The Miracle of the Lame Man Healed by Saint Peter and Saint John

The Miracle of the Lame Man Healed by Saint Peter and Saint John is a profound drawing attributed to the combined influences of Sir Peter Paul Rubens, Raphael, and Parmigianino, created during the critical years of 1606-1608. This complex attribution reflects Rubens’s intensive period of study in Italy, during which the young Flemish master meticulously absorbed and copied the works of High Renaissance and Mannerist predecessors. The drawing is executed using pen and brown ink with brown wash, dramatically heightened in buff on laid paper, a technique that allows for rapid delineation of form and dynamic exploration of light and shadow, typical of preparatory studies created in the early 17th century.

The classification of this piece as Flemish situates it within the cultural context of the 1601 to 1650 period, when Northern European artists frequently traveled to Italy to synthesize their traditions with classical Roman and Venetian painting. The specific composition references the influential narrative cycles of Raphael, particularly those dealing with the Acts of the Apostles. Rubens, recognized for his prodigious ability to synthesize and transform earlier styles, used the model to focus on the energetic interaction between the apostles and the man seeking alms at the temple's Beautiful Gate. The work highlights the dramatic power of the healing miracle, prioritizing vigorous gesture and emotional weight.

This drawing serves as tangible evidence of Rubens's intellectual debt to Raphael and the elongated, elegant figure drawing often associated with Parmigianino. The study was fundamental to the development of the high Baroque style that Rubens would solidify upon his return to Antwerp. Showcasing the dynamic intersection of Italian Renaissance precedent and emerging Flemish Baroque sensibilities, the drawing remains a key piece of the extensive collection housed at the National Gallery of Art. Scholars frequently analyze this period of transition, and high-quality prints of the work are often made available via public domain initiatives, ensuring broad access to this pivotal moment in the master’s artistic evolution.