In his depictions of saints and martyrs, Rubens combined passion and redemptive veneration, pagan and Christian historical references, and "piety and erotic physicality." Many of the altarpieces discussed here, and elsewhere, were removed from their original ecclesiastical locations, though fortunately many remained in Antwerp. However, most are regarded at a remove from their ritual function. That separation of the artwork from its purpose as cult image began at the end of Rubens's own century, as, for example, with Roger de Piles's description of The Massacre of the Innocents (Alte Pinakothek, Munich). De Piles ignored the historical details that Rubens so carefully placed in his painting: Rachel's tomb and the Feast of the Holy Innocents. Sauerlander (independent scholar) examines this grandly cruel and emotive tableau with attention to its historical context as well as with reference to G. B. Marino's epic poem, also titled "The Massacre of the Innocents." Acknowledging the alien nature of Rubens's redemptive power of martyrdom, the author offers a corrective in this eloquent, erudite study. He masterfully contextualizes Rubens's intense Catholic faith and art within the context of the events and patrons of his time. Summing Up: Recommended. Lower-level undergraduates and above; general readers. A. Golahny Lycoming College