St Paul. Plate 10. From: Christ and the Apostles

Lambert Suavius (a.k.a. Lambert Zutman) (c.1510-1574–6), was a South Netherlandish printmaker, architect and poet. He was the son of the episcopal goldsmith Henri Zutman. He became a follower of his brother-in-law, Lambert Lombard, with whose work his own was formerly confused. Suavius became an independent master in 1539, when he married and bought a house in Liège. In the same year he purchased a glazier's stylus with a diamond point, which he used in addition to the standard engraver's burin to obtain a wider range of effects in his prints. He travelled to Italy, probably in the 1550s. His updated series of Views of Various Ruins including the Colosseum, evidently done in Rome, is executed entirely in etching, while his extensive series of portraits of the Roman emperors is done in a highly original mixture of engraving, drypoint and etching. He also engraved portraits of Michelangelo and Albrecht Dürer, using a medal as a prototype for the latter.

This is the tenth of 14 engravings depicting Christ, St Paul and the Twelve Apostles; Te Papa owns every print in the series apart from the extremely scarce St Thomas. They were originally probably bound in a volume with nine other series by the same artist. It is possible that this entire volume was printed by Volcxken Diercx, the widow of Hieronymus Cock, who retained the copper plates and continued printing in Cock's Antwerp workshop until she died in 1601. There is a record of her selling impressions from the plates to Suavius's former colleague, Christoffel Plantin, after Suavius had moved to Frankfurt.

St Paul is looking to his left, and holds a tablet in his left hand and a scroll in his right - probably a reference to his authorship of the Biblical Letters of St Paul. His left foot rests on a rock. His garments are somewhat knotted, and his beard is long and scruffy. On the bottom right (by his left leg) is a shield which bears an image of a word, an allusion to St Paul's martyrdom. Art historian Sheri Shaneyfelt has speculated on the meaning of the figures carved in shallow relief in the upper curvature of the arch. One possibility is that it refers to the Altar of an Unknown God which Paul encountered in Athens; alternatively, it could allude to Paul's own preaching at Ephesus, where he converted several pagan priests to Christianity. The setting of ancient architecture in a ruined state is common to all prints in the series. Here Suavius's depiction is particularly atmospheric, with copious overhanging plants emphasising the ruinous architecture, an obelisk, a stairway with an arcade and further ruins, possibly an ancient temple or bath. All this emphasises Suavius's modish awareness of antiquity and readiness to quote from it.

Shaneyfelt describes Suavius's series as 'generally more complex, both in iconography and technique' than earlier examples such as that by Lucas van Leyden, also in Te Papa's collection, and 'thereby the maturity of the engraving technique as well as the changing tastes of the viewer are demonstrated.' Technically, Suavius juxtaposes different types and shapes of line to create varying illusions of tone and depth, and to develop contrast between light and shadow. Through the use of his diamond point tool, he creates 'images which hae a clear emphasis upon even, modulated tonality, overall effect of softness and a high degree of precision and intricate detail.' A 'refined technique was an important objective of Lambert Suavius, and one which he successfully reached in this particular series' (Shaneyfelt).

See:

Oxford Index, 'Lambert Suavius', http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803100539310

Sheri Shaneyfelt, 'Lambert Suavius', in Professional Printmaking in the Sixteenth-Century Netherlands, Indiana University Art Museum, Bloomington, Indiana, 1994, pp. 9-12.

Dr Mark Stocker Curator, Historical International Art February 2017