This cathedral is based on Saint Peter’s in Rome.
This painting, which is on canvas and measures 118 x 92 cm, is in the Fondation Custodia (Coll. Frits Lugt), Paris. De Keyser probably painted this work after the window was removed from the church in 1658.
Astrid Tümpel and Peter Schatborn, Pieter Lastman: Leermeester van Rembrandt (Amsterdam, 1991), 108–9.
William Whiston, ed., The Genuine Works of Flavius Josephus, the Jewish Historian (London, 1755), 1:464 (book 7, chapter 7 of The Antiquities of the Jews).
Roemer Visscher, Sinnepoppen (Amsterdam, 1614), 46, no. XLVI.
The Bathing of Bathsheba measures 41.5 x 61.5 cm, while David and Uriah measures 41.6 x 62.5 cm. Unfortunately, the early provenances of these panels are unknown, so it cannot be determined whether they were originally in the same collection. The painting of Bathsheba is first recorded ca. 1667 in the collection of the famous Leiden medical professor Franciscus de la Boe Silvius (1614/19–72) (see Eric Jan Sluijter, “Two Case Studies of Painting in Wealthy Interiors,” in Mariët Westermann, Art and Home: Dutch Interiors in the Age of Rembrandt [Zwolle, 2003], 113), while David and Uriah is first mentioned in 1779 in the sale of the collection of Jacques Clemens, the canon of St. Bavo’s Cathedral in Ghent.
For another painting in the Leiden Collection with a Goudstikker provenance, see Jan Steen, Sacrifice of Iphigenia (JS-112).
The characterization of the wood is based on visual examination only.
Three splits emanating from the center of the left edge were already noted in a 2009 condition report.