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Extra info for The Golden Game: Alchemical Engravings of the Seventeenth Century
D. Thiry was a Fleming who worked at Fontainebleau between 1534 and 1542. He went to Antwerp in 1542 and joined Frans Floris' shop where he remained until his death in 1550. See H. Kauffmann, op. , p. 199, and K. Kussenberg, Le Rosso, Paris, 1931, p. 122 for a discussion of Thiry as a carrier of Fontainebleau ideas to the Antwerp School. Because Frans Floris had more than one hundred-twenty pupils, mostly of Dutch and Flemish origin, Thiry's training in Italy and Fontainebleau must have influenced a large number of Floris' students who in turn went back to their respective homes and spread these ideas throughout the Netherlands and Flanders.
St. Paul's refined and delicate face and his long brown beard recall the features of St. John the Baptist in the painting in Santa Maria della Scala of 1618 (fig. 6). The sweet but artificial character of the angels in the Santa Maria della Vittoria altarpiece, moreover, harks back to Bloemaert. 1 Because of the parallel tendencies found in the Santa Maria della Scala painting, in the Albano altarpiece and in the canvas for Santa Maria della Vittoria, one may date the St. Paul early in 1618. In the group of paintings executed between 1616 and 1620, can be placed Honthorst's The Liberation ofSaint Peter.
Peter which also might indirectly help to date Honthorst's first painting which shows more than just a passing interest in Caravaggio and his circle. 2 These figure types of Manfredi are further developed by Valentin de Boullogne, and in several instances Honthorst's characters resemble them quite closely, but the date of the Frenchman's arrival in Rome is uncertain as well as his work from the years prior to 1620, and hence it is safer to assume that Manfredi was the immediate source of inspiration for Honthorst's soldiers.