The Legend of Saint Hubert was one of the most popular legends of the Middle Ages. Hubert was born in the mid-Seventh Century to French nobility. His passion was the hunt, to which he devoted all of his free time. While out hunting a large stag one Good Friday (instead of being at church), the animal turned and Hubert saw a vision of a crucifix between its magnificent antlers: this was the conversion of Hubert, who renounced his titles and went into the priesthood. He later became Bishop of Liege, and became known for his powers to heal the sick. He died in 727 AD and was canonised Saint Hubert in 743 AD.

Our painting shows a magical landscape of forest, river and craggy outcroppings, all set against a backdrop of towns and hilltop castles. In such a place, who of us would not, as Hubert did, spend his days on the hunt?

The artist drives home the point by peppering his composition with hunting scenes. On the left there is the finely dressed Hubert headed, with evident spring in his step, into the forest with his horse and dogs. On the lower right, there is a hunter crouching behind a rock, stalking prey that is out of the frame. In the centre there is a scene of high drama: two mounted hunters approach the edge of a river, where their dogs have chased a stag; we can see – and feel – the stag sinking into the water as the dogs pounce on him.

Behind them a different sort of hunt is happening: a man shoots a rifle into the water, and the artist has shown the rifle’s blast hitting the water; we are left to imagine the fish below the surface.

The dominant scene in the painting is, however, Hubert’s conversion. He kneels with hands folded in prayer, looking up a hill at a stag on the edge of the forest. The stag stands majestically, one hoof off the ground. Between its antlers is the crucifix that has transfixed Hubert. He has doffed his fine, feathered hat and now wears a halo instead: an unmistakeable sign of his on-the-spot conversion, and a hint at the sainthood that is to come.

Our painting is by an unknown artist active in the late 16^th or early 17^th Century. The landscapes suggest an artist working in Italy, or one influenced by Italian styles. We attribute it to the Circle of Jan van der Straet (1523 – 1605), who was also known as Johannes Stradanus. Stradanus was a Flemish artist who spent most of his career working in Florence; he made many prints of hunting scenes; similarities of some of these scenes to those in our painting suggest this artist was aware of and influenced by Stradanus’ prints.

St. Hubert remains the Patron Saint of Hunters to this day, and our painting is a fitting tribute to him. It infuses the majesty of the hunt with the solemnity of genuine religious experience. It was likely commissioned by a person of faith who adored the hunt. Its moving treatment of these two subjects makes it equally meaningful to such a person today.

Provenance: European Private Collection