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Why did Hendrick Goltzius use three Roman Catholic engravings for the design of his Reformed Moses with the Tables of the Law (1583)? This article seeks to answer that question by analyzing the adaptation of the engravings. It shows the artist's endeavor of creating a Reformed Protestant engraving and legitimizing his art and method through the Scriptures. Furthermore, explanations for Goltzius's use of his models will be presented, while one of them identifies the reference to a specific engraving as a strategy of artistic subversion. [ABSTRACT FROM AUTHOR]