No original by Peter Paul Rubens titled The name of Jesus is known to exist from 1730, and in fact, Rubens himself died in 1640. This curious attribution highlights a persistent confusion in art history, where later copies, lost works, or misattributions sometimes surface in records or collections. The title itself suggests a focus on a central theme of Christian devotion, a subject that Rubens often explored, but the date and medium remain uncertain, raising questions about the true origins of this piece. If we imagine a typical Rubens treatment of the theme, the scene would likely capture the moment described in Acts 4:12, where the apostles proclaim, "there is no other name under heaven given among men by which we must be saved." In such works, Rubens often arranged figures in dynamic poses, bathed in warm, dramatic light, with cherubs or angels unfurling banners bearing the name of Jesus in radiant gold.

The composition would direct the eye to the divine name itself, surrounded by adoring saints or apostles, their gestures of awe and supplication underlining the sacred power invoked. Compared to the more restrained approach of El Greco in his religious paintings, Rubens’ imagined version would burst with movement and color, embodying the spirit of the Baroque. Because no verified painting by Rubens with this title and date survives, the history of The name of Jesus remains obscure. Many works attributed to Rubens have been lost, misidentified, or only survive in copies by his workshop or followers.

If such a painting ever existed, it would have come from the later years of his prolific Antwerp studio, when religious commissions were frequent. Today, the title serves as a reminder of the complexities of attribution and the enduring fascination with Rubens’ religious imagery, even when the physical object itself may be lost to time.