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Many artists before him made copies to record the inventions of others and to absorb their style through the discipline of drawing, but never to the extent that Rubens copied. Before his sojourn in Italy, Rubens himself had faithfully copied in pen and ink engravings by Holbein, Goltzius, and several other northern artists. He kept his drawings in a cantoor, a cabinet or closet, in his studio where his own students could learn from them and work from them as well. Probably in the late s, Willem Paneels and some other pupils copied more than of them, a collection now in State Museum in Copenhagen.
Red chalk heightened with white, Rubens drew all the famous ancient sculpture then visible in Rome, including the Belvedere Torso figure , the Farnese Hercules, and the Apollo Belvedere.
We know of over two hundred drawn copies of statues, reliefs, busts, gems, cameos, and more. He often drew famous pieces several times, from as many as six different angles. Five or six of the original drawings of the group or its figures still exist.
In short, he treated ancient statues like studio models who might be told to turn or strike a different pose for the master.