favour of Schut. Schut died in Antwerp on 29 April 1655 shortly after the death of his second wife. He was buried on 1 May 1655 in the Saint Willibrord Church in Antwerp in a grave shared with his second wife. The grave and its marble cenotaph are still present in the church. Schut was the teacher of Ambrosius (II) Gast, Jan Baptist van den Kerckhoven, Philippe Vleughels, Hans Witdoeck and his cousin Cornelis Schut III. Works General Schut was a versatile artist who produced oil paintings, frescos, engravings, drawings and tapestry cartoons. He was principally a history painter of religious and mythological subjects. His early work shows the influence of Abraham Janssens. During his Italian sojourn in Rome during 1624 and Florence in 1627 he adopted elements of the High Baroque style of Pietro da Cortona, Guercino and classical tendencies informed by Domenichino and Guido Reni. This style is characterized among other things by a strong sense of animation and pathos, in which light and color play an important role. Elements of late mannerism are also evident. Schut's style, which is characterized by strong foreshortening, sharp contrasts of light and extreme facial expressions has some affinity with the work of Federico Barocci, who played a major role in the evolution of baroque painting. This is particularly evident in his work in Antwerp starting from c. 1630 (or possibly somewhat earlier) where the style of Barocci is recognizable in the spatial effects, the unstable and emotive poses and the flashing lighting effects. His Martyrdom of St George painted in 1643 for the competition with Thomas Willeboirts Bosschaert is close to Barocci's Martyrdom of St Vitalis. Schut's style hardly changed in his later career, except that his colors became less intense and his brushwork somewhat looser. Other than in some motifs and compositional arrangements, Schut's work displays little stylistic resemblance to that of Rubens. Schut's skill in interpreting the themes of the Counter-Reformation led to many commissions for altarpieces in churches and monasteries in Antwerp, Brussels, Ghent, Bruges and Cologne. Tapestry designs Schut created some very inventive designs on mythological and allegorical subjects in his cartoons for the Seven Liberal Arts, a series of tapestries. The series consisted of 8 tapestries, seven dedicated to each of the liberal arts plus one depicting their combined apotheosis. Together, the series can be interpreted as an allegory of war and peace. An example of