on his judge's chair which is covered in the skin of his father Sisamnes. David has placed the various scenes in a contemporary setting. The buildings visible in the background of the scenes are contemporary buildings in Bruges and the clothing worn by the figures gathered to witness Sisamnes' judgement is in the style worn by Flemish people at the time. Sisamnes himself is dressed in the red robe which was the official attire of judges in the period. By locating the scene in contemporary Flanders, David reinforced the relevance of the ancient story to the early modern viewer. The Bruges painter Antoon Claeissens took the left panel of David's dyptich as the inspiration of his own rendering of The Judgment of Cambyses (second half of 16th century, Groeningemuseum, Bruges) as he concentrates on the depiction of the arrest of the corrupt judge while also showing the passing of the bribe to the judge in the background. This work formerly also hung in the City Hall of Bruges. The many figures appearing together with the king in the picture appear to be portraits of real persons, possibly members of the city council of Bruges. The Dutch publication Thronus Justitiae first published in 1606 contains 13 plates of justice scenes after designs by Joachim Wtewael. One depicts the Judgment of Cambyses. Martin Hermann Faber painted a version for the city hall of Emden in 1617 and Claes Jacobsz van der Heck did the same for the city hall of Alkmaar in 1620. Both works are similar and depict in the foreground the installation of Otanes and in the background the execution of Sisamnes. Another Dutch painter, Jan Tengnagel, created in 1619 a Judgment of Cambyses for the Amsterdam city hall (now in a private collection in The Hague) in which he reduced the number of figures to a minimum thus emphasizing the core interaction between the king and the newly appointed judge. Rubens painted his version of the story after receiving a commission by the Brussels Council for the large sum of 3000 florins. Rubens completed the work between 1622 and 1626 after which it was hung in the court room of the Brussels Town Hall. It was destroyed during the infamous Bombardment of Brussels by French troops from 13 to 15 August 1695. Several copies of the work have been preserved. Rubens shows the moment in which the son sits