Conspiracy of Claudius Civilis (c1662). Oil on canvas. 196 x 309. The Conspiracy of Claudius Civilis is an oil painting by the Dutch painter Rembrandt, c. 1661-62, which was originally the largest he ever painted, at about five by five metres in the shape of a lunette. The painting was commissioned by the Amsterdam city council for the Town Hall. After the work had been in place briefly, it was returned to Rembrandt, who may have never been paid. Rembrandt drastically cut down the painting to a quarter of the original size to be sold. It is the last secular history painting he finished. The painting is on exhibition at Nationalmuseum in Stockholm, Sweden. The painting follows Tacitus's Histories in depicting an episode from the Batavian rebellion, led by the one-eyed chieftain Claudius Civilis, in which he collected at one of the sacred groves, ostensibly for a banquet, the chiefs of the nation and the boldest spirits of the lower class, convinced them to join his rebellion, and then bound the whole assembly with barbarous rites and strange forms of oath. Civilis, Tacitus writes, was unusually intelligent for a native, and passed himself off as a second Sertorius or Hannibal, whose facial disfigurement he shared, that is to say, the loss of one eye. He feigned friendship with Emperor Vespasian in order to regain his freedom. When he returned to his tribal grounds in the marshes of the Betuwe, he organized the revolt he had long been planning. The painting was commissioned for the gallery of the new city hall on the Dam, finished in 1655. History paintings were regarded as the highest in the hierarchy of genres in the 17th century, and the Batavian revolt was regarded, and romanticised, as a precursor of the recently ended war against the Spanish. In 1659, when John Maurice of Nassau, Amalia of Solms-Braunfels, her two daughters and two daughters-in-law came to see the new building, the council commissioned twelve paintings from Rembrandt's ex-pupil Govert Flinck to fill all the large spaces using a programme drawn up by the poet Joost van den Vondel, but Flink died in 1660 before completing any of the works. The work was then shared out by the burgomasters Joan Huydecoper and Andries de Graeff, who were certainly decisive, between a number of painters including Jacob Jordaens and Jan Lievens. The council provided the canvas to the artist. Rembrandt was commissioned to do the scene from Tacitus, one of eight intended to cover the revolt in the original scheme. The sword-oath was invented by Rembrandt. There is one sword more in the painting-the one touching the front of the leader's blade-than Batavians holding them; other depictions of the event show handshakes, especially that engraved in 1612 by Antonio Tempesta as one of a set of thirty-six illustrations to designs by Otto van Veen in the book Batavorum cum Romanis bellum on the revolt. In the following year, the States General had commissioned a set of twelve paintings by Van Veen on the same subject for The Hague. These baroque works had entered the popular imagination as depictions of the revolt, and Flinck's design drew on the engraving of this scene. Van Veen followed baroque ideas of decorum by always showing Civilis in profile, with only his good eye visible. A sketch survives that shows that he had transferred the scene from Tactitus's sacred grove to a large vaulted hall with open arches. After delivery, which was by July 1662, the painting hung in place for a short period before being returned to him for reasons that are undocumented, but may have involved perceptions of a lack of the decorum felt necessary for history painting, lack of finish and an insufficiently heroic approach to the story. When all four paintings were in place, the discrepancy was evident. The council probably expected something similar in style, rather than the ominous grandeur of Rembrandt's conception. The chiaroscuro is typical of Rembrandt's late works, but the eerie light and shadow and the iridescent greyish blues and pale yellows are not. In August 1662, when the painting was still there, Rembrandt signed an agreement giving a quarter-share of his profits accruing from the piece for the City Hall and his prospective earnings from it. By 24 September 1662, however, when the archbishop and elector of Cologne Maximilian Henry of Bavaria was received in the town hall, Rembrandt's painting was gone. One objection may well have been the incongruous crown that Rembrandt had set upon Claudius Civilis's head and his dominating the scene, hardly features of a consultative, republican attitude.