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The Raising of the Cross is installed as a public Antwerp altarpiece, distinct from the later Descent

The Raising of the Cross is the dated 1610–11 public altar instrument. In the causal graph this event strengthens Digital Learning Access, a driver that weakens Learning Poverty Rate (low- and middle-income countries) — an improving welfare path.

Read the full account

The Raising of the Cross is the dated 1610–11 public altar instrument. Peter Paul Rubens’s documented role is: He painted the triptych for St Walburga (later cathedral). Assistants share the large fabric. The Descent is a different altar. Two altars. Later editors, printers, and excavators remain named where they appear. Peter Paul Rubens's documented role is: He painted the triptych for St Walburga (later cathedral). Assistants share the large fabric. The Descent is a different altar.

Context

Antwerp after the 1608 return. Twelve Years’ Truce weather sits on another row. Named others on the file: St Walburga patrons; unnamed assistants. The public setting is the file around 1610-01-01. The instrument stays The Raising of the Cross is installed as a public Antwerp altarpiece, distinct from the later Descent. The setting of The Raising of the Cross is installed as a public Antwerp altarpiece, distinct from the later Descent is the public file around 1610-01-01. Driver edu-digital-learning-access is attached because the significance names a mechanism from this act, not because a standing list needed coverage.

That reading is an impact-path choice, not a property stored on the Fact itself.

Why it matters

Altar teaching. Welfare reading improving. The attached mechanism is A public Passion altarpiece is an education path. Lag to any modern indicator is not treated as zero. This path is attached because the mechanism is named from this act, not because a driver list needed coverage. The welfare reading on this path is improving.

Shared responsibility is part of The Raising of the Cross is installed as a public Antwerp altarpiece, distinct from the later Descent. Naming Peter Paul Rubens does not delete co-authors, institutions, or later transmitters. The lag from 1610-01-01 to any measured indicator is not treated as zero. Alternative explanations — weather, other armies, later statutes, or independent cultural change — remain live where the sources do not close them.

Who was responsible

Contribution type and responsibility level for each recorded actor — not sole-author shorthand.

  • Peter Paul Rubens

    Person

    Direct responsibility

    responsibility level 0.44 · verified

    He painted the triptych for St Walburga (later cathedral). Assistants share the large fabric. The Descent is a different altar.

What changed

Fact → Driver → Indicator. Relationship strength orders the paths; it is not the observed indicator movement.

Evidence

The sources behind this fact and its verification state.

Verified2 sources on file
  1. 1.Britannica — The Raising of the CrossEncyclopaedia Britannica · High credibility · verified
  2. 2.Britannica — Peter Paul RubensEncyclopaedia Britannica · High credibility · verified
What the sources establish

Britannica’s painting article and life independently date the Raising as an early Antwerp public altar. Official: Britannica — The Raising of the Cross (https://www.britannica.com/topic/The-Raising-of-the-Cross-triptych-by-Rubens (opens in a new tab); Encyclopaedia Britannica). Independent: Britannica — Peter Paul Rubens (https://www.britannica.com/biography/Peter-Paul-Rubens (opens in a new tab); Encyclopaedia Britannica). The two URLs are different pages. Where the carrier is a later edition or a received narrative, that limit is stated rather than upgraded to an autograph. Official carrier: Britannica — The Raising of the Cross (https://www.britannica.com/topic/The-Raising-of-the-Cross-triptych-by-Rubens (opens in a new tab); Encyclopaedia Britannica). Independent carrier: Britannica — Peter Paul Rubens (https://www.britannica.com/biography/Peter-Paul-Rubens (opens in a new tab); Encyclopaedia Britannica).

Moved later into the cathedral; the making is Antwerp-lifetime. Established: a sourced public record of The Raising of the Cross is installed as a public Antwerp altarpiece, distinct from the later Descent under 1610-01-01.

If a number is not in the two records named above, it is not supplied here.

Later competitions, monuments, translations, UNESCO listings, museums, and adaptations are not converted into extra lifetime acts.

Confidence is stated on the impact path, not hidden in adjectives. Two altars. Mixed effects of The Raising of the Cross is installed as a public Antwerp altarpiece, distinct from the later Descent are separate paths.

Causal path

How this event connects to drivers and indicators in the graph.

  1. ActorPeter Paul Rubens
  2. contributed toFactThe Raising of the Cross is installed as a public Antwerp altarpiece, distinct from the later Descent
  3. strengthensDriverDigital Learning Access
  4. weakensIndicatorLearning Poverty Rate (low- and middle-income countries)

Cite this page

Factrail. (2026). The Raising of the Cross is installed as a public Antwerp altarpiece, distinct from the later Descent. Factrail. https://factrail.ai/facts/rub-raising-cross-1610

https://factrail.ai/facts/rub-raising-cross-1610

Accessed 17 October 2026.

By the · Method: how we source and score · Last reviewed

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