A detailed 17th-century engraving by Schelte Adamsz. Bolswert after Peter Paul Rubens, depicting the Madonna and Child beside a symbolic fountain.

This engraving by Schelte Adamsz. Bolswert reproduces a composition by Peter Paul Rubens. It depicts the Virgin Mary seated beside a stone fountain, holding the Christ Child. The work is a fine example of the collaborative relationship between Rubens and his printmakers, who translated his painterly style into the precise medium of copperplate engraving. Bolswert employs a sophisticated system of hatching and cross-hatching to render the textures of the fabric, the stone architecture, and the play of light across the figures.

The scene is titled 'Puteus Aquarum Viventium' (Well of Living Waters), a reference to the Song of Solomon. The fountain serves as a symbolic element, representing the purity and grace associated with the Virgin. The Christ Child reaches towards the water, creating a dynamic interaction between the two figures. Bolswert manages to capture the sense of volume and movement characteristic of Rubens, despite the limitations of the monochrome medium. The use of light, particularly the halos surrounding the heads of the figures, draws the eye to the centre of the composition.

Bolswert was a master of his craft, known for his ability to interpret the works of major painters with technical accuracy. This print demonstrates his skill in creating depth and atmosphere through line work alone. The architectural details, such as the carved stone support for the Virgin, add a sense of weight and stability to the scene. This print is a representative example of seventeenth-century reproductive engraving, where the goal was to disseminate the compositions of major artists to a wider audience. It remains a clear record of the artistic dialogue between the painter and the engraver during the Dutch Golden Age.