Tarquin and Lucretia 1605-10 After a model attributed to Hubert Gerhard German In the late sixteenth century the innovative style and phenomenal success of the sculptor Giambologna (see entry no.　30) attracted many artists to Florence to join his large workshop. Two sculptors born, as was that master, in the Low Countries— Hubert Gerhard, from s’ Hertogenbosch, and Adriaen de Vries, from The Hague— absorbed his manner but transformed it into distinctive idioms that they carried back to northern Europe. De Vries (see entry no.　32) was peripatetic, occupied by commissions in Milan, Turin, Augsburg, and Prague; Gerhard worked mainly in the South German cities of Augsburg, Innsbruck, and Munich. Both mastered the medium of bronze, working often at a large or lifesize scale but also producing statuettes. This Tarquinius and Lucretia, of which a number of versions exist, intersects with aspects of each sculptor’s style, and over the years its attribution has shifted back and forth betwee