When Peter Paul Rubens painted The lamentation of Christ with Saint Francis, 1617-, he was already celebrated across Europe, but this composition stands out for its unusual inclusion of Saint Francis of Assisi at the foot of the Cross—a figure not present in the Biblical account of the Lamentation. The painting is part of a tradition in which saints from later centuries are inserted into sacred scenes, reflecting the desires of patrons or the devotional practices of the time. This blending of time and devotion was especially popular among Franciscan patrons, who sought to emphasize their founder's spiritual intimacy with Christ.

The exact circumstances of this painting's commission remain unclear, but its subject and composition suggest a Franciscan context or patron. The scene Rubens chose is the moment after Christ has been taken down from the Cross, his lifeless body held by the Virgin Mary and mourned by his followers. Saint Francis kneels at Christ's feet, his hands outstretched in a gesture of humility and grief, his brown habit marking him as the beloved founder of the Franciscan order. The dramatic lighting falls across Christ's pale torso, drawing the eye to the wound in his side, while the rich reds and blues of the drapery heighten the emotional intensity.

Rubens' dynamic composition and muscular figures recall the influence of Michelangelo, yet the inclusion of Saint Francis sets this apart from earlier Italian treatments of the Lamentation, such as Correggio's more restrained and intimate versions. While the medium of The lamentation of Christ with Saint Francis, 1617- is not recorded, Rubens' large religious works from this period were typically executed in oil on canvas. The painting's provenance is not fully documented, but it reflects the artist's prolific output during his Antwerp years, when he led a thriving workshop and received commissions from churches and private patrons across Europe. Today, the painting is held in the Museo del Prado, where it stands as a testament to Rubens' ability to blend Northern realism with Italian grandeur, and to adapt sacred stories to the devotional needs of his patrons.

Its place in Rubens' career marks the height of his engagement with religious subjects, combining narrative power with painterly brilliance.