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This article looks at a well-known but little-studied print series depicting the Wonders of the Ancient World, published in Amsterdam in the maelstrom of the Dutch Revolt. Viewed as visual dialogues in Renaissance humanism against the existential crisis posed by the Netherlands  beeldenstorm , the prints are compendiums of antiquarian knowledge which sermonize Christian righteousness. By advocating a ‘third way’ between idolatry and iconoclasm, Heemskerck sought to vindicate his  raison d’être  as an artist, whose virtuous and virtuosic prints earned their place in the gentleman-scholar’s cabinet of curiosities. Of especial focus are three outstanding images: the peculiar and iconic Colossus of Rhodes, the Walls of Babylon and Martial’s ‘eighth wonder’, the Roman Colosseum.

Maarten van Heemskerck’s Eight Wonders of the Ancient World : Contesting the Image in an Age of Iconoclasm