The Rape of the Sabine Women is one of Poussin’s best-known works. He elaborated this theme in the 1630s in two versions. The older painting, from 1634, is in New York’s Metropolitan Museum of Art. It was reproduced in the engraving by Girard Audran, a French reproduction engraver, who did a number of prints after Poussin’s paintings. Poussin painted the newer version of The Rape of the Sabine Women - today in the collections of the Louvre in Paris - in 1637. The Greek music theory of modes is often mentioned in connection with The Rape’s dramatic scenes, as Poussin studied and sought to apply this theory in his work. The impressive dynamic scene is in line with his description of the Phrygian mode as „wild, rough, [?] that takes away one’s breath“ (Poussin in a letter from 1647). The theme is a legend from the history of Rome. To ensure the newly founded Rome would have a future population, Romulus’ men abducted the women of the neighbouring Sabine tribe.