Cambyses Appointing Otanes Judge

This painting depicting Cambyses Appointing Otanes Judge, attributed to the Rubens workshop or a follower, illustrates the gruesome tale from Herodotus's Histories of the Persian king who punished a corrupt judge by having him flayed alive and his skin used to upholster the judicial chair — where his own son was then required to sit and dispense justice. The subject's combination of extreme violence and moral lesson made it a popular choice for public buildings and judicial spaces as a warning to those who might be tempted by bribery or partiality. Rubens treated similar subjects of moral violence and just punishment within his broader engagement with classical history and its lessons. The Metropolitan's holding of this workshop or follower production demonstrates the continued generation of Rubensian compositions after the master's death in 1640, driven by the enormous demand for his imagery from collectors and institutions who could not afford or obtain original works. The dating to around 1700 in the records reflects the era classification rather than the probable actual date of execution.

The composition follows Rubensian conventions with dramatic gesture and rich coloring. The painting's handling suggests either workshop production or later copying, with somewhat less fluid brushwork than typical of autograph Rubens.

This work, dated to around 1700, is likely a later copy or studio production after a Rubens original. The painting has been relined and shows evidence of old restorations. Surface cleaning has improved legibility but the work lacks the spontaneous quality of Rubens's autograph pieces.