Cornelis Galle I after Peter Paul Rubens
Samson strangling the lion, frontispiece to an edition of the poems written by Urban VIII before his pontificate 'Maphaei S.R.E Cardinalis Barberini Nunc Urbani P.P. VIII Poemata', 1634, Engraving, 176 x 137 mm, The British Museum, London; 1858,0417.1249, Photo: ©️ The Trustees of the British Museum / Art Resource, NY
Ex ore leonis
Commentary by Laura Popoviciu
Cardinal Maffeo Barberini’s (the future Pope Urban VIII’s) collection of Latin poems inspired by biblical themes appeared in fifteen editions during his lifetime. Among these, the one published in Antwerp in 1634 includes a frontispiece with a striking illustration of Samson and the lion, designed by Peter Paul Rubens and engraved by Cornelis Galle I. Why did Rubens choose this iconography for his design, and how does it relate to the content of the publication or the author of the Poemata?
Rubens had already explored the subject of Samson’s fearless encounter with the young lion in a 1628 painting (now in Madrid). Here, he captures the moment when Samson revisits the lion he has killed. As he touches the animal, forcing its jaws open, bees spring out of its mouth.
In the context of the Poemata, the presence of bees invites multiple interpretations. For example, their triangular grouping above Samson’s muscular left arm in this engraving evokes the positioning of the heraldic bees on the coat of arms of the Barberini family.
They also have specifically christological associations. Since antiquity, scientists, philosophers, and theologians have attempted to explain the myth of the spontaneous generation of bees from the corpses of animals, a phenomenon known as bugonia. The apparently miraculous generation of life could function as a metaphor for virgin birth and also for resurrection. A painting, now untraced, is listed in the Barberini inventories with the title Virgin and Child with ‘bees coming from mouth of Madonna’. And Samson’s subjugation of the lion, and the subsequent generation of bees, has been interpreted as a prefiguration of Christ’s triumph over death, and the new life that follows from it.
The visual and textual material relating to the biblical story complement each other in the Poemata. In a poem dedicated to his deceased brother Antonio, Maffeo writes that ‘like Samson, [Antonio] receives sweet honey from the mouth of a slain lion’ (Barberini 1634: 254). The gift of honey thus becomes an emblem and foretaste of the life of heaven.
The associations could be political as well as personal. As an emblem of the resurrected Christ, the virtuous bees reinforce the divine right to papacy, guiding Maffeo’s mission as Pope Urban VIII. His military quest to extend the papal dominions and gain his own independence from Italy has moral echoes of Samson’s mission to free the people of Israel from the Philistines.
References
Barberini, Maphaei. 1634. Poemata (Antverpiae: ex officina Plantiniana Balthasarus Moreti)
Judson, J. Richard and Carl van de Velde. 1978. ‘Book Illustrations and Title pages’, in Corpus Rubenianum, 21.1 (London and Philadelphia: Harvey Miller), pp. 283–87
Lavin, Marilyn Aronberg. 1975. Seventeenth-century Barberini documents and inventories of art (New York: New York University Press), pp.53, 555, Doc. 405 (1636)
Reichman, Eric. 2012. ‘The Riddle of Samson and the Spontaneous Generation of Bees: The Bugonia Myth, the Crosspollination that Wasn’t, and the Heter for Honey That Might Have Been’, in Essays for a Jewish Lifetime: Burton D. Morris Jubilee Volume, ed. by Menachem Butler and Marian E. Frankston (New York: Hakirah Press), pp. 1–12