duchess of Mantua.The painting remained somewhat obscure until 2001, when it was discovered by German art historian Justus Müller-Hofstede, a specialist on Rubens' early work.[1][2][3] The large-size altarpiece revolutionizes the usual illustrations of Jesus' Descent from the Cross of the Cinquecento and engrosses the idea of the holy Eucharist: The kneeling lady in the foreground as a symbolic embodiment of the duchess who receives the Body of Christ like a lover for supper (cf.[4] Stylistically, the painting is comparable to another early work created approximately at the same time: The Elevation of the Cross for the chapel of the church Santa Croce in Gerusalemme, which offers the same perspective to the mourning group of women.Rubens as the creator of the painting is proven archivally since it was copied by the court painter Francesco Marcoleoni in 1611 (after the duchess' death) for the church Santa Maria Assunta in Susano.
Michelangelo Pieta Bandini, Florence
Francesco Marcoleoni, copy of the descent from the cross (1611), 127x143cm (50x56in), cut
Chapel of Eleonora Gonzaga, ca 1600, reconstruction