as a site of meditation, an epigrammatic construction in which a few forms sustain a range of meanings. The monument's literally and figuratively veiled allusions are discovered by the viewer as they respond to the monument, thus completing its meaning. Only when the veil is lifted, and the inscription read, will Eynden's fame be assured." Reception and esteem Giovanni Battista Passeri and Giovanni Pietro Bellori praised Duqesnoy's work, and stressed the fame of the Van den Eynde's putti. They enjoyed huge fame in the following centuries, and served as models of the infant putto for contemporary artists. Bellori wrote: The Greeks were excellent at sculpting and painting the Erotes and the Genii as young boys, and it seems that Callistratus gives a very good description of the putti around the statue of the Nile, and Philostratos does so in his account of the Erotes at play. Michelangelo made putti in both marble and paint, all of them resembling figures of Hercules, devoid of tenderness. Raphael is the first to give them grace and charm: he depicts them in a lively manner, growing in beauty in proportion to their age. Titian and Correggio depicted them more tenderly. Annibale Carracci belonged to that group, and Domenichino is considered excellent. He used them more than any other artist in composition, and shows them in different guises: as babes in swaddling clothes and as adults, with the movements and quality corresponding to the age of each. Francesco the Fleming limited himself more to the tender forms of little children, and in creating this likeness he miraculously advanced the manner, which is now imitated by everyone and In Rome, in the church of Santa Maria dell'Anima, he made two tombs which are built up against columns on either side. The one is Ferdinand of van den Eynde's, a gentleman from Antwerp, and the other of Adriaen of the Vrijburgh family of Alkmaar. On the first are two putti which raise a cloth to reveal the inscription. One of them covers part of its head with a cloth as token of sorrow, and it holds the hourglass of death in its hand. This is without doubt the most beautiful little putto to which Francesco's chisel gave life, and sculptors and painters consider it exemplary, together with its companion, who is turned towards him and bows with him as he raises the cloth Rubens, whose putti may