CXXX, valued at 350 livres) Armand-Jean du Plessis, Cardinal de Richelieu, Paris (until d. Maréchal Charles I de Créquy, Paris (from about 1633/34 –d. Jean Audran engraved The Met's composition in reverse. A copy of The Met's painting was in the Warschaw Collection, Los Angeles, in 1971, and a variation of the composition made by Poussin's friend, the painter Jacques Stella, is in the Princeton Art Museum. Blunt (1966) sites four copies of this composition in early sales and inventories, but it is not always possible to tell which version is referred to.
Poussin's knowledge of the architecture of Vitruvius and Serlio is apparent in the settings of both variants. For the key figures of his New York composition Poussin borrowed motifs from a number of classical and classicizing sculptures, including the Roman statue of a Gaul Killing Himself and His Wife ( The Ludovisi Gaul) in the Palazzo Altemps, Rome, and Giambologna's 1583 sculpture group of the subject ( Rape of a Sabine Woman) in the Loggia dei Lanzi, Florence, as well as from Pietro da Cortona's 1625 painting, Rape of the Sabines in the Capitoline Museum, Rome. An illustration for Leonardo da Vinci's treatise on painting, which greatly interested Poussin, it is closely related to one of the Windsor Castle drawings, Nude Man Lifting Up a Woman. Finally, Poussin's drawing from the early 1630s of Hercules and Antaeus (Ambrosiana Library, Milan) should be mentioned. Two drawings in the Royal Collection, Windsor Castle, apparently studies for the New York composition, are dated about 1633 by Clayton (1995). Spatial and figural ideas for both paintings appear in drawings in the Uffizi, Florence, and the collection of the Dukes of Devonshire, Chatsworth, both dated about 1633–34 by Rosenberg and Plat (1994). Poussin experimented with compositional variations in a number of preliminary drawings.
More recently (Sparti 2006) the discovery of a receipt dated 1635 for The Destruction of the Temple in Jerusalem (Kunsthistorisches Museum, Vienna), a painting long associated stylistically (by Blunt and Mahon among others) with the Louvre work, further suggests that the two pictures may have been produced in more or less the same time period, hatching in the artist's mind as compositional and expressive alternatives. It appeared in Créquy's posthumous inventory and must have been painted about 1633–34, when he served as ambassador in Rome. We now know that the New York painting is the earlier of the two. For example, Mahon (1960) saw The Met's variant as earlier, dating it between 16, and placing the Paris picture about 1637–38, while Blunt (1960) considered The Met's example later, from about 1637, and dated the Louvre version 1635. The chronological relationship of the two pictures was long a matter of debate. A second, quite different, treatment of the theme is in the Musée du Louvre, Paris. 1638), whose collection also included Caravaggio's The Musicians (The Met 52.81). Long considered a defining masterpiece of French classical painting, this work was produced in Rome for the maréchal Charles I de Créquy (d. The story is told by Plutarch ( Life of Romulus, XIV) as well as Livy and Virgil. He is shown at the left raising the hem on his cloak in a pre-arranged signal to his men, each of whom will carry off one of the Sabine maidens, bringing her back to Rome to provide the great city with future generations. When this failed he organized a festival as a ruse and invited the Sabines to attend. According to legend, Romulus-having settled Rome with his warrior followers-attempted to negotiate marriages for them with the neighboring Sabine tribe.
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