the painting was sold to. In 1700, a panel named Samson and Delilah was bought by Prince Johann Adams Andreas I. This painting was likely Rubens' painting. However, when the painting was part of the Liechtenstein Collection in Vienna, Austria in the eighteenth century, the painter was identified as Jan van den Hoecke, who was a principal assistant of Rubens in the 1630s. The painting was then sold in 1880 in Paris, where it was later found by Ludwig Burchard in 1929. Eventually, the painting sold at auction in 1980 at Christie's, purchased by the National Gallery, London for $5 million. The painting was earlier attributed to the Dutch painter Gerard van Honthorst, a painter who, like Rubens, worked in Rome in the shadow of Caravaggio at the start of the 17th century. There has been some doubt cast over the attribution of the painting to Rubens, led by the artist and scholar of Fayum portraits Euphronsyne Doxiades. She argues that it varies in details from copies of the original made during Rubens' lifetime, that it does not employ the layering technique of glazing common in oil painting at the time and mastered by Rubens, and that its provenance can not be documented with certainty between 1641 and 1929. A dendrochronological examination of the painting, however, confirms that the painting dates to the correct period, and the attribution has been accepted by a majority of the art historical scholarly community. However, in September 2021, an artificial intelligence analysis conducted by Dr. Carina Popovici and Art Recognition, a Swiss company based near Zurich, seemed to confirm doubters' beliefs when it was announced there is a 91% probability that artwork was not painted by Rubens. Painting materials The painting was cleaned and investigated in the National Gallery in 1983. It is noteworthy for the masterful and elaborate painting of the draperies and for the absence of blue pigments. Rubens employed carmine (kermes) lake, lead-tin-yellow, vermilion and ochres in addition to lead white and charcoal black. However chemical pigment analysis was in its early stages back then and not enough samples for other works by Rubens were available, compared to what is available nowadays. Legacy Jacob Matham, a Haarlem printmaker, used the Cincinnati oil sketch of Samson and Delilah as a modello for an engraving he made in circa 1613. The engraving is a reverse image of Samson and Delilah. The painting of