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estoration, which included replacing decayed sections and employing polyester for certain figures. During the Rubens Exhibition of 1977, the chariot was displayed as an eye-catcher in front of the Antwerp Royal Museum of Fine Arts. (22)
19 Peter Paul Rubens, The Triumphal Chariot of Kallo, 1638, oil on panel, Antwerp Royal Museum of Fine Arts. In 1638, Rubens was commissioned by the Antwerp magistracy to design a triumphal chariot to celebrate the victory at Kallo. His sketch was based on his knowledge of Classical Antiquity and the Renaissance, and included elements of a Roman triumphal procession, such as the trophy and the prisoners of war. In the allegorical chariot were personifications for whom there was renewed interest in the Renaissance. In Rubens’ sketch, we also perceive the influence of the Antwerp pictorial tradition. The chariot is decorated with sea creatures that refer to Antwerp as a port; true to tradition, an important place is occupied by the city maiden Antverpia. Rubens set the allegory on the victory at Kallo on a triumphal chariot in the shape of a ship, the mast being replaced by an enormous trophy; the shape of a ship refers to Felicitas or happiness. The military trophy consists of armour, standards, banners and armorial bearings, taken as spoils from the enemy. Affixed above them are a laurel wreath, flags, Habsburg-family coats-of-arms, a cardinal’s hat, a golden crown and, at the top, a laurel tree. The text on two scrolls explains the origin of the war booty; it reads: ‘DE GALLIS CAPTA FUGATIS’ (captured from the fleeing French) and ‘CAESIS DETRACTA BATAVIS’ (captured from the defeated Hollanders). To the side of the trophy stand two Victory figures, who symbolise the triumph. The renown of the victory is underlined by two Fama (personifications of Fame) with trumpets. To the right of the trophy is a text reading ‘Inde vaenen vande Trompetten van Fama’, ‘VICTOR IO’ and ‘IO TRIUMPHE’ (‘In the banners of the trumpets of Fama’, ‘Long live the victor’ and ‘Long live the triumph’). It was with these acclamations that, in (23)
Page 1 and 2: RUBENS REVEALED VICTORY ON A ROLL O
Page 3 and 4: Bredael give a detailed picture of
Page 5 and 6: HISTORICAL CONTEXT: THE VICTORY AT
Page 7 and 8: 3 Cornelis Galle the Younger, after
Page 9 and 10: 5 17th-century Matchlock Musket, Vl
Page 11 and 12: 7 Commemorative coin marking the vi
Page 13 and 14: and five of the six portraits have
Page 15 and 16: 11 Text of The Song of Kallo. The j
Page 17 and 18: The scene to the right symbolises P
Page 19 and 20: 14 Wierix ( attributed to), The Tri
Page 21 and 22: 16 Pieter van der Borcht, after a d
Page 23: 18 Rubens Chariot, print, 1840, Pri
Page 27 and 28: victory on and around the waters of
Page 29 and 30: THE ANTWERP OMMEGANG The Ommegang h
Page 31 and 32: 22 Alexander van Bredael, Tradition
Page 33 and 34: Scale models of Ommegang figures As
Page 35: Colophon Exhibition Organisation: T

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