This final chapter considers the feminized artistic production we have been examining in relation to the critical gendering of Rubens beginning in the years shortly after his death. I analyze the coded, recycled stylistic binaries used by seventeenth-century art writers to construct Rubens's artistic identity as a Flemish painter and Spanish subject who was a consummate practitioner of Venetian colorito. More specifically, through a selective examination of Rubens's early critical reception, I show the various ways in which early modern writers used oppositionally gendered, regionalist taxonomies of painting in order to reassign the artist from the ranks of the boldly indecorous, foreign-born naturalist painters considered as Caravaggisti to the company of the purportedly less cerebral and graphically skilled followers of Titian. If Bolognese such as the Carracci were regarded as falling conveniently outside the Vasarian binary of masculine Tuscan design and feminine Venetian coloring, Rubens, who rightly saw himself as highly capable in both arenas, went largely underappreciated by his contemporaries for what might be viewed as a long-awaited synthesis of the two rival, regional styles of painting.