Peter Paul Rubens

T h e Gre at Masters in P ainting and S c ulpture Will iam n Editedby G . C . so

P E T E R PA U L R U BEN S TH E GREAT MASTERS IN PAINTING AND L T R E SCU P U .

Tbc ollowin Volumes Izam been issued rice s net at /I f g , p 5 . e .

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RE DE RTO . SS . AND A L SA By H . GUINNE

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FR N I . G O C. I I S Litt D . C . A A By E RGE W LL AM ON , M A GIOR GION E . H B C . . By ER ERT OOK,

M S. F. S GIOTTO . By A ON PERKIN

M A . FR NS H LS . G S . D V S . A A By ERALD A IE ,

LUIN I . G C. I S Litt . D . By EORGE WILL AM ON , M R T T wE LL C U . MANTEGN A . By AUD

H . J M S . LIN . MEM C By W . A E WEALE

M ICH E L N GE LO . L R S G F. S . A. A A By ORD ONALD UTHERLAND OWER ,

PE RUGI NO . G O C. I SO Litt . D . By E RGE WILL AM N , M A PIERO DE LL FR N CESC . . G . S . . A A A By W WATER , P IN R E V M P I I S T I HI . O CC O . By ELYN ARCH H LL PP

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DT M . RE MBRAN . By ALCOLM BELL

U H R E A . R BE N S. By OPE

M CR UT TWE LL. SIGNOR E LLI . By AUD - M the C SS L ! P RI vLI BON . SODO A . By ONTE A OREN O

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U D M EE STA LEV B . A . TTE . E GCU WA A By ,

I IE . B L R O SUT II E RLA N D GO P . S. A. W LK y ORD NALD WER,

r Otke s tofollow .

LON DON : GE OR GE BE LL AN D SON S .

PETER PAUL RUBENS

HO P E R EA “ UTHOR OF T U S N AN D VE NETI N RTISTS A CA A A , ” ” DON TELLO REMBR N DT ETC A , A , .

LONDON

G E O RG E B ELL A N D S O N S

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H RLES W M AND CO C H ISWICK PRESS : C A HITTINGHA .

' ‘ TO K S U R I H A N GE ? L E LO N DON . O CO , C R AN , TA B LE O F CO N T EN TS

PART I

’ TH E PAI N TE R S LIFE

CHAP TER LIST OF ILLUSTRATION S B IBLIOGRAPHY INTR ODUCTION

B IRTH AN D Y OUTH — Y EAR S IN ITALY 1 600 1 608 SETTLE MENT IN AN TWER P THE P E R IOD OF P OLITICAL ACTIVITY HIS LAST Y EARS

PART I I

’ THE PAI N TE R S WORK

I. HIS FIR ST P ER IOD

II. THE SECON D P ER IOD

III. THE THIR D P E R IOD

CATALOGUE OF P R INCIPAL WOR KS IN DEX

LI S T O F I LL U S T R A T I O NS

The Adoration ofth e Magi A ntw' erp Gallery Fr ontispiece The Drunke n He rc ule s D resden Gallery I 2

The Philoso hers P itti Galler Fl oren e I 8 p y , c Rube ns and Isabe lla Brant in the Arbour M unich Gal lery 24 The Desc ent from the Cross A ntw' erfi Cathedral 26 ’ T P i Two o Li hte stein Ga ller Vi nna he a nter s S ns c n y , e 28 The E arthly Paradise H agu e Gallery 30 Sc ene from the History ofDec ius Mus

Lichtenstein Galler Vienna 2 y , 3 The Last J udgem e nt (Small) M uni ch Gallery 34 The Infanta Isabella B russels Gallery 38 Isabe lla B rant H ag ue Gallery 40

Ru e n U z i Galler F lorence b s fi y , 44

H l R hs M useum A msterdam e ena Fourm e nt if , 46 ’ Marie d M dic i The P r ado M adri e e , d 48 ’ Th e P easants Danc e La R onda The P rado M adrid 0 ( ) , 5 The Chateau de Steen N ationa l Gallery 54 Th e Adoration ofthe Magi B russels Gallery 76 A Silenus P roc ession M unich Gallery 80 The Flight into Egypt Cassel Gallery 82

Th L u t M unich Ga e e ion H n . ll ry 86 The Prodigal Son A ntw' erfi Gallery 88

Fr nc i A ntwer a The Last Communion ofSt. a s p G llery 90 ’ Sc ene from the History ofMarie de Medic i The Louv re 96 Gaspar Gervatius A ntwerp Gallery 1 00 v iii LIST O F ILLUST RAT IO NS

The Chapeau de P oil N ational Gal lery Rubens and Helena in their Garden M uni ch Ga llery Le P elisse Vienna Gallery The Judgeme nt ofP aris N ational Gallery Offering to Venus Vienna Gallery

The Garden ofLov The P rado M adrid e , The Rainbow Landsc ape Wal lace Collection ” Le Ch rist Ala paille A ntwerp Gallery The Ascent ofCalvary B russels Gallery BI B L I OGRA P HY

THE ks r la n to R be s are so me o s tha is im boo e ti g u n nu r u , t it The possible to provide a complete list in the present volume .

follow n a ra d hronolo all are the most m o ta t . i g, r nge c gic y, i p r n

i 1 6 2 2 . R U EN . l z va S a az d Ge . P . P . B P i no

- i a n . 1 6 2 0 . UYGEN S . A tob o r h e éd te C . H u g p i i i 9 3 m AN RAAET n L . P N L adem a nobilissi ae VON S D a d S O SE . A J . c i

1 6 an 1 68 . artis pic toriae . 75 d 3

1 68 1 . i R u ns. R DE ILES . La v e de b . P e R 1 is la i R s P . 1 MICHEL. t de v e de be . J . F . H oire u n , 77 MI l i nn l n X II a I . TH ata o ra so é. o s. . d J . S . C gue V

1 8 30 and 1 84 7 .

ll R h h r s FFE B R . v R e VAN R EI N E G No e s e es su . . ub u e c erc P P n , w h an blish d l fe ofthe r at a n e b his n hew it unpu e i g e p i t r y ep , f V X m th . l. h l R s Me o rs o e B ssel Aca m o . P i ip uben . i ru s de y 1 8 8 5 .

AKH I EN VAN DEN BR IN H t H wel k van W llem B U S . e u R . C . K y i

m t An van 1 n r n e a ax n. 8 va O a je n S e 5 3 .

1 86 1 . Les Rube ns ASiegen . I R i l n l h l t t v f W. N . NS U Y . a u ub s ed a e s l us ra e o SA B Or gin p i p p r , i i

f f r P . th l Si . R ens 1 8 . e i e O P ub . 59 ’ N TI i E R ME N . tr f 1 6 8 . EUG N E F O Les Ma es d autre ois. 7

A W UTER S . Et d sur R b ns . 1 8 . . A u e u e 7 7

. R ns vi t . MAx R OO SES ube a e e s (E vr s 1 8 . , S se u e 93

LA R Ix . l EUGEN E DE C O Journa . R ’ f . A . M . TE ENS N . . n t l ub s r o n a h . R S V O . P P e Po io Mo ogr p

1 8 98 . EMILE MICHEL R s h f . be : is L his W k an hi T me . u n i e, or , d s i

1 8 99.

INT RO DU CT IO N

H E R E is hardly a gallery in Europe having any d c w claim to istin tion , hich does not preserve one w F or more orks ascribed to the great leming, Peter R Paul ubens . ’ R for e n ubens paintings alone, excluding designs d and b graving, number over a thousan , em race almost of o f every class subject capable artistic handling, d f F of whether sacre or pro ane . urther, the manner treat We ment is as varied as are the subjects . have compo sitio ns f f in the lo tiest style, trans used with the grand renaissance spirit ; on the other hand we have subjects of f the utmost coarseness , depicted un alteringly , without

v w f k d reser e or bound , the last ord ran ly sai ; we have

v of u d and lo e nat re , shown in tenderest lan scape , most and o f enre subtle portraiture ; again , instances pure g ,

f of and urther still , acres decorative canvas , inspired as it would seem to modern eyes , by sycophancy alone .

f of d Be ore this mass material , so contra ictory in the d varying impressions it pro uces, the observer who tries f to gain some acquaintance with the master, must o ten d f i f turn away bewildere , or orced to the unsat s ying con e u R l sion that ubens is an enigma, a genius not to be d comprehende , and moreover so repellent in certain x ii INT RODUCT IO N

of art aspects his , that even when he is indubitably great, admiration arises almost with reluctance. A riddle however pre-supposes a solution ; and it should be remembered that it is possible for a character while

r x being ve y complex , to be at the same time e ceedingly T w R transparent. hat such was the case ith ubens we shall discover ifwe allow ourselves to trace with sufh cient patience the various threads which together make ’ up the web of the great painter s personality ; in so if doing we may also find , that be our desire , a solution of f- to the enigma his apparently sel contradicting art . R Primarily ubens was an artist, second to none in k of o f o f and eenness observation , truth eye, skill hand o f facility f expression . All this pro essional equipment h he had in the highest degree, and in common wit all f o f. a re the great ones his cra t But at this point, in the pp c iation of we o f artists , come to a great parting ways , where the masters separate and take their places in two

o f great ranks , essentially poles asunder. In one these companies are those who come into the world with a d certain message, which they must eliver in their day, f x o . To art being their method e pression these, their f 15 outward li e as nothing, it is merely the opportunity - for . the m sel e S their art In y s they are eers. m their art R . S D R evealers uch were onatello , embrandt, has gained through the of w works these a something it will not illingly let die , a definite addition to the sum o f our realization ofthe f nature o things . The of d artists the other ban , equally great in their

f w for pro essional equipment, come into the orld a less and f definite purpose, to these in consequence is li e, as INT RODUCT IO N x iii

f of a and li e , much higher import nce, in their art they express their life . It is in this second company that Rubens finds his

f d f I place , their first and highest . His rich , ull , varie li e is of what we see in his art, through the medium his own i ‘ S o f attractive personality. , to appreciate the art , we must

first study the man , primarily as artist, and then in all the multifarious relations of his life ; that towards re li ion for x ff g , e ample, to morals, to the a ections , to con

temporary manners and culture, to the court, to worldly

ff f . ; a airs , to good ellowship, and to patriotism and politics To all these widespread relations Rubens gave eloquent T x and we . e pression , herein find his art hus viewed , it and ofc onflic ceases to be a maze an enigma , a play f of th orces that are contradictions themselves, but on d

x contrary, it is seen to be , though comple , a clear an o f u transparent revelation its own creator, the pai te is in k Peter Paul . It he whom we meet all his wor , an of through the medium his personality we see as it were, f f s f and ace to ace, at its be t and brightest, the li e thought of and and sentiment his country his age . ’ Rubens realizes to the last letter Gustave le Bon s of w definition the artist , who , he rites W hether poet, architect, or painter possesses the magic faculty of expressing in his synthesis the soul o f of an epoch and a race ; very impressionable, very

unconscious, thinking more especially in images , and

reasoning but little . Artists are at certain epochs the faithful mirrors of the society in which they live ; their works are the most exact documents to which recourse

can be had , with a view to waking a vanished civiliza

n. T u tio hey are too nconscious not to be sincere, and x iv INT RODU CT ION too much impressed by their surroundings not to give f f and d aith ul expression to the ideas , sentiments , ten ” e nc i s f e o their environment . This paragraph might have been penned with the great Fleming specially in view .

R U B EN S

C HAPTER I

BIRTH AN D YOUTH

HE immeasurable industry ofcritics and historians f o f seems , a ter years research , to have established f R I A D the act that ubens the painter was born in 577 . . of in the little German town Siegen . The Circumstances attending his birth in this place are f and at once pain ul romantic, and reflect as much honour

of upon one his parents as the reverse upon the other. R f o f u ac c om John ubens , the ather Peter Pa l, was an

lished w C d p la yer, enjoying onsi erable eminence in his f d of of pro ession as an al erman the town Antwerp . Having however inclined too openly towards the Cal vinistic d of D k of party in the city , on the a vent the u e f 1 6 8 for f Alva he ound it necessary in 5 , his own sa ety

and of f x f that his amily , to e ile himsel to a distance, and d accordingly settle in Cologne . T be d f of d here attache himsel , in the capacity stewar f o fW S and legal adviser, to Anne , wi e illiam the ilent , at f that time also resident in Cologne, having re used to f of and accompany her husband in his li e camp field .

Dr R of . ubens seems to have been a man great personal as of charm , as well ability and learning and his position B 2 RUBENS

of d in the estimation the princess became so establishe , that on the occasion of her leaving Cologne for the o f S d o f smaller town iegen , within the omains her ’ husband s brother, where she might exercise the more d d rigid economy her circumstances ren ere necessary , she confided two o fher children to the care ofRubens and

M P elinx w f d f aria yp his i e, while the octor himsel was required to be frequently in personal attendance on his patroness in her retirement at Siegen . Anne’s marriage with her illustrious husband was

had of unhappy, the more so as each cause to complain f the infidelity o the other. But in Anne there appears to have been no compensating nobility in any other relation of f — w as f k of morale li e, she ran ly a woman low , as well

of v as unattracti e temper. She however acquired influence over her legal adviser ; so much so, that in the end it was not without reason , that on setting out one day for a professional v isit to ffi of Siegen , the latter was arrested by o cers Count John , ’ - in- of Anne s brother law, on no less a charge than that The ff w as adultery with his patroness . o ence capital under German law at that day ; consequently the unhappy

x for d doctor was in the e tremest peril , notwithstan ing ’ of f Anne s stout denial the charge , the prisoner himsel ,

d f f and constraine by torture, made ull con ession , his additional statement that he would never have had the ” d if had f d ff au acity to approach her he eare a rebu , probably did not hav e the intended effect o fsoftening in

the of . any degree resentment his captors In the end , d of Anne also admitte the truth the accusation , and “ with a touch of grace confessed that her conscience smote her in no slight degree for having so ill rewarded BIRT H AND YOU T H 3

the unhappy wife for the services she had rendered her. ” Unhappy was a somewhat inadequate word to apply ’ R f - to ubens wi e at this time . A noble minded woman f hersel , she had loved her husband with entire devotion , never dreaming that he could be other than such as she

For x f was herself. three an ious weeks she was le t in

o f of ignorance the cause his absence and silence, f f and then received a letter, written by himsel , rom his d for ungeon, telling her the whole tale, and asking her

pardon . Her own words in reply to her miserable husband serve ” of best to show the temper the woman . How could I , ffl she wrote, allow my severity to add to your a iction when you are already suffering pains from which I would f E if n ff give my li e to deliver you . ven a long lasti g a ection m f had not preceded this is ortune, I could never hate you

sufficiently to be unable to pardon a fault towards myself. Rest assured that I have entirely forgiven you ; ifmy pardon was the price that Heaven required for your d d ! release, we shoul be restore to happiness . Alas that

is not what your letter tells me . I could hardly read it, r k fo it seemed my heart must brea . I am so distressed f no that I do not know what I am writing . I there is d ? longer any pity in the worl , to whom can I apply I and shall pray to heaven with infinite tears lamentations, and I hope that God will hearken and soften the hearts of your captors, that they may spare us , and have compassion on us ; otherwise when they kill you they ill ‘ ’ k . N d me ever write again your unworthy husban , ” for f everything is orgotten . Partly owing to the skilfully directed exertions of M P elinx and f aria yp , partly to the ear that the execution 4 RUBENS of the lawyer might only serve to bruit abroad the scandal which it was the desire ofthe Orange family to R for hush away, John ubens was allowed to live. But e two years he was kept a close prisoner, and then lib rated only so far as to be allowed to live with his family in the of the retirement a house in Siegen, and under condition of delivering himself up again as prisoner at the first e was summons ; the retirement r quired , moreover, so d of n severe, that only in consi eration his broke health was ” e he p rmitted occasionally to walk in the open fields . T of Ma I his mitigation their sorrow occurred in y, 573, the f and ollowing year a son was born to them , whom 1 they christened Philip , while three years later, in 577 , d d f again another was ad e to the amily, receiving in his of turn the names the two saints Peter and Paul , on o f the vigil whose feast day the child was born . The following year the Rubens were allowed to return w f ff of to Cologne, here , a ter su ering the resentment the

of e for House Orang , with only slight alleviations nine ’

f f . The years , the cause o all his amily s distress died P elinx secret now rested with Maria yp alone , and she, in its her heroic affection and fine pride, determined to be grave.

There is every reason to believe that her sons, both of Philip and Peter Paul , were in absolute ignorance the cause ofthe shadow under which their early years were f of passed , and believed that their ather was the object purely political persecution . in f m Peter Paul , act , ade the statement , without any

doubt as to its truth , that he was born in Cologne, thus , f m of while he gre w up, giving his mother a ull easure ff n of of f a ection a d respect , that portion her li e which BIRT H AND YOUT H 5

c a f r o would have lled o th deepest reverence, he was t tally a and the of un ware, it is only owing to researches the last century that the true circumstances under which the was ee t W painter born have b n brought to ligh . ith the Dr R f r of . o e a death John ubens the need exil ce sed . for M P e linx fo e As aria yp , she had per rce b en long busied with other matters than the decision as to the of rival claims the new and the older churches . The essence ofreligion had transfuse d her life during these troublous years , and she had, perhaps insensibly, by this time sunk back to that form which she had observed in f No her earlier years , and now called hersel a Catholic . d and fe thing then hindere her return to Antwerp, her e t o roa f were so n upon the d thitherwards . Be ore the year was out, she and her children were settled there, and a of f time quiet and peace at last opened be ore her. e o At this period Antwerp was at length r covering, t ” f of S F r some extent, rom the devastations the panish u y, ” and the reprisals ofthe triumphant rebel provinc es to T her north . rue, it had lost its supremacy as a centre o f c for S ommerce, the cheldt being closed , the town was no l f r onger, as ormerly, a great po t, and Amsterdam was the s Of se reaping in her stead all harve t the a. But a c ertain number of manufactories and industries again r the sp ang up in town , and through the establishment of of printing presses , notably that Plantin , the city became a of f distinct centre intellectual li e, while Art began to of live again, and the beginnings the School ofAntwerp were already in existence. Maria Pypelinx had managed to secure from the wreck ’ of f f u f ffi her amily s ort ne a com ortable su ciency, and arr e a ai at ome took a use in the a de M iv d g n h ho Pl ce ier, 6 RUBENS

ofthe f one widest thorough ares in the town , and thence sent the little Peter Paul to a school ofexcellent reputa ” of tion , kept by an accomplished humanist and man M Rumaldus Ve rdonc k of G piety, aster , a member the uild

ofS o fLa and k . choolmasters , and teacher tin Gree The site ofthe school was behind the Cathedral church ofN D o f M é au otre ame , and on that the present arch

Lait . Here Peter Paul was well grounded in the rudi h f d of f ments, and ere also laid the oun ations certain riend ships which were destined to have a lasting infl uence upon his future li fe ; the Chiefamong these be ing that

B of M -in - with the young althasar , son Jan oretus, son law of P and the great printer lantin , at that time the director f o the Plantin Press . We gather from various sources that Rubens was at this early age a handsome lad ofengaging manners and d ’ keen intelligence, doing cre it to his master s training, and finding favour in the eyes o fall his circle ofacquaint

ec M P e linx an s . At home in the quiet house where aria yp rested after the turmoils ofcircumstance and soul which had for been her portion the preceding twenty years, the boy must have enjoyed an atmosphere calculated to foster all that was best in his nature. One can imagine the of ff grave reticent woman , with her wealth a ection , shown d d probably more in dee s than wor s, giving a bias , and of f f making hersel a background , to his li e, the value o f

- We which could hardly be over estimated . hear that of of f his amusements at that time, one the chie was to copy f f of the illustrations rom a large amily Bible, an edition T 1 6 published by obias Stimmer in 57 . In this pursuit he was influenced possibly by an elder brother, Jean f of Baptiste, who, it is thought, was himsel something a

8 RUBENS

of k acter the man and his wor , by recent criticism , that we may well for the present leave aside the question of

N o r f T do o t . Van , pending urther research his much we R u lad of f f s know, that bens , the brilliant ourteen , re h f of u n d rom the position page in a co rtly house, remai e for f and f his pupil our years , learned rom him the elements ’ f e nd of ofthe painter s cra t . At the this time the boy moved on to another teacher, Otto van Veen , known also Vaenius f ff o f as , it being a ashionable a ectation the time L of to atinize surnames, with the idea thereby adding to ’ T find o fR e n their distinction . hus we one ubens chief k of P on ius gravers generally spo en as y , his real name being Du Pont . f N O Van Veen , in contrast to Van oort , we have abundant and reliable information . He was the leading

of and painter in Antwerp his day , a scholar a gentle of man , much under the influence Italy, where he had d travelle in his earlier years . His style was somewhat o f academic , and his genius not being an original d k order, his pro uctions were tame rather than stri ing. They nevertheless had qualities which raised them far above the contemporary work of the school ; so that probably nowhere else in Antwerp, at that time, could Rubens have found more favourable conditions under which to pursue his studies and make his own e x pe ri For b ments . Van Veen was a generous master , a solutely d of u de devoi jealo sy, and apparently rejoicing in the lo in of The f ve p g genius his pupil . whole atmosphere o the house and circle o fthe elder man was such as to e n off courage refinement eeling, general culture, and , above

of f - of R all , appreciation Italy, the ountain head enais a a Two e f i s nce art and schol rship . y ars a ter h s entrance BIRT H AND YOUT H

R d o into the Van Veen studio , ubens was receive int the f L d d d o St. Guild uke, being thus acknowle ge as a uly The f qualified member ofhis profession . ollowing year he was chosen to assist his master in the state decoration of the city to celebrate the formal entrance ofthe new rulers of e the ob dient provinces , the Archdukes Albert and

. see Isabella His training and experience was thus, we , f and k as ull varied as Van Veen could ma e it. In short, ” it is on record that the latter told his pupil all he knew . Equipped then with all that Antwerp could give him of and of instruction , already showing signs possessing forces within himselfbeyond the power ofany master to In of of control or guide , the spring the first year the new — in Ma 1 600 —he t century, y, , too turned his steps sou h L d k ward to the an beyond the Alps, to ta e at first hand of f and f what Italy had to give urther teaching, resher inspiration . CHAPTER I I

YEARS IN ITALY 1 600— 1 608

HE first Cis - Alpine city in which he paused was

Venice, her transcendent beauty , in that day, still f d f an . To w pulsating with ull vigorous li e Ant erp, war d and R d impoverishe desolate, ubens coul hardly have

d r l The lighte upon a mo e bril iant contrast. Venice of 1 600 must have more than realized his wildest dreams of

o f f and d of and d the beauty li e, the gran eur Art, astoun ed him with amazed delight . We if d of have scant, any recor the emotions aroused d of but e uring this first vision an Italian city, we may b lieve unhesitatingly that the dazzling impression was f f such that it never wholly aded rom his eyes . His most and d original strongly indivi ual creations , to his latest day, have that about them which one cannot think they would have possessed had Venice not stamped her image indelibly upon his very being . had few Hardly he been there more than a weeks , than f k f the ortune he had come to see began to show hersel , u and in most attractive g ise . Staying in the city for a fe w days in July was one of of the most glittering notabilities the peninsula, Vincenzo f D ofM . O ne o Gonzaga, sovereign uke antua the gentle men ofhis household happened to make the acquaintance ofthe young Flemish artist who showed him some speci — ITALY 1 600 1 608 I 1

of mens his work . Struck by their quality, the courtier brought them to the notice ofhis master ; he in his tu rn be ing pleased alike by the pictures and the appearance a of f w and m nner the artist, took him orth ith into his and f service, gave him a position among his ollowers, which Rubens was content to Occupy for the next eight

years . O ur painter was destined to see much ofcourts and f as court li e , hence his first experience a page was , under C the ircumstances , hardly lost time ; now he was to play ‘ role for f a more important , though inde atigable as a n painter, his employers seem ever to have contented

themselves with his services as such , but always demanded f f rom him labours quite apart rom Art, his many other gifts and admirable savoir faire being invariably recog niz ed , and as frequently utilized , by his princely patrons . The D d f and uke Vincenzo hurrie away rom Venice, , M n d F just passing through a tua, proceede to lorence to ’ of -in- aw M r M assist at the marriage his sister l , a ie de edici , F he fe n . T to the re ch king , Henry IV tes on the occasion nd M f were sumptuous, a the antuan party took their ull f F F share in their enjoyment o them . rom lorence the du d d ke passe on to Genoa, where he made a lengthene C stay, and not until about hristmas time did he settle d own at home in Mantua. In all this journeying from C d R city to ity he carrie ubens along with him , thus pro v iding the young man with a continuous se ries ofoppor i tun ties for v . F for study and de elopment In lorence , x f e ample, what must the artistic wealth have been be ore the halfofit had been distributed among all the principal m useums ofEurope ? All this was before his eyes during f e his stay there, while the city itsel , in its severe b auty 1 2 RUBENS

of and lovely situation, decked out with all the grandeur f the marriage east, must have presented one long picture of d ffi restraine loveliness di cult to surpass . Genoa, how C of d ever, the ity palaces , seems to have impresse the young Fleming more deeply than Florence ; he was al - o f ways pre eminently a man his own day, entirely at it — ofF one with , and the special quality lorentine beauty is one that appeals more strongly to our own time than

it did to that of Rubens. Genoa ranked in his mind al most with Venice as an ideal of excellence realized in f act. The Court ofMantua was in itselfwell calculated to ’ further a painter s artistic education ; it had long been a f u f of centre o cult re and learning, rom the days Isabella ’ d ste of r had E downwards , and artists the first deg ee left their impress on the walls of the then sumptuous T d . ucal palaces hese were two in number ; the larger, of and residential palace, within the walls the city, con i of M the taining the masterp eces Andrea antegna, and ’ famous Paradise of Isabella d E ste ; and the smaller Té a - Palazzo del , without the walls, a ple sure house pure and —a d d of r s simple, richly ecorate series state apa tment t d and magnificent stables, with central cour yar and ex

d - a for - tensive gar ens , stage ceremonial merry makings ,

hunts , pageants , plays , receptions, and all the luxurious decorative gaieties with which an art-loving I talian prince f R f o the enaissance adorned court li e. d M ss had As An rea antegna, with his severe cla icism , established the character ofthe decorations ofthe old R his palace, so had Giulio omano impressed style and T of s fashion ofart upon the Palazzo del Té. o both the e R e s h e masters ubens gave d voted tudy ; to t e form r,

1 4 RUBENS was to be no less than the pattern gentleman on whom i f The the courtier should model h msel . prince, in his own

person , must be at once alive to all the brilliant interests ofR f — L and D and enaissance li e, Art, earning, iplomacy, ,

of E of o f newest art all in modern urope, that living, bringing elegance and grace into the acts o f daily life ; w u in short, all that hich came to be summed p , in that

day , under the comprehensive word Courtesy . Courtesy and d in conversation were stu ied systematically, both d of v r the aily practice the respecti e cou ts themselves , under the influence ofthe different gifted dukes and their f no less brilliant consorts , but also rom books written on u 11 or ian T . C te o he the s bject g , Courtier, written by Cas ti lione f M o f g , himsel a courtier in antua, one the gentle ’ e e d E ste had E man especially devot d to Isab lla , a uropean reputation and influence, and , with modifications suited ofE to the locality, the courts urope beyond the Alps “ ” one and all accepted as their model the Courtesy ofthe of f little princely courts Italy . O these, as we have seen , M of antua had been one the first, and Vincenzo Gonzaga f aimed , in his own ashion , at maintaining the traditional ’ of d w f L brilliancy his pre ecessors, hile his wi e, eonora de M of R edici , was one those gracious enaissance ladies, who knew how to shed a pure lustre on all their environ ment . Placed in these surroundings, so agreeable to his and for f natural bent, which his gi ts so admirably fitted R f him , ubens imbibed the court spirit to the ull extent d of of . his capacity Hence, in our stu y the man , it must n be bor e in mind throughout, that accepting unquestion in l o f da g y the political ideal his y, he was by training, R e as well as by natural inclination , a courtier in the of To naissance sense the word . his abiding credit, how — IT ALY I 600 1 608 I 5

a r ever, be it lso remembered , that while the ordina y courtier adopted the life ofthe court as a career out of which he expected primarily or incidentally to carve his f u R f ort ne , ubens remained always painter by pro ession , and when he became in practice as well as in temper the did f courtier, he so rom entirely disinterested motives , in order to serve either his sovereign or his country . In the summer of 1 60 1 the Duke Vincenzo prepared to take some part in the war then waged against the Turk ; so his painter was liberated for the time being from court d of f duties . Arme with a letter introduction rom his C M master to the ardinal ontalto, he took the opportunity offered him by circumstances to proceed a stage further ’ on his artist s pilgrimage, and accordingly arrived in R ome early in August. T f here, despite the heat, he gave himsel to unremitting study ; one of his early biographers records that he k turned to account the things he li ed, sometimes by copy ing them , sometimes by making notes , accompanied d usually by a slight pen and ink rawing, invariably carrying with him a blank note book for that purpose. Monuments ofantiquity had always a special fascination for of w him , and the study these, together ith the works of R and M d aphael ichael Angelo, serve as a salutary complement to the influence o fVenetian Art which had e be n the first to enthrall his imagination . B ut e of in thes days the early seventeenth century, the artistic interest ofRome did not as yet lie entirely in the The of of past . course the Italian School Painting had not then quite run to its Close ; hence among the great ’ events ofthe young Flemish painter s first visit to the C was his od of ancient ity intr uction to Caravaggio, one 1 6 RUBENS the e a of lat r m sters the school , not an eclectic , but a

first- d of of r and han student certain aspects natu e, a the of e definite contributor to sum artistic knowledg . R s d d d uben came un er his influence at this date, and erive f o f distinct profit rom the connection . Another event - e T passing importance was a much ne ded commission . his was to paint an altar-piece for the church ofSanta Croce di Ge rusale mme a C , hurch which gave its name as title to one of S member the acred College. A short time previously the Cardinalate o f Santa Croce had bee n held by the ofF Archduke Albert landers, but owing to his appoint of d ment as regent those provinces, he had aban oned the f ofe c c lesiastic e pro ession , which had never be n his choice , k d and now, in order to placate the papal court, which loo e a N skance on his conciliatory policy in the etherlands , he offered to present an altar- piece to his late church in R R ’ d ome. ubens home connections being goo , and his

f and relations active in his interest, he was not orgotten , the commission to paint the altar - piece was confided to The D k of M n notwith him . u e antua, his mag ificence R d standing , was but a poor paymaster ; ubens was accor k k ingly glad to underta e the wor , and painted the altar

St . piece in three parts , the subjects being respectively

E R o f . Helena, an cce Homo and the aising the Cross of se These , now preserved in the municipal Hospital Gras , are the earliest authentic works from his hand . R M This being completed , ubens returned to antua , but what the work at this time demanded o f him by his

mas ter we have no record ; we know, however, the projects which the duke had in View at this time as

: of M d n s regards art one, to collect copies celebrated a o na e m e s e by acknowledg d ast r , th se to be obtained on the IT ALY 1 600—1 608 1 7

most thrifty terms that could be arranged ; and the other was the gathering ofa second collection ofportraits of f d the most beauti ul women in the worl , princesses or ” W of ordinary individuals . e do not hear precisely Rubens being employed on either one or the other of these two artistic enterprises ; yet that he had established for of a reputation judgement in matters art, as well as in general affairs is shown by the mission on which he

was now to be sent by his patron . In steering the somewhat perilous course ofhis little

d of and duchy among the angers rival larger states , it had become necessary for the Duke Vincenzo to secure he f of K of a t . riendship the ing Sp in Some presents, and to judiciously selected distributed , were deemed be, for n of ff For the moment, the best mea s e ecting this end . - S f the sport loving panish king, some horses rom the then s renowned Gonzaga stables were chosen ; certain relic , for a powerful member ofthe court renowned for piety ;

or for D ofL f another, tapestries ; while the uke erma, the ’ f M n of king s chie minister, copies by a antuan pai ter ’ f R The as some o aphael s principal works . mission w u f be obvio sly a delicate one, not only were the gi ts to f but if tact ully presented , the envoy was possible to

create personally a pleasing impression , and, moreover, gather the feeling ofall the more important personages o f S ofM T the panish Court towards that antua. o make n a long story short, the chosen messe ger between Mantua and S F M th pain was the lemish painter Peter Paul . arch s , 1 60 of r w s 3, was the date his depa ture , but so troublous a

the journey , and so great the delays experienced by the f S — n young envoy, even a ter he had arrived in pain , the , as now L ofmafl ana — , the and , that it was not until July C 1 8 RUBENS

the f that gi ts were duly presented , while he was not able to complete his mission in other respects until after the of M close the year, his arrival back in antua being in u F 1 60 T f Jan ary or ebruary, 4. his journey was o slight i f of o far mportance to the painter rom the point view t. of It served , however, to increase his knowledge the of fo world , and courts , and confirmed his reputation r discretion and honesty in the minds ofall with whom he o as had established relations. S much w this the case h f the f wit the duke himsel , that in ollowing June he “ r R enewed his contract with ubens , granting to Peter of 00 Paul , painter, a provision 4 ducatoons a year, t f Ma 2 payable every three mon hs, rom y 4 while shortly afterwards he gave him a commission more worthy ofhis powers than the roving one with which he of had been sent to Spain , to wit, that painting any court th beauty whom he could persuade to sit to him , so that e M portrait might be added to the antuan collection . ’ 1 60 In August 4 , the duke s mother died , and he determined to decorate the chapel dedicated to her memory with some notable paintings ; and these he Now desired Peter Paul to execute. dispersed , and much

of S mutilated, the remains these works yet how the ’ artist s growing powers, and that in their original con d d d ition they must have ad e much to his reputation . These and other works for the duke occupied him for f d of nearly two years, a ter which he again obtaine leave for d R absence a while, and repaired a secon time to ome , f d where he resumed his avourite stu ies, this time with the additional pleasure ofhaving the companionship of f his brother Philip, between whom and himsel existed es ff of f r the strong t a ection . A charming record this rate nal a r s tri n ! hoto P i tti P a la ce Fl orence r/ g p ! [ ,

T H E P H I LOSO P H E RS

20 RUBENS

F e of e u a e ab r, doctor medicine, my A sc lapius, I dedic t i f o f for e th s picture, in ulfilment my vow , made my recov ry ’ when I was condemned . Unhappily this pleasant piece ofhumour on the part ofthe young painter has been lost r beyond recove y . S f M u the upplies coming rom ant a but irregularly, at

r or R for best, it became necessa y f ubens to look out s e for om remunerative work ; happily him , his con nec tions and abilities procured for him in the autumn the commission to paint a large work representing St. r for of r Grego y and other saints, the high altar an impo R the C N tant oman church, that known as hiesa uova. The work was not entirely completed when he was peremptorily summoned to attend his patron ; he accord in l nd d a a e . g y returned , accompanied the uk to Geno This was a sojourn submitted to most unwillingly on the ’ 1 60 and painter s part . It was now July, 7 , in the April f R be ore Philip ubens had returned to Antwerp , hastening his departure on hearing ill news with regard to his ’ h e h mot er s health. Peter Paul had b en unable to go wit

f d. him , and was still urther detaine He made, however, characteristic use ofhis time by executing commissions r fo various Genoese noblemen , and making a serious study w o fthe palace architecture o fthe city. At length he as permitted to return to Rome to finish his altar-piece for

N d . the Chiesa uova, but again other elays occurred Owing to the defective lighting ofthe Church a replica Of his picture executed on a duller background was r T f f the rendered necessa y. his took time, and urther, le t ’ T ed original canvas on the painter s hands . his unexpect N c om additional work for the Chiesa uova, and other R r u h missions which he undertook , held him in ome th o g — IT ALY 1 600 1 608 2 1

x f The the ne t spring and even the ollowing summer. duke also showed himself most unwilling to allow his

. O 1 608 painter to cross the Alps In ctober, , however, ’ news again reaching him ofhis mother s still increasing f weakness , he at last decided to act without waiting urther for ducal permission , and set out on the journey north d O n war s . his all too tardy arrival in Antwerp, he learned M P elinx d f that his mother, aria yp , had ied even be ore he received the last news concerning her condition .

He took up his quarters , sadly enough, we must think , the in her old house, and then, listening to persuasions o h d fhis sagacious brot er, came to the ecision that Ant we rp after all offered a more independent and better fo r M field his activities than the antuan court . Accord in l f n of g y, with eeli gs presumably mingled regret and f f relie , Peter Paul ormally severed his connection with H of d the ouse Gonzaga, and etermined to throw in his

and for lot with his own people and work among them , that l a nd which had the greatest claim upon his loyalty and se rvice. CHAPTER I I I

SETTLEMEN T IN ANTWERP

HE year 1 609 was one o fvast importance not only R ls to the painter ubens, but a o to his chosen home. ’ the city ofAntwerp . It was the first ofthe twelve years f truce with the United Provinces, which meant or Ant w r o f e f. p an untold sense respite and relie At length , f off she a ter years ear and unrest and desolation , was able to direct thought and energy to her own restoration ; and f S d though the act that her river, the chel t, remained f d f f closed , orba e a ull return to her ormer prosperity , further activity in some ofthe arts ofpeace nevertheless a bec me a possibility. It was doubtless not without full consciousnes s of the commercial possibilities ofthe moment that Peter Paul decided on his settlement in Antwerp, and the event of E proved the soundness his judgement. stablished in K S t h who the looster traat with his bro her P ilip, , since his f the return rom Italy, had occupied honourable position o f f o f municipal secretary, Peter Paul ound the doors the e c of as as b st so iety the city, literary well artistic , at once o pen to him . Among the interesting intellectual circles ofthat time ” the o f so- R was Guild the called omanists , its members h e in Th being sc olars and artists who had resid d Italy . e D ofthe 1 60 the e a re u e ean Guild in 9 was paint r Je n B gh l , 22 ANT WERP 23

“ V a named the elvet, somewhat qu int and limited as an R artist, but entirely admirable as a man ; by him ubens f was admitted to the society, and a strong riendship soon d sprang up between the el er and the younger artist . Even more practical evidences ofthe welcome the town was prepared to extend to the returned traveller were for f C two commissions paintings, one rom the hurch and The d one from the municipality . latter had etermined

re - C of T to decorate the state hamber the own Hall , and entrusted Rubens with the commission for a large com For position to fill the space opposite the fireplace. this he was to receive the comparatively handsome payment of florins The The Adoration . subject chosen was o the K in s d f o f f g , which when complete ormed the first of of of a long series paintings the same story, one which he seemed never to tire ; finding it the occasion for infinite and s variety in costume, figure, light, acce sory, he never a e p int d twice the same conception , but each time it

' appeared a new picture worked out with a difle ring artistic aim . T i Adoration f h s first , though in erior in many points far to its later brethren , was however so superior to what could have been obtained from the hand of any other ’ e of d R paint r the city,that it at once establishe ubens place among his fellow artists and his reputation with the out d d m side world . Accor ingly we find him appointe this sa e year court painter to the archdukes , with a fixed salary of 00 F d i 5 lemish poun s, certa n definite civic privileges , and permission to continue his residence in Antwerp, n e at instead of being i attendanc Brussels, where the urt had s co its eat . i n of - and Arr ved ow at the age thirty two, with an 24 RUBENS

R s honourable position assured to him , uben determined the s to put final eal upon his settlement at home, and on 8th O ctober of the same eventful year he married his

f - - d first wi e, Isabella Brant , the eighteen year old aughter of f d o f an old and valued rien fthe Rubens amily . TO about this date belongs another interesting auto ofR ubens a nd his B ride biographical painting, that , now M r preserved in the unich Galle y . In Isabella we see s a omewhat quaint yet withal winsome beauty, with a shrewd and humorous expression ; in her general aspect h r . S e the e is a dainty charm , altogether captivating sits ’ f of at her handsome husband s eet, with an air caressing d admiration , while the twitching lips in icate that, not has C withstanding the pose she hosen , she is no blind

of worshipper, but capable quite an appreciable degree o d fgentle raillery, directe even against her illustrious in goodman . And what we see her, be it noted , is what ’ d is shown to us by her husband s own hand , as irected by his proper vision ; so that the painting stands as a L most charming record oftheir mutual relations . ooking upon it we can plainly see an additional reason for the marked Change which made itself manifest in his art f i rom th s date. The peace in the political world coincided , as we have s of d een , with this beginning his omestic happiness, and T his establishment in his own country . his combination ofe as for vents, it would seem , gave the occ ion a certain - an of — mental pause, act recollection , not such a pause of as is marked by any outward cessation work , but one ofthose mental states of which only the intellect con ed for h f s cern is aware, when t e moment it gathers its orce o se f or re es s t so th r int it l , aliz its treng h, at it may pou H a nfi tti ng ! photo! [ M un ic h Ga lle ry

RU B E N S A N D ISA B E LLA B R AN T I N T H E A R BOUR

26 RUBENS for 1 6 1 0 the first was given in , and the last instalment of 1 6 1 d fo r the its price was paid in 3. Originally painte h of W C St. h hurc alburga , it is now to be seen in the nort o f C f n n transept Antwerp athedral , where it orms a pe da t - i The to the second and equally well known tr ptych, Descen rom he ros T t f t C s . his latter was a commission f of e rom the Guild the Arquebusiers, a company corr s ondin e d for p g in Antw rp to that in Amster am , which R t some years later embrandt painted his great pic ure, The N i ht Watch of N l g . In the case the ether ands , these d C and civic Guil s maintained their religious haracter, the Antwerp Arquebusiers being under the patronage o f

t. C R S hristopher, they requested ubens to represent the of h e legend t at saint in the painting which they r quired . The d artist, however, gaine permission to extend the

f - a C subject somewhat, rom the one Christ be rer, hris to he r f o f C p himsel , to a series scenes in which the hrist bearing in one form or another was the principal inter est. Accordingly the triptych as now seen in Antwerp re re Cathedral came to be painted , the centre panel p De osition Descent rom the Cross e senting the p or f , whil the left and right hands represent respectively The Vis i The P resentation t f tation and ; S . Christopher himsel ofthe and appears on the outer side wing , is seen only d when the triptych is close . e Ru Whil busy with these important undertakings, bens was careful to take further steps necessary to his O n complete establishment in Antwerp . his marriage he had for a time betaken himself to the house ofhis ’ f 1 6 1 1 a wi e s father, but in January, , he purchased

- W e dwelling place of his own , on the app r ; a house i ar o a a r e s w th a l ge do r, courty rd , a galle y, kitch n , room , [A nt' wer/ Ca thedra l

T l l E DE SCE N T FROM T HE C ROSS

ANT WERP 27

e s a l a - o land, and dependenci , with b e ching gr und adjoin ” ing the eas t side ofthe Company of the Arquebusiers . He had already in thrifty fashion be come an art collee e m o tor, and gathered in Italy and els where any bjects of The of great artistic interest and value. importance e a his commissions also nec ssitated large studio , and again further accommodation was needed for the numer r so ous pupils who now eagerly sought his inst uction , much so that he was in many cases obliged to refuse a the a pplication . All these considerations rendered

separate establishment most desirable, and that it should be of ample proportions ; so the house on the Wapper o ed being bought, alterations were at nce design to fit it f r o all these many nee ds and requirements . Th e f o M e to oll wing arch , Isabella gav birth a daughter, ’

C f . who was named lara, a ter her mother s mother It e may be noted h re, that later Isabella had two other r 1 6 1 N o children , Albe t, born in 4, and icholas, b rn in

1 6 1 8 . f e f A great grie , how ver, ollowed upon the quick succe ssion ofjoys and successes which fell to him in the ’ of R r u 1 6 1 1 first years ubens retu n home. In Aug st, , a e of his brother Philip died , at the premature g thirty i he rs eight. Some critics place the painting ofThe P h losop e r f mentioned abov , sho tly a ter this event , and consider as ff it a memorial o ering to his dead brother, rather than o f m o a commem ration o his living co panionship, enj yed a fe w c e years previously. But whatever the pre ise dat

of r s or motive its painting, it remains to us as a p eciou record o f the brother who up to now had been one of f ’ f the greatest personal actors in the painter s li e, and we m ay be very sure that his loss was severely felt by Peter P l au . 2 8 RUBENS

1 6 1 6 f a f its R d In , our ye rs a ter purchase , ubens remove f new v with his amily to the house, the alterations ha ing e l re b en at ength completed , so that it became at once

side nc e and if . , museum , studio, , we may say it, also shop l In all it was an almost pa atial establishment. M Max the ofR n . In larger lives ube s, notably that by R re roduc ooses , there are to be seen most interesting p n of of s of tio s drawings various aspect this fine house , of and f desc ri both its interior exterior, as well as ull p tions ofits various arrangements ; and the reader cannot fail to be struck in particular with the extent o f the The n studio and general business accommodation . reaso of and becomes apparent, as we learn his methods work ,

The -men its extraordinary extent. great pictures abov e tioned are a fraction o fthe sum o f his output in this To . fw period these, and the next e succeeding years , of belongs an almost incredible amount work , until we f The Las t realize the constitution o the Rubens studio .

ommunion o S t. Francis Cou de Lance C f , the p , and the Fla ellation n - g , to ame only the best known , belong to this s time ; but ides these masterpieces , and indeed while they were under consideration , and actually in hand , a large number ofworks of minor artistic interest con tinued W — to leave the house on the apper, portraits ,

e and landscap s , religious and mythological pieces, , more n of importa t than these, a number large series of de c orative paintings, both religious or historical in subject. a 1 6 2 In short, up to the ye r 5 , the studio ofRubens was of one miracle activity, and in glancing over the principal of of works, taking note the method their execution , we shall at the same time obtain a realization ofhis manner of life throughout these i mportant years of what is Ha njstdng l ph oto! [L ic h tenste in Ga lle ry

’ T H E P AI NT E R S T wo SO N S

30 RUBENS

unfla in ene he s s e e to e f e gg g rgy, eem n v r hav re us d any , v r Bu o howe er la ge the order might chance to be. t t

- execute them single handed , his energy notwithstanding,

l s . S f was a physica impo sibility oon , then , a ter the advent ofthe o numerous pupils ab ve mentioned, he began to r discriminate among them , and according to their seve al capacities to employ them upon the subordinate parts of r his his own works , gradually t aining them up in of u methods applying and combining the pigments , ntil in their own spec ial departments their touch became

f f r . o hardly distinguishable rom his own One pupil , ex ln t s ample, would always be employed pain ing animal ; another on any landscape that might be introduced into e f s the pictur ; a third would paint the ruit and flower , e r and so on ; the finer and more expressive parts, togeth of of f with course the composition the whole, being le t for f the master himsel , though the exact proportion of his work in the painting would be a matter o farrange

of C Fo ment at the time undertaking the ommission . r this c o -operative method o fpicture production was pro c en f ff s ted with the utmost rankness, a regular tari being d arranged , and inten ing patrons being given clearly to understand what they were to expect for the sum which ’ they were prepared to ex pend ; so much ofRubens own for work , so much cash ; so much less cash, a proportion ’ of ately greater amount assistants work , down to the of the es n f degree having d ign alo e urnished by the master, e the actual painting b ing entirely by other hands . In his addition to pupils , it became necessary at times to ac employ regular assistants also, men who had already of quired reputations their own . Among these were the

e-m and Luc n abov entioned Jan Breughel Snyders, va

ANTWERP 3 1

u de os e mos not of as oth Uden and Pa l V , whil t ed all , b D e n a . pupil and ssistant, was Anthony van yck Betw e this latter and his employer there was the most harmoni h t r ous collaboration , the work which t ey did toge he ofS s s f . making an almo t pe r ect union In the case nyder , d f un it is sai , that any animal painted by him was le t touched by Rubens ; but as to the works done by Rubens led and Breughel labouring in conjunction , one is to think f f judging rom the result, that the ormer must have under taken them purely out ofa spirit oflove and good fellow N0 two of ship for the latter . methods art could be more unlike, and a real harmony between them was impossible, a fact that is obviously recognized by both me n with k O ne R n . fran ess sees the ubens figures , with their glister n s - d i g fle h tints, flashing in the somewhat heavily coloure -filled o f and m inutely landscape Breughel , with absolute wonde r as to how the two ever dreamed ofworking to t r ge he on the same canvas, except on the supposition that it gave opportunity for the mutual enjoyment of ’ each o ther s society . A s regards the other and less noted collaborators and of the method their working, we may gather some idea f the f a rom ollowing story , which appears to be very ch r ac te ris tic ofwhat has been termed the House ofRubens ” Las u and C0. It is recorded that a t S pper had been ordered from the master by the authorities ofthe Cathe ofM To c . of D in dral hurch alines the dismay the ean , d of f stea the painter himsel arriving on the day appointed , e d ed u E there app are a young man nam J stus von gmont, a be ring with him instructions to begin the work . To quote from Stevenson ’s suggestive monograph on Rubens The Dean or Canon with some difli c ulty pe rmitted 32 RUBENS the to on but f the pupil c tinue, his ears were allayed when r and g eat man appeared , with his fine calm presence urbane manner that was a bulwark against offence and R e n misappreciation . As ubens corrected the work, ofthe t livened the colour and the action figures , and swep the whole composition with his unerring brushwork to f of ff wards a beauti ul unity e ect , the churchman acknow of the ledged the wisdom the master, and admitted that f ” money ofthe chapter had been sa ely invested. ’ - Rubens own testimony with regard to this system o f f m collaboration is interesting, and may be gathered ro ir D C E h his correspondence with S udley arleton , the nglis 1 6 1 8 T f ambassador, in . his gentleman , having ormed a of ff collection antique marbles , became anxious to e e ct of of for R s an exchange some them pictures by uben . The f o f latter, being himsel , as we are aware, a collector ’ o fSir D l antiques , on hearing ud ey s wish , communicated him ff d e r directly with , and o ere the ambassador a numb f o fworks that he had on hand at the moment . O them

f f : he sent a list, rom which the ollowing is an extract

P MY H LIST OF ICTU RE S IN OU SE .

FLORINS 00 A P rometheus ound on Mount Cauc asus wi h an ea le who 5 b , t g naws his live r O ri inal b m ha d the ea le b Sn de rs g . g y y n , g y y . 600 Daniel amid man lions ai te fro life e ntirel b m y , p n d m , y y y

band.

L o r s in from lif with sat rs and h . O ri in l 600 e pa d , pa ted e , y nymp s g a b m hand e xc e t a ver eautiful landsc a e done b a y y , p y b p , y i t st i h t t l ve ry dist nguished ar i n t a s y e . 00 A Cruc fix ion life siz e erha s the st i ure I have e ve r 5 i , , p p be p c t inte pa d. 00 Th La t ud em ent un b one of m u ils aft r 1 2 e s J g , beg y y p p , e a pic ture ofvery large dim ensions that I did for His Most H s h rin ofN euber who aid m e Serene ighnes t e P ce g, p

34 RUBENS

ic to e p tures, be completed in nine months , he to mak a Van the drawings on small scale, the pupils , notably D f The t of yck , to execute them in ull size. distribu ion work was the same in the E mperor Constantine series ; in the Decius Mus series Rubens painted the foreground s f figure himsel , leaving the secondary figures and back D T how ground to Van yck and other pupils . hus we see the pupils were trained and their capacities tested , until , o n being proved able artists themselves, they had laid up

them as time went on ever increasing responsibility . T f ofthe hese our great series , however, are not the limit output from the Rubens studio at this time ; several other i r mpo tant undertakings are still to be noted , the most celebrated being a remarkable group ofpaintings re pre se nting the Las t judgm ent and the Fall of the R ebel A n el s m g , two subjects de anding somewhat similar treat m The e n ent. problems herein involved seem to have a the a of iod g ged his mind through greater p rt this per , the date of the actual paintings ranging from 1 6 1 4 to T i 1 6 20. e n n hes , undoubtedly inspired by works see s Italy, were carried out in a pirit and manner entirely s his own , and are among his most interesting creation Yet another department of his industry must also be

mentioned . In 1 6 22 he brought out a book on the archi

re ofthe of d -two tectu palaces Genoa, illustrate by seventy f d in plates engraved rom his own drawings, ma e when e o t f ed s o f G noa, pr bably during hat en orc vi it, spoken o h 1 60 . t e , 7 I ab ve in the ye"ar t is interesting to read in f R He d to Pre ace ubens motive in its publication . hope ” e e r r nd r a se vice to all countries this side the Alps, by introduc ing to them a new style ofdomestic arc hitec ” a ture in accordance with the principles of classic rt.

ANTWERP 35

Here we have inc identally another instance ofthat public spirit which so largely animated Rube ns throughout his f r of li e, a genuine and integral pa t his rich and complex

character. The mention ofthis book leads us to a notice o f his large influence on the art ofengraving in the Nether f lands ; not that he was himsel an engraver , though pos of sessing knowledge the art, but he had continually, f of working in connection with him , a ollowing skilled

engravers , who reproduced his pictures , or the drawings which he made for the illustration ofvarious works pub T s lished by the Plantin Press . he e reproductions were always carefully scrutinized by him before they were fi d for of nally publishe , while engravings his actual paint ings he was accustomed to make a monochrome copy h f of f imsel , to ensure a correct translation tone rom colour The w o f to black and white. Ant erp school engraving was f the o fR in this way almost ormed by influence ubens , and it was also largely protected by his efforts ; for f d ir D through his various influential rien s, S udley Carle and of ton others, he was enabled to obtain a copyright F f his works in both Holland and rance . His riend in the latter country was the eminent scholar and secretary of P e iresc d state, , with whom he had a correspon ence on o f fo r matters art and learning many years , and it was through the influence ofP e ire sc that he was introduced ’ o f M M d to the notice the dowager Queen arie de e ici , when She was seeking among contemporary artists for

of L x one suited to decorate her new palace the u embourg . In 1 6 2 3 nine o fthe panels demanded by the decorative ’ s of e cheme the queen s palace were complet d , and the n e e f f pai t r l t home, going himsel with them to Paris in 36 RUBENS order that their installation in the gallery which they were to embellish might be carried out under his own T eye . his decision ofhis to go personally to Paris had momentous consequences ; it Opened U p the way to a of f gradual but complete change in the tenor his li e. f in Up to now he had been painter first and oremost , his aim in life and in the splendid reputation which he

. u had built up Antwerp, thro gh him , was acquiring a new and more lasting glory than that ofher ancient and he o f now lost commerce . S had become the seat a great and of f justly renowned School Art, enriching hersel and e the the surrounding provinces, and ind ed world, with D her influence and her actual productions. irectly and indirectly the spirit ofRubens seems to have re -animated the whole city ; painters , engravers, sculptors , architects , re - and scholars, all acting and acting upon each other, made together a grand swirl of intellectual activity, having practical results very apparent in the outward f for of of . appearance the town Hence orward , a period far R u twelve years, these productive labours, in so as bens was concerned , were broken in upon and disturbed by t s o hers, no less arduous , but bearing much less la ting f ruit .

Urged by motives as complex as was his own character, he entered gradually the field of international politics and diplomacy, and thus played so real and conspicuous f a part that it is recorded , as the o ten expressed opinion of n of saw one ofthe great statesme the day, that he so many qualities shine in the artist that he believed his talent for painting to be the least ofhis gifts ! This period ofpolitical activity coincided with the third F stage ofhis artistic development . rom about the date ANT WERF 37

1 62 th R ens was at m u o 5, ough ub already the at re age f f r -six m art we t m o ty , his anner in under n a arked change, and that a distinct advance in quality. It is equally clear that the change was the direct outcome ofthe work which e of had preceded it, and was in no way a consequenc f new inspiration , drawn rom new scenes and activities . It is therefore a matter ofreal regret from the po int of of of f View art , that the immense vitality the man , a ter - - of rowth was e his long drawn out period g , not concentrat d n of d upo his art, instead being issipated in courts and n d jour eys and delays , and the hun red and one distractions ofd whic h unfortunate l in f d iplomatic service, , y, act absorbe fof f more than hal his finest years o productive power. CHAPTE R IV

TH E PERIOD OF POLITICAL ACT IVITY

N k of a monograph li e the present, which the aim is

v o f to gi e within . strict limits some appreciation R e of f ub ns as a great master painting, it would be out o f place to ollow in any great detail his political career . Yet some digression from the main path ofour study is ofhi necessary, since this career was an integral part s f if li e, and as such had some influence, not upon the de

v e lo ment of p , at any rate upon the distribution his art , and as a further consequence affected the extent of his a influence upon other painters and dist nt lands . The northern prov inces of the Low Countries had at this period successfully revolted from the Catholic power o f S v pain , and established themsel es in the enjoyment of a personal and religious liberty at that time un ln E The d paralleled urope . obe ient provinces of the south paid dearly for their submission ; their trade was d of S d ruine by the closing the chel t, Amsterdam super seding Antwerp as a great commercial centre ; while their borders c ontinued to be the battle-ground on which the ineffectual struggle was maintained between their masters and those who so recently had be en their com ’ The of patriots . interval the twelve years truce had m n been an inesti able boon , and all patriots, includi g the n - d d an sagacious a d noble minde arch ukes, Albert d Isa 38

POLIT ICAL ACT IVIT Y 39

e . Not so the bella , desired to have the treaty ren wed S of S f f t overeign pain , who ound himsel unable to accep S e nd of th the ituation , and in consequence, at the e of for period truce , commanded war, which meant the hapless southern provinces a return o fall the miseries and distresses from which they had just had the twelve ’ of F years respite . It became thus the duty all lemish patriots to do the utmost that lay in their power to avert the calamity which their absentee over-lord had

decided to bring upon them . R e of ub ns , one the most prominent citizens in the state , connected with leading statesmen , and attached to f d the court itsel , was inevitably rawn into the stream ; a nd as early as 1 6 2 3 we hear ofhis taking part in nego tiations with the United Provinces , and being in the of d The h confidence the arch uchess . archduke ad nu d d 1 6 2 1 f happily ie in , and Isabella was le t alone, and obliged single-handed to uphold the more enlightene d of in policy peace, opposition to the blind determination of n of her ephew Philip IV Spain . Happy would it have been if this triple struggle could have been main tained witho ut further complications ; but unfortunately v d s the interests involved co ere a wider area, no les than of E the whole western urope , where one country was off n and played against another , by this statesma that , -d - of as it were in a grim and long rawn out game skill . F d for o f rance, esiring reasons her own the humiliation o fS f n d of D pain , and oreseei g it at the han s the utch , t d and was content hat the war should be renewe , even and gave the Dutch substantial help. James Charles of E d a d R nglan , less sagacious th n Car inal ichelieu , wished n o their part an alliance with Spain . Hence it be came 40 RUBENS the policy ofthe Spanish rulers ofFlanders to encourage f s o f E nd S and o s the riend hip ngla with pain , t di cour an F and age any inclination towards alliance with rance, e T at the same time to procure a p ace with Holland . his of broadly is the outline the conflicting interests, to which should be added the fact that over and above the the political issues at stake , there were also involved ff o f di ering religious principles and animosities the time . E a F u ngland , Holl nd, and the rench Hug enots being, d i on those groun s, in sympathy, and opposed to Cathol c n N France, Spai , and the etherlands . When Rube ns went with his nine finished canvases to in 1 6 2 e Paris 3, he was alr ady a political agent, and as a f ofPeiresc ti riend , only likely to ghten his grip on the of complications the moment. His position in the con fidenc e of the Infanta Isabella strengthened as time ou —ln of had went , recognition his public services he 1 6 2 o been ennobled in 4. S we find that when in 1 6 2 5 au he again visited Paris , primarily as artist, he was thoriz ed to make and to receive state communications ofconsiderable importance ; coming on the same occa sion into personal contact with the Duke ofBuckingham o f and Gerbier, an active political agent in the interests E n land his d ofk a g , fiel nowledge extended, and he bec me prepared to undertake more direct and still weightie r political missions . In this way we see him gradually f i drawn rom point to point, as a patr ot striving to sec ure or o peace f his country, as a loyal servant fhis widowed f d of ff sovereign , and also as a gi te man a airs, conscious

f O saooir aire o his power, his pportunities, and his f , allow f ing himsel to be so drawn . D n a f oubtless a other reason oper ted power ully, and H a n/stri ng !photo! [ The Hague Ga lle ry ISA B ELLA B RA N T

POLIT ICAL ACT IVIT Y 4 : made the long and toilsome journeys which he was soon

of e n e es . about to take , more a solac tha a w arin s

Poor, impoverished Antwerp, notwithstanding her f brave attempts to rehabilitate hersel , held within her of s of walls , doubtless bred her very poverty, the eeds a aIn still another wasting calamity. Once and g we hear o fan outbreak o f plague occurring in the city ; and c o incidently we find that Rubens removed for the time

a . be ing to Brussels, thus combining c ution and business But alas ! in the end his care proved unavailing ; in 1 6 26 es at midsummer, it is surmised as a Victim to the p t,

is f f - e f h aith ul and much lov d wi e and comrade, Isabella —ln of B rant died, leaving her husband, the prime his of m anhood , the height his reputation , and the beginning o f of f — v a new career patriotic use ulness, lea ing him th us alone with two little motherless lads, Albert and s N ichola . F D In writing to the rench statesman upuy, one ofhis i f R s ntimate riends, ubens gives expres ion to his feelings

- under this blow . The letter is a selfrevelation ofmore ’ aspe cts ofthe writer s character and outlook upon things t an h he probably was at all aware at the time, and , as s a of t uch , a quot tion some leng h from it will serve to e of Y d ” nrich our picture him our lor ship is right, he “ w t ri es, to remind me that I must submit to the destiny

t fo hat yields not to our inclinations and passions , r it obeys the supreme Powe r and does not account to us for , nor reason with us about its actions. As an absolute u of r ler it disposes all things, and since we must needs o obey it like slaves , we can nly try by submission to make our dependence as honourable and e ndurable as

possible . But this duty seems to me at prese nt verV 42 RUBENS t i ffi ry ng and di cult. It is thus with great wisdom that d your lordship exhorts me to rely on time, which will o for n do for me what my reaso ought to , I have no pre te of nsion ever attaining an impassive stoicism . In my opinion no man can be wholly unmoved by the different d impressions that events pro uce in him , or preserve one ff d equal indi erence towar s all worldly matters . I believe o n the contrary that it is right on certain occasions to d ff blame such in i erence rather than to praise it, and that the feelings which rise spontaneously in our hearts should not be condemned . In truth , I have lost an ex c e lle nt of ff for companion , and one worthy all a ection ,

ha o f f f N d she d none the aults o her sex . ever isplaying k bitterness or wea ness , her kindness and loyalty were perfect ; and her rare qualities having made her beloved f u during her li e, have ca sed her to be regretted by all be f . a ter her death Such a loss , it seems to me, ought to f for deeply elt , and since the only remedy all evils is the

v d obli ion that time brings, I must un oubtedly look to difli c ult for m time for consolation . But it will be very e to separate the grief caused by this bereavement from the memory ofone whom I must respect and honour as long as I live. A journey might, perhaps , serve to take me away from the sight ofthe many objects which f for necessarily renew my grie , she alone fills my hence forth empty house ; she alone lies by my side on my de solate couch ; whereas the new sights that a journey affords occupy the imagination and furnish no material ’ for the regrets that are for ever springing up in one s d for I f heart . But I shoul travel in vain , shall have mysel ” for companion everywhere. f e of o To ex alt his wi e at the exp nse her wh le sex ,

44 RUBENS

or s as t t his so o lone li w d cited above, ha in de lati n and f to it e i d ness he pre erred have his house, as wer , despo le of an its treasures, rather th by the continued complete ness ofits setting be the more reminded of the loss of i f not his ch e est jewel . That in effecting the sale he did neglect to make a good bargain is only to say that it was R e ff in t ubens who conduct d the a air, the commercial inst c

being as much his as was the artistic . 1 6 2 8 S and In he undertook a political mission to pain , on the day preceding his departure he characteristically f ff i concluded a ormal settlement ofall his private a a rs . The S as n out panish negotiations were, usual , lo g drawn , ’ R for e n s and ubens, installed the time b i g in the king at h t palace, was given access to the royal collections, t a e u ofV offi to tim nder the care elazquez, the cial painter

- The o n o a e . the c urt, though only twenty ine years f g relations between these two illustrious artists were most it of cordial , and was probably owing to the influence the ’ older man that Velazquez eve ntually took the artists a pilgrimage to It ly. The Spanish king had been at first loth to accept R e e o ub ns as an nvoy on account fhis low rank , but the f a e In anta Is bella, knowing his worth and loyalty, insist d , Th his and the event proved her sagacity. e painter, by t and dis act ability, was , when once on the spot, able to of W his arm the pride even the King ofSpain . riting to f d D in D 1 6 2 r s the rien upuy, ecember, 8, Rubens desc ibe

: r w am situation in a paragraph Here, as eve y here, I busy painting ; and I have already done an equestrian of s a portrait his majesty, who has expres ed his approv l f and satis action . He shows excellent taste in painting,

has it ee me uali e . c an and , s ms to , ve ry remarkable q ti s I L A nder son photo! [ ffi z i G

B EN S P . P . RU

POLIT ICAL ACT I VIT Y 45

d for now ju ge him personally, as I live in the palace he C da omes to see me nearly every y. I have also painted of e of f portraits all the memb rs the royal amily, who d have kin ly sat to me , that I might carry out the orders ” of f . my mistress , her most serene highness the In anta M f s d R e onth a ter month pa se thus, and ubens b came heartily homesick for his family and friends left in Ant we rp some sort ofconsolation he may have found in the hope he entertained ofreturning home via Italy ; but for when at length the time came his departure, so much had he gained the confidence of Philip IV that he was entrusted with special diplomatic business necessitating a of ofB and quick return by way Paris to the court russels, E d thence to nglan . Here, he was graciously received by n the ki g, Charles I , and his remarks on this country are o f D interest. In a letter, again to upuy, dated August; 1 6 2 9 , he writes The island in which I now am seems to me a place w of of ell worthy the curiosity a man taste, not only on a of of of ccount the charm the country , the beauty the

r of x r r ace, the outward appearance lu u y p oper to a of wealthy people happy in the enjoyment peace, but also on account of the incredible number ofexcellent d pictures, statues , and antique inscriptions possesse by ” the court . Not M o f f 1 6 0 until arch the ollowing year, 3 , was he d k able to return home, so value were his powers and now f f ledge o a fairs by the respective courts interested . At

on M rd o f E n length arch 3 he took leave the nglish ki g, of f who, in recognition his services , con erred on him the of d d IV honour knighthoo , which was confirme by Philip f at the special request ofthe In anta Isabella . R U BEN S

As re ards his art one o utc ome o fhis v isit to E n and g , gl was the c om miss ion to dec orate the banq ue ting h all o f

W i i i w x h tehall. The pa nt ngs ere e e c uted at his ho use in ntwe r to In 1 measure m e nts se nt fro m Lo ndo n. 6 A p , 34

he we re finis ed b ut the w e re no t fo rwarded until the t y h , y fo lo w n e ar R ube ns him se lfbe n una e to su e rin l i g y , i g bl p te nd e i insta tion o n a o unt o f an att a o f o ut th r lla cc ck g . Appare ntly the no w wea ried diplom atist h ardly re grette d his n to it E n nd Wr in to fr d he i ability revis gla . it g a ien “ e se s se lfas f w : A S oat urts v e expr s him ollo s I l he co , I ha d no k w and a c d m eputed a ther to ta e my orks, c or ing to y fr d his es t is e s not re ien s maj y well pl a ed . I have yet c e ived a tan u d r r m e my money, circums ce that wo l su p ise ” w r n in r I f was n if . n a o t I e e a ovice such matte s ct , it until two years later that the full price o f th e work w as received by the artist . In the meantime a domestic ev ent of a R had r d gre t importance to ubens personally occu re , an o e in event which , more ver, influenc d his art a remark able degree . It would seem that his friends had re pe atedly coun se lle d l and 1 6 0 f the lone y man to marry again , in 3 , our

s f of f dv year a ter the death Isabella , he ollowed the a ice and f given , thus re ers to the event in his correspondence ” “ Pe iresc : Not r s l fe with being able, he w ite , to accept a i in l de te rm d . of celibacy , have to marry again I have then taken a young woman ofhonourable but middle u dv C e class parentage , altho gh everyone a ised me to hoos f find a cou rt lady . But I eared above everything to pride

o f in my companion , that special blemish the nobility This is why I have chosen one who will not blush to see me handle a paint brush . Fourme n the f s a le Helen t, wi e cho en in this merc nti

48 RUBENS effect ofrendering his work for the Henry IV gallery r i abo t ve. ’ M M of in arie de edici, a centre perpetual disturbance e r ee Com ié ne her adoptiv count y, had b n detained at p g , of but in July this year she made her e scape, and crossed

f i F w -for s the ront er into landers . A most un ished gue t , it was nevertheless incumbent on the Infanta to treat her her of - and according to position , that the Queen mother ; R s of d e ubens, as ociated with a nobleman rank , was eput d to act as intermediary between Isabella and the royal

f . So for ugitive again there began, the painter, a period ofanxious negotiation and ardent endeavour to preserve of of ff s peace, in spite the inflammable condition a air ’ d - r cause by the Queen mother s action . A jou ney to Hol

‘ land was necessitated by one crisis in the affair ; but at ’ f n length , a ter nearly eight months anxious employme t, R wa w ubens s allo ed to return to Antwerp, his home, and 1 6 2 his work . But the next year, 3 , he again received orders from the Infanta to undertake a mission to H ol The uff. land , and on this occasion he received a great reb

D of D offI c ial uke Aerschot, the utch appointed to treat in the matter in hand , conceived a prejudice against the

- painter diplomatist, and protested against his employ f h o f . T e f ment in the a air In anta, however, as on ther

s R occa ions , insisted , and accordingly ubens went to Hol land , and there , in a letter to the duke which he thought r for to it necessa y to write, gave occasion this nobleman proffer him such an insult as he had never ex perienced in the whole ofhis long and varied career o f political “ f f ’ activity . I walk on a firm ooting, the In anta s emis sary had thought fit to write, and beg you to believe ” that I shall always account satisfactorily for my actions . L a r n t d u e ph oto! [ The P r a o, M adrid

’ MAR I E DE ME DICI

POLIT ICAL ACTIVITY 49

The n re duke, in terms o ly to be described as insolent, buked him for presuming to write him a letter only per ” w of ofwait missible bet een persons equal rank , instead U ing pon him personally , and he concluded his epistle by “ saying : It does not matter to me in the least on what f of ooting you walk , or what account you can give your actions ; all I can tell you is that I shall be very glad if you will learn for the future how persons of your rank ” of The ought to write to those mine. insult was made the greater by the publication o fthe letter which contained T f it . reatment such as this, coming rom comparatively n so i significant a quarter, to one who was no diplomatic d tyro, but a man accustomed to be accepted in the prou ofE r est courts urope, se ved to add disgust to the weari ness which Rubens had now for a long time felt with re f The d of gard to public li e . next year, the eath his so e f highly este med mistress the In anta Isabella, acted as n for d an additio al reason the decision he now ma e, that o fwithdrawing for the future from direct connection with of the world politics . for - f Inspired by his passion his girl wi e Helena, ” of Houb rake n of spoken by as a new Helen , in respect he r —he n d f and beauty, tur e to his art with resh vigour, of painted in this enthusiasm a new group works , an

x of of e pression at once his passion , and a glorification ’ T b f . his wi e s physical qualities his group, however, y no means ex cluded work of a religious character ; commis f d ln — sions rom churches crow ed , and strange enough, of so - as it may appear, both classes subject, the called f of n easts the flesh and devotional pai tings , were alike r executed with the same concentrated maste y. Those works in which his special manner reaches its E 5 0 RUBENS utmost perfection belong to this period ; and within the of of range subjects treated , we have alike works such contrasting sentiment and such ab solute SinQQliitY as The ’ Ofiering to Venus and that most wonderful of all his

The Ascent o Calvar . creations, f y

5 2 RUBENS

f for C Hungary, he ought the hurch against the reformed f ofD ofW aith in the person uke Bernard eimar . In this F r expedition erdinand gained a brilliant victo y, and shortly after this success he proceeded to take Up the ofB position awaiting him in the royal town russels . A week after his arrival he was begged by the burghers of h . f Antwerp to visit t eir city He consented , and orth with the townspeople be came engaged in the labo ur o f designing decorations ofsuch sort as to be worthy ofthe occasion , and at the same time to create a certain definite of The impression on the mind the young governor. prob lem was somewhat complicated ; the city obviously must be autifie d be , and its loyalty placed beyond suspicion ; withal the crying needs of the day must be made con s ic uous of re- be p , that peace p eminently, and this must done without any suggestion ofdiscontent with the rulers who presumably favoured war. C of t ivic decoration was, as a matter course, in hat day for r of looked upon as an occasion art, and a tists first

rank were employed on their design . Van Veen , as we of ff the o fthe remember, had had charge a airs at time f last state entry o a new governor ; and naturally now, o fthe as then , when so much depended on the character ds design , matters were put into the most capable han ’ a of Ve e n s vailable, these being those Van most illustrious

a R . pupil , the unriv lled Peter Paul ubens ’ The archduke s entry was fixed for the middle of 1 6 D 1 6 R s January, 35 , and already in ecember, 34 , uben writes to his friend Pe ire sc : “ I am so busy with preparations for the triumphal entry of the Cardinal - I nfant (to take place a month r hence) that I have no time either to live or to w ite. I LAST YEARS 53 even do wrong to the work by spending a few hours of the night in answering your delightful lette r. The magistracy has put the whole conduct ofthe festivities on The as ou my shoulders. decorations would ple e y , I f of s think , by their variety and ertility invention, noveltie ” o f . o f . e composition , and propriety application Inde d, all ’ R e n ub s special artistic qualities were brought into play , o f n un his invention , his grandiose ideas decoratio , his f of if ailing power striking, somewhat obvious , allegory, s a of his cla sical le rning, and his knowledge architecture. o a of de S it came bout that this business civic coration, instead ofbeing a mere passing incident taking him from f and more serious labours , was in itsel serious , though

m its for o i ephe eral in nature, yet the moment f ts exist ence a veritable , one may almost say a great, work of art. Owing to various political exigencies, the state entry f was delayed rom January to April, and in the interval n of the scheme grew u der the hands the artists employed . The amount of the original estimate of florins s e of was oon exc eded , the final cost the whole reaching of florins the immense sum . All the leading artists ofthe the city were engaged upon work, both sculptors r and painters , car ying out the plans evolved by the

of , R . T leader them all ubens here were triumphal arches , ea f th tres placed by the wayside, rom which allegorical personages de livered allegorical discourses in choice Latin ; and there was a magnificent portico celebrating s of the of the emperor House Hapsburg . The whole route of the process ion was one succession of brilliant ff e d e ect, with the int rest gathere up into special points ’ r u at inte vals, so that the archd ke s attention might be u ic io s arres his r e sat s j d u ly ted, p id i fied, and his com 54 RUBENS

i e The ff pass on excit d . entire a air can hardly ever have for been surpassed magnificence and quality ; nor, in

proportion to its grandeur, could there have been a more ’ ’ pathetic picture of a people s subjection and a ruler s

r . ofR and unconscious a rogance It was the day ubens, R e of and b his An ub ns was his day, y hand twe rp triumphed in of Th gloriously the light that day. e archduke was s i pleased, and desired to expre s personally his apprec a ’ tion ofthe artist s efforts. But the protracted strain and ’ r R f ove work had told on even ubens energetic rame, and the archducal messenger found him confined to his house r a of by a seve e att ck gout, aggravated by the exce ss of f The h atigue. new governor, owever, honoured him by s i the e to r u h a pec al visit n xt day, cong at late him on t e fhis o success o lab urs . To preserve some memory of this great de corative

r the of en m wo k, city ordered etchings the g eral sche e and certain ofthe more important details to be executed ’ hulde n f s ofR e own by Van S ; rom the e, and some ub ns of few of sketches, and the remains a the paintings which " t o r l f were in r duced into the architectu a eatures, we may ’ gather some idea ofthe magnificence ofthe artist s con c eption. The extremely high pressure at which Rubens had been obliged to live during the months of preparation f for the state entry, added to the great expenditure o e nergy demanded by the long years ofhis political mis e ne u his a and de s ions, told p rma ntly pon he lth, he now termined to make such a definite change in the outward c onditions ofhis life as to ensure greater quiet and ease In Ma 1 6 u se the in the future . y, 35, he p rcha d manor of an esta e ed in the o e n r c om Stee n , t situat p n cou t y, and

LAST YEARS 5 5 pletely removed from civic interests and excitements . r o f We may gather, pe haps, the best possible idea his as of new surroundings, as well the mood his art at this t of ime, by an examination that superb landscape by his a N er a i of h nd, now in the ational Gall y, be r ng the title

ha au S teen The C te of . This painting is only one ofa numerous group offine R landscapes , in which ubens displayed yet another phase f The of the originality o his genius . newly purchased m s an ion was , as we may imagine, not considered com le te of p without the addition a commodious studio, where e f th master might employ himsel in his art at will , and d t s f in ad i ion to the land cape group re erred to, a number

offigure subjects also belong to this period . A further labour was again a large decorative scheme commissioned by the K ing ofSpain for the embe llishment ofhis hunt o T ing l dge, the orre de la Parada, the subject being the

a hoses of M R M et morp Ovid . uch as ubens must have fu for loved this retirement, with such ll opportunity the f work in which his heart was most engaged , he yet rom f time to time allowed himsel to be torn away, as calls from Antwerp came for him to be present to give his counsel in the various political complications which con

tinued to arise. In the autumn of 1 6 39 he left his country house to e for tak up his residence in Antwerp the winter. Persist his for the K ofS was ing in painting ing pain, he per petually interrupted in his work by recurring attacks of

a e . gout, now p rsistent enemy He bravely kept it at bay as and as long possible, continued his labours, directing a s ff of ta brilliant collaborators , so that the work might c n as s s F a os . be brought to a o clusion oon p sible eeling, 56 RUBENS

e f however, as the new year advanc d , that his orces were e r aching their limit, with characteristic prudence and consideration he made a careful legal settlement of all Th n f ln his affairs . e adva ce o spring brought him no o f Ma 1 6 s oth 0 . crea e strength, and on 3 y, 4 , the end came In the sixty-fourth year ofhis age Peter Paul Rubens passed away, leaving behind him a brilliant reputation that will not pass away, both as a painter and as a man . “ ” The of Apelles our age , says one admirer ; His art ” of f — an of the least his gi ts , says another, antiphon praise that succeeding generations are content still to accept re - and to echo.

CHAPTE R I

HIS FIRST PERIOD

’ N studying Rube ns work we find that from first to

- e minentl last it was pre individual in character . It is true that in his early days he often borrowed forms and ideas , but even so he never reflected the atmosphere ’ of: any master s studio, nor ever turned out work that could for one moment be mistaken for that of another In an . He certainly owed much to masters and much to cir c umstance s f r , but all that he gained rom either, when e e x pressedfém mnation ; it may be possible to recogni ze In it the component parts as n borrowed , but as it stands it is a something quite u s f een be ore . N h t of otwit standing this streng h originality, showing f f of itsel rom the very outset, the process his develop was ment very prolonged . Broadly speaking, his artistic course may be divided into the three periods already f The noticed in his li e. first extends to the years 1 60 - 1 2 had the 9 , at which latter date he arrived at age of -fiv f o thirty e . A ter this year a marked alteration is h r se vable in his style, and his second period opens , which 62 T as f a n 1 . l sted u til 5 hen , we have be ore had occasion r b to obse ve, when one would suppose his methods to e an n m matured d his manner fixed, whe iddle age was 59 60 RUBENS fu d a a h as the lly reache , ag in not er change, great as —a e e second one, is made, chang which is also an advanc , — and a further development into a richer and more s e his ma terly mode . His great st, most precious works , are to be found among those executed in his latest years ; for f t he his good or une accompanying him to the end , had no period o fdecadence following upon that ofhis f e ull maturity ; on the contrary, his eye and hand retain d their vigour until the last stroke was drawn ; his course from start to goal was one unchecked crescendo ofpowe r and achievement . Having in the preceding pages passed under our view s of f n the main outline his li e, we are now in a positio to e f proc ed to a more detailed examination o his work , without the interruption ofcontinual reference to outside incident ; our second part will thus be devoted to the ’ consideration in turn of the three stages of Rubens ar f a n c eer, with re erence to his art alone. Our appreci tio will be illustrated by spe cial reference to certain re pre se ntative s f be work , the greater number o which will f u B s o nd reproduced in this volume . y narrowing in thi fs n the d of a hio fiel our examination , it is hoped to create a truer impression of the painter and his q re than could be obtained by a more extensi ve s urvey ; the full ’ of R e n an number ub s paintings being so enormous , y attempt at completeness o freview within our present limits would inevitably resolve itselfinto a mere catalog ue ' raisonne and f , the creator o the works himselfbe lost to un of us der the mountain his own creations. To e b gin then with his first stage, that lasting up to the 1 6 1 2 we was year , find that despite its length this throughout but one fapprenticeshi of y o

62 RUBENS

it becomes Clear that the years Spent in his house pro vide d probably as good a training as could have been desired for a young painter who later was to pas s on to for of s Italy a completion his tudies . of e f It is only in the light what cam a ter, however, ofR e that one speaks ubens as, at this tim , still a student. f 1 600 In Antwerp , be ore the year , he was reckoned of already a qualified master, and accepted as a member ’ o f L F St. . re the Painters Guild, that uke urther, we it of member, was the quality the paintings that he had with him in Venice which rec ommended him to the n of D of M otice the uke antua, and determined that prince to attach him to his serv ice. Ofthe influence ofVenice on the young man we have already spoken ; it was one that never faded from his f V T mind . O all the enetian masters itian appears to have We been the one who most commanded his admiration . find throughout his career that he made numerous copies ’ ofT t f his itian s works, bo h in Italy itsel , and when on S missions to pain he had access to the royal galleries , f where Titian is so largely represented . But i Titian T commanded his admiration , it was surely intoretto with

- ffi u . whom he had the greatest a nity, p to a certain point The delicate poetry ofTintoretto was entirely outside ’ ofR of b ut the realm ubens conception things , the Vene ’ of tian s peculiar and characteristic treatment colour, f of which rendered his paintings, apart rom all question

- of subject, complete as colour dreams , that triumph the painter’s art seems to have called forth an echo from ’ ofR the depth ubens own artistic being, to be held how ever in abeyance until , the time being ripe , he could M n make his respo nse worthily articulate. a y other pro EARLY WORKS 63 hlems were to e ngage his mind before that day arrived —in his — but when at length it came, third period , when his faculties were brought into complete obedience to t his will , then he returned to his idea, and the response f e T he made was ull inde d . hough at no time was his work more entirely his own thanin thoseidsti h c es when

' n m 1 was most trIum hant his colouring p , m strainedTOm m aW W ry was determined m a . u sion he had re c e ived in his earl s from h It is noteworthy that the earlier Italian masters left Ru v C C bens entirely unmo ed ; Bellini, arpaccio, ima, had no for him. S a F charms imil rly in lorentine art, nothing pre vious to the full cinque-cento seems to have e xisted A for him . [ ndrea Mantegna even was apparently inter es ting only on account ofthe antiquarian quality in his W o . M R w rk hen settled in antua, Giulio omano, not M e influenc e — ant gna, was the dominating , Giulio , the u of R m f of F p pil aphael , and hi sel a master lorentine de the Té f corative line . In Palazzo del he had had a ree f of suites was ha nd , and room a ter room its spacious de corated according to his designs and largely by his r hand . His work here is characterized by g eat breadth of and treatment, his compositions are on a large scale, s The of hi line is sweeping . Chamber the Giants is adorned by a decorative scheme which embraces walls and f f ceiling alike, without break , representing the all o the T e f - o of T itans b ore the thunder b lts Jove . hough to prese nt taste this achievement may appe ar a nightmare of n u co v lsive and colossal limbs writhing over the walls, it is an undoubted tour de force and evinces immense technical skill ; and young Rube ns see ms ever to have 64 RUBENS bowed before mastery and brilliancy rather than poe try and c de li acy. In Rome he be came acquainted with the work of ’ r R M n e Giulio s maste s, aphael and ichela gelo, and her agaifl it was their W eb seem most e to hav appealed to him . He made many drawings f t t i the a ter the latter, s udies rather han cop es , taking ’ d h o e ol er master s subjects , giving t em the same p s d re - and the same ra e , onl somehow expressing ; p ry y the mfi ; his PW I Michel " a T f f d ngelo . he orm is reproduced but in orme with f anotJher li e O o 0 O O ntI uIt i Its hIstor e e l he art ofa g y, together w th y, was v r ’ of res e n boundless ggte t to Rubens, greater ven tha that _ evoked by the so lately dec eased Italian masters ; human f m o o f Graec o ist as well as artist, the orms and sy b ls Roman art bec ame for ever part and parcel ofhis stock in- trade as decorator ; we always find some classic element t n v in his decorative schemes , demons rating at o ce his lo e for - T these forms and his attitude as scholar painter. he style which he gradually built up and made his own was consistently one in which s cholarship wa M denLas T was i he artistry. his the t on which W mong his fellows and maintained throughout

f . W of his whole li e ith the spirit classic art, as we under far f stand that spirit, he was rom being in touch ; he revelled in his intimacy with both antique mythology and s history, but when translated by him on to his canva they be came so turbulently Teuton that no degree of ' a d fac e s tlf i'm r accuracy in casque n f y caduceus, could S f t n d . prove a effectual isguise In hort, amiliarity wi h classic art and literature may m to have

66 RUBENS

f of day li e did not seem to him to be unworthy his pencil , and when he sought for inspiration from the Bible he f gave the pre erence to scenes ofgriefand suffering. In his maturity he sought to make his figures stand out by painting them against a very dark background . He pre f d of f n erre truth and the vigour li e , strong emotio s and s of striking contrast light and shade , and vividness and of e s ofthe pathos subj ct, to the timidity and in ipidity ” n F n co temporary academic school . ollowi g Caravaggio of Tenebrosi S came the school the , Guercino and alvator R —ln of osa and others, themselves not commanding — d interest, but together with their leader they serve to f for open up a resh pathway artistic development, that fchia c o T o ros ur . his question had certainly occupied the a of f of ttention painters be ore the days Caravaggio, but it had not be en made a dominating feature in the work of lig ht n da d the older masters, and rather tha rk had claime f The c k aEk rounds of their chie attention . almost bla b g uired h of oss bi s can Caravaggio gave the req int the p i . litie “m h iélfSh ow al o s for t w ad s po sesses artis ic treatmen4t and ' “ m un - fo wa of s r m him , by y one or two intermediate step , the ofchiaroscuro Q l ht and ar r was m art , n d k , built i ig ’ M the C a d n a up, until limax was att ine by the u riv lled R -R embrandt van hyn. this group of workers Rubens was introduced u R of d ring his first Visit to ome, and assimilated much T f d ar their teaching . heir more amiliar attitu e with reg d to n ature was quite in harmony with his own s trongly Flemish temperament ; they did not hesitate to depict he f t n s s . pai ul , ometime even the ugly, so it were true ’ To thi o tion of a ar u e s s s ngeg wh t was fitting in t , R b n e e x e own j udge ment would ive entir ass nt . E c pt in rare EARLY WORKS 67

f for the instances when he rose above his normal sel , and f R was nonce ranged himsel among the gods , ubens ex in of traordinarily callous matters taste, as regards the incident or the sentiment which he would accept as fitting

for i e artist c expression . He could and did make a pictur of n far f almost anything, and we t to justi y his action by the glamour which he was able to throw over the ugliest themes by means oft

master. Yet one other personality made his impression on the E s R . young Ruben during his oman visits Adam lsheimer, ’ r F f 1 8 s R a German , bo n in rank ort in 57 , thu ubens junior he R . T by but one year, was at this time resident in ome ofchiaroscuro e problems attract d him also, and he had a for nocturnes be re particular predilection , in which s n of - pre ented the i terplay moon and star light, and con tras h ted them with t e ruddy glow oftorch or fire. He was of is an etcher, too, some distinction , and it supposed ’ aroused Rubens inte rest in black and white reproduc e of tion , an interest which resulted later in th work the latter in connection with the Antwerp school of en

graving. The three altar-pieces which Rubens painted during this first visit to Rome were the work ofthe last three of months his sojourn . They are interesting as demon s trating how he was beginning to feel his way among these ne w ideas and materials towards a method ofex

n The Elevation pression that should be e tirely his own . ofthe Cross has a further interest as being the first treat ment ofan idea which took its final form in the great E levation Tri ch Of n e e pty A twerp Cath dral . W have 68 RU BENS already in this earlier work the pale figure ofthe Christ a n in sh rp contrast to the dark background, in its tur filled with Vigorous limbs and strained attitudes . We have yet to wait for the further mastery which will blend the r two, and, while prese ving both extremes , will make a ’ of R harmonious unity the entire composition . ubens first journey to Spain seems to have been of little or no f of of f re value rom the point View art, and , as be ore f marked , to have served merely as a urther experience of f d li e in courts and the worl . His second and longer visit to Rome gave evidence that in the intervening time spent in Mantua he had i T ga ned in skill of hand and in power of vision . he

ofS t Gre or for painting . g y the Chiesa Nuova is a striking advance on the three altar - pieces for Santa Croce di Gerusalemme ; Rubens himselfreckoned it his most s uc c e ssful The u of work up to that time . fig re the principal R saint is entirely ubenesque, and we see in the treat ment of chiaroscuro a feeling after a richer effect than that attained by Caravaggio ; violent contrasts are there, but within the profundities of the shadow there is a f f i of glimmering o li e , and in that is the prom se advance , of w even in their own domain , on the work the hole

o f T brosi T of S t. Gre or school the ene . his canvas the g y , ’ d him being left on the painter s hands , was carrie with ff on his return to Antwerp, where he placed it as an o er ing offilial affection over the altar ofthe Holy Sacra

the f Grenoble. The painting finally accepted by athers n ofthe Chiesa Nuova was practically a new compositio , the r and may still be seen in its original position in Chu ch.

70 RUBENS

S a R e s s u tevenson, in his monogr ph on ub ns , um p the characteristics ofthis stage as follows : The first or Itallarw z w husu m puon gener l In In chiaroscur et al y hard style, violent o, and y at times m tamely academic in drawing. Its cul ination is the m “? We will then proceed of n to an examination this painting in some detail , noti g

specially its most salient qualities . In its three panels we have three separate scenes of the great event ; in the ce ntre the actual raising ofthe is n i cross, on to which the Victim already ailed ; it s being hauled and pushed into place by nine muscular of men , in every possible attitude strain and exertion . The f le t hand wing contains two groups, in strong and interesting contrast to each other ; one consists o fthe daughters ofJerusalem weeping with their children ; the

other group, standing behind on a higher level , consists

m St. ofMary the other and John . In the right wing we

have the mounted centurion , and behind him the two f n n e T male actors bei g bou d to their respectiv crosses . his d f inci ent , as is so o ten remarked , is probably borrowed directly from Tintoretto’s great Crucifixion in the Scuola n c t of di S a Ro co, as is also the in roduction taut ropes

used in dragging the central cross into its place. Beyond these two incidental ideas it is diflic ult to see the influence

ofthe great Venetian in this particular triptych . Great the R T as was debt which ubens owed to intoretto, the of was influence the latter , as we think, at this time strictly in abeyance ; the borrowing ofan incidental detail from him can hardly be spoken ofas working under his s influence, though it doe indicate that the memory of ’ ’ s f R e T Tintoretto work was still resh in ub ns mind . hese EARLY WORKS 7 :

e s ofthe d a d tail thieves being boun , and the h uling by e he rop s , remained in his memory, and used them ; but for s of the rest, the whole entiment and treatment the ’ is with r f T work , all its mastery , worlds apa t rom intoretto s u he a of u subtle poetry and s ggestion . T sc le colo r over e the whole work is very dark and brown , reliev d by some fe w of and h e chia roscuro touches clear red , blue, w it , e the n h f rather than colour, has b en pai ter s c ie pre l occupation n applying his pigme nt . It must be admitted that in the centre group there is a certain confus ion oflegs and arms among the straining executioners ; one cannot but feel that the energy dis played is more than the occasion demands, yet each figure taken separately is finely studied and heroic in s h po e and action , w ile considered together, as a group , the very strug gli and c anfusion serve as a foil to the pale “ ” of C d figure the hrist, rawn athwart the canvas . He, in

ofand e th e dying, but because his spirit is out b yond pain , the body remaining as but the outward symbol ofthe f R spiritual triumph . It is not o ten that ubens rises to n he high poetic expression , and the occasio s when does so C and a are generally when his subject is the hrist , t those moments when in physical weakness He triumphs over ' “ - ’ ' " - strEfigfIifThfs aée f) under- Current OT ECIi ng is GUI iously inte re stIn of g in this most robust painters , who so revelled o f e rh in the glory the physical , the magnific nt, the etori cal ; yet again and again we find this inner conviction e nd of returned to, down to the very his busy and most

f-h strenuously lived career. In the le t and panel , the group ofweeping women is artificial and academic ; there is no of f note li e and conviction about them, posed with grief 72 RUBENS

almost grimacing on their tearful faces ; it is in striking contrast to these that we find Mary and John standing of and re re behind , in attitudes unquestionable dignity, p ’ nd sente d with originality a sympathy. John s black and f M ’ urred robe overlaps ary s almost equally dark blue one, the sombreness of the two darks be ing broken by her whic h ohn of —an clasped hands, on J lays one his, arrange The n ment exquisite in art as in sentiment. right ha d wing is largely taken up with the figure ofthe centurion

and his horse, in a manner that became highly character istic of and for h the painter, whose love horses was s own by his introductions o f them into his paintings on all and and in occasions where it was possible fitting, this case the horse is ofgreat decorative value and serves to give proper balance to the composition . Passing the principal parts of this work under review we find how completely it displays those qualities which n d and f belo g particularly to the first perio , merits de ects d o f alike, yet espite all that we may find the latter the work remains a masterpiece, a virile conc tra ’ ditional d nd subject which , un er this young man s hp , is Had R W . ubens d dW en e here, he must even so have een reckoned a great and d d un oubte master. At this point, however, his course

and f E levati was but in its first stage, passing rom the on to the Descent we have opening before us a fresh period ofcontinuously increasing interest and power

74 RUBENS see is a o o , it moment when the parad x ftriumphant weak has and h ness appealed to him , the dead C rist gleams forth from the surrounding depth ofshadow as the per ” fec t The i Hero, tried in heaviest plight . w ngs of the f are of i triptych , though beauti ul , not such command ng t e s interest as the cen r , and probably thi was done de si nedl h Visitation . T e n s g y has a quai t reali tic charm , be

his f e She ing obviously inspired by young wi e Isab lla. , d - F has s in wi e brimmed lemish hat , ju t mounted some ’ of E e u steps towards the door lizab th s ho se, where the latter stands giving her a motherly welcome ; cocks and

r f fm i ad hens pick up co n in the oreground , a a il ar touch, d ing to the impression that the entire conception is but affec t n f a f r an io ate transcript rom re l li e, enti ely charming, b ut o r t f , as c mpa ed wi h the central panel , a drop rom the heroic to genre. Other examples representative of this second manner are the Adoration of the M agi and the Miraculous ht o Fishes M The Las t ud ement Draug f , both at alines , j g the A maz ons M M iracles o and B attle of , at unich, the f

t Francis X av ier of S t. I n atius The S . and g , at Vienna, ’ unt L r n E n WolfH , in o d Ashburto s collection in gland , e of The Last Communion o and, most notabl all , f M h Franci s m . T s S t. , in Antwerp useu is la t, together ou de Lance s r M with the C p , al o in Antwe p useum , shows signs ofhis approach towards the third and last manner. While enumerating the above paintings as repre sentative ofthe period which we have for the moment e of m o re under review, the gr ater number the must als be

er viz . as us classified from anoth standpoint, , items in vario a e groups of works, e ch group animated by some sp cific SECON D PERIOD 75

i a of e re s of s me de , interest to the painter, or xp s ive o o fo mo d which possessed him r a given time . A noteworthy fact with regard to Rubens’ work is that throughout his whole life we find it falling into well de fined of groups, as the procession his ideas moved in r of n u N their order ac oss the stage his co scio sness . ever hra was he at any one time ent lled by one idea alone, but, the of d on contrary, the constant custom his min was to n e e tertain two or more xacting problems simultaneously.

It is even recorded, that at one period , he regularly em his f ployed a reader in studio , to read to him rom classical f in of authors while he himsel was the very act painting. It was owing to this mental habit that these various groups were not mutually exclusive ; each held that part o f for his mind that it demanded its expression, without jostling or intruding upon any other idea which in its turn was occupying its own appropriate place in the same ’ d a min . Both were like served by the painter s best energy, though they might be poles apart in sentiment T of f and essential qualities . his power separating himsel into many men at one and the same time grew with e of e n exercise, the gr atest multiplicity labours b longi g to his latest years . ’ T R e s of his being ub n characteristic method working, e the a we shall find that, whil adhering in m in to a of chronological arrangement his painting, it will be from time to time convenient to examine it in its groups s its f and trace a serie in development , apart rom all the of h out crowd other themes w ich were being worked , ’

n n . concurrently , in the pai ter s mi d

ora o the M a i M ed The Ad ti n of g , at alines, mention

is of of a t above, one a group nine paintings , e ch a separa e 76 RUBENS

the of r s as treatment ofthe same subject ; first the se ie , n d for T of already stated , bei g painte the own Hall Ant we r 1 6 1 0 f M p in , and is now to be ound in adrid ; the last d 1 6 2 h was not painte till 3 , and is that w ich at present is The in the possession ofthe Duke ofWestminster. group

h of - t us spreads over a period twenty two years , and includes work in each ofhis three manners . In the first he established his position as the leading painter ofAnt we r p , and its style is that which he brought with him f The n n M direct rom Italy . pai ti g at alines is held by critics as finely representative ofhis second stage ; while t M 1 6 2 hat in Antwerp useum , painted in 4 , a magnificent tour de orce of f , is taken as the first great example his last f e and most per ect style . All the nin are a grand demon stratio n ofhis versatility and unfailing power o f inve n tion ; each one differs from the rest in some fashion or another. Sometimes the accessories bulk largely in the d canvas , sometimes the figures entirely pre ominate ; f these, again , vary greatly in number, rom the small o f n group perso s actually essential to the story, up to a d d of d great atten ant crow sol iers and slaves , with horses and camels ; in the case of the ex ample now at Lyons a do d t d . great g is intro uced , who barks at the in ru ing kings The f of n d of t act this co stantly varie method trea ment, and of f the manner the variations , leads one to eel that it

is not so much the subject , as such , which has occupied ’ d d ff d the painter s min , as that the episo e o ere him an opportunity for ex ecuting a great ceremonial and de

c orativ e of composition , in which all manner artistic problems might be worked out ; each painting is such in ff of of e ect, a triumphant solution some question , be it chia roscuro of of of , composition , tones and values , or

SECOND PERIOD 77

of se the application pigment, and with his success in the f special points are in used so many other excellencies, without which it would be impossible for him to wield the

Adoration i r brush at all , that each is n its turn a maste piece. The Brussels Adoration (1 6 1 5) is perhaps a clearer realization ofthe scene in its historic aspect than most of f The of its ellows procession kings , with their attend f of ants, sweeps down rom the top the canvas to the f the centre bottom , every ace in crowd individual and The of living. three kings are magnificent representations a ofa e and their respective types , the salient char cteristics g race being finely realized ; the contrast between the king o f E d middle age, and the thiopian is most happily marke ; E the one , fine intellectual uropean character, crosses his d n han s upo his breast, his reverence and adoration being appropriately expressed by his very silence and self h . T e control negro, on his part, puts his hands together i h l ke a child in prayer, while his lips part , s owing the of w d gleam his hite teeth , as he hardly restrains au ible x f The chia r e pression to the ecstasy o his devotion . oscuro is as beautifully broken as it is graded . The highest of the n u of point light is pri cipal fig re the central group, e H f s b t the Holy Bab imsel . Out ide the stable we have u f of the ading light the evening sky, mingled with the a of In e u and gl re torches . the entire picture ther is m ch t brilliant colour, red characteristically predomina ing , while a refreshing touch of clear green in the young ’ the f of negro s cloak , to extreme le t, gives an element n lightness that is charming, and is in delicious co trast to of f of the deepest shadow the composition , in ront which n t be d i the youth stands. A o her point to note n the 78 RUBENS

Brussels Adoration is the yellow robe of the kneeling — a of of . king, brilliant example the treatment texture Descent rom the ross s In the f C , painted in the previou a for year, the drapery serves but as an occ sion line and — u . colo r, texture, as such, has not been considered In the king’s robe we find this question has been most carefully u r studied , and thro ghout this entire painting the drape y f has received particularly care ul handling, is strictly

f f . anatomic in treatment, while beauti ully ree in line The Malines Adoration is a further development ofthe B idea as stated in the russels painting . It is , perhaps, darker in general tone, but the composition is strongly f the o f reminiscent o the earlier work . Again square canvas is traversed by a semicircular sweeping line, into f which the entering procession alls, and again at the d e bottom towar s the centre is the high st light, illuminat M C f ing other and hild ; the kings, as be ore, have arrived S o f towards evening, and are hown up against the gleam sun s the setting behind them , while we have in contra t of to this the ruddy light the torches, which is reflected f of of in the aces the crowd , and they gleam out the d The shadow in this partial and re dened light. peculiar excellencies of the Malines Adoration are dwelt on by F ofR M. romentin, in the invaluable interpretation ubens ” ” ff Les M aitres a A u r b is he o ers in his t ej . Observe, he of i r h he says this picture, the manner n which eve yt ing f moves, breathes, looks , acts , is coloured , ades away, harmonizes and contrasts with the setting, dies away in the light tones, establishes and asserts its meaning by f . as o Vigorous touches And to the intermingling tones , S m the extreme richness obtained by imple eans , the violence ofcertain tints the softness ofothers the lavish

80 RUBENS

’ the s The s for arti t s powers . commis ion the painting was given by the working fishermen of Malines to de corate the altar oftheir Guild in the church ofNotre D to ame. A picture for fishermen ought obviously so was appeal directly to them , and that it should do R s f as the task ubens set him el to achieve. Such then were the Malines fishermen would he depict those others f r F ofMe n who a te wards became the ishers , and in pur suanc e of for f this idea he pictures them their own li e , t with its toils and successes , its storms and exer ions, only The M s glorified by the manner of the treatment. aline fishermen must have felt their picture to be in a peculiar sense their own , and that through its lordly presentation o fthe scene their own daily labour was for ever after e We f wards ennobl d in their eyes . cannot ail to render ’ homage to the wide range ofthe master s powers when M studying these two works at alines, which demonstrate at once the ke e nness of his vision and the fertility of his invention . To e of this period belongs anoth r group paintings , ’ equally characteristic of the working ofRubens mind s of A doration as , in its own way, was the serie pic tures . In striking contrast, however, to these latter are r i i u P ocess ons o S len s . C the f lassic mythology had , as we n for R n know, a co stant attraction ubens ; in its treatme t d his scholarship had play, and he was able to emonstrate his position to his fellows as humanist and Romanist f s f urther, the subject being universally amiliar to scholars , u and indeed to all persons with any pretensions to cult re, f of they lent themselves reely to allegory, a mode ex pression in which the painter delighted , and one that was The P rocessions moreover in general favour at that date.

RUBENS

of men and women , one whom holds a child upon her

of x knee ; the company shows every stage into ication , indicated without any reserve on the part ofthe robust o f painter ; as a climax to the servile imitation the court, ’ behind the royal chair stands even a monk, asses ears e be e f a however pierc his cowl , with the r st, raises alo t The d brimming bowl . moral is pointe , scathing , and

v unmistakable ; we ha e shown to us a real crowned king, and real people, debased and vicious . It may be that Rubens thought such unmodified Hogarthian directness over- coarse and unbe fitting a

- a e n scholar painter, who was likewise courtier and a g tle m an f , and there ore as a more excellent way than that of d d d the plain man Jordaens, adopte the less irect metho of h d of -h f allegory, in whic , un er the guise non uman orms, he felt himselfat liberty to say the last word possible of ugliness and debasement, and so convey his disgust and e r probation . In any case these pictures remain as surely the most o f hideous creations in art, as regards the conception degraded form ; at the same time they are painted by and his hand , and possess the consequent inevitable “ ’ ” . L ec rossiér M Max R e . distinction id est g , writes ooses, ’ ” l e x éc ution d d mais est splen i e. Four paintings comprise the Silenus group ; three were 1 6 1 1 6 20 f executed between the years 5 and , the ourth in 1 6 2 T f d of 7 . hey are interesting, apart rom the splen our ’ d of their execution , as in icating a phase the painter s thought, and also as illustrating to some extent his man of ner treating classical subjects . His other paintings inspired by ancient mythology are too numerous to d mention, and impossible to group ; he continue through

84 RUBENS M . R s f c c un OII un e oose , a ait de tableau vrai l , fine t u exquise miniat re . The Venus w a r ming herself (Antwerp Museum) and The Old Woman w arming herself(Dresden Gallery)are of E other examples works under the lsheimer influence , but none have the many sweet beauties displayed by Fli ht i to E the g n gypt. We u of now t rn to a group greater importance, namely , L that dealing with the ast Judgement . In these Rube ns of M challenged comparison with the giants Italy, ichel T Angelo and Tintoretto . hey had respectively stated a F as problem to which the courageous leming conceived , he thought, another and a better solution . Accordingly , f a o f a ter his manner, he executed group paintings, all

n of We Las varyi g treatments the subject. have three t

ud ements of Fall the D amned j g , two representations the of , of A ssum tion o the B lessed S ix and one the p f , in all ; in O M of . R o n the pinion oses, all but two painted betwee the 1 6 1 1 6 1 8 years 5 and . Before he left Italy he had made some tentative ex

e rime nts x of p in the e pression this theme, and then laid d f e e it asi e , possibly eeling that he lacked the exp rienc to do either himselfor the subject justice . In the pos session offar greater mastery he returned to it a second time , and exerted all the powers at his command in its

The so - d La r e Last ud ement interpretation . calle g j g was

x d f 2 8th 1 6 1 8 n e ecute be ore April , ; havi g been commis

sione d W f W . D ofNe ubour for by ol gang ilhelm , the uke g,

- h a newly erected Jesuit Church in his Duchy. T e Duke f o ff was a convert to Catholicism , and , ull resh zeal , gave the Flemish artist numerous orders for paintings o f a u s mse fat the a s cred s bject , and proved hi l same time th t SECOND PERIOD 35

i unusual th ng among contemporary princes, a generous For the Last ud ement paymaster. j g alone he paid florins in was e , though its trinsic value much diminish d n f by its having bee un ortunately, to a large extent, exe We f ’ uted . o R c by assistants have in it, course, ubens of conception the theme, and his composition , the swirl of f f f ing avalanche human orms , alling be ore the fiat ofirresistible might ; but the distinctive Rubens quality f v t o execution , that which justifies e en his mos flagrant f t An lapses rom good taste and proprie y is lacking. of S mall other treatment the same scene, known as the

Las t ud ement the Fall the j g , together with larger of amned ofthe D , are, however, by his hand entirely, and “ M R : f latter . ooses writes It is a terri ying conception t of on a more titanesque scale than hat any other artist, M M D . be he ichel Angelo, ante, or ilton It is a trans of posing the human drama beyond and above actuality. The d picture is, moreover, splendi in drawing and colour . of and The mixture lights and darks, both natural super ou of men and natural , reflecting the bodies animals is ” Th ’ rendered in masterly fashion . e same writer s praise of S mall Las t ud ement n the j g is scarcely less e thusiastic . ’ Lord Ashburton s WolfH unt is an example ofyet of d of another group this perio , consisting a series o f of f hunting scenes ; these there are no less than fi teen , t of t 1 6 1 and 1 62 welve which da e between the years 5 0. We r n t have in the numbe , lio hun s and tiger hunts , the u of and a h nting wolves bo rs, and in one instance the chase o f crocodiles and a hippopotamus . All are struggles e and t of be tw en men animals to the dea h , the latter

of f . T is ce rtainly, the ormer possibly here obviously in s uch subj ects full opportunity for the exercise of the 86 RUBENS

’ a off e painter s delight in action and strain , and pl y orc T in and muscle . hat which arouses adverse criticism

Elevation o the Cross i t in the f is here ent rely legi imate, deed is demanded ofthe subject ; the painter has found an for of appropriate field the exercise these special powers , f f and the satisfaction o his mood . Animal li e had always for a a great attraction him , and he was, in particular,

of — his lover horses and dogs, both are introduced into pictures whenever possible ; the more savage forms o f s f s for wild beast had also , we see, their a cination him . w These, thrown together in such circumstances as to sho of n their utmost power and moveme t, with men in addi s e tion , in every conceivable attitude and gesture expres iv of e o fintensity endeavour, all go to mak up the prime f Hunts w f material o the , hile some have the still urther u interest ofa landscape backgro nd . ion H unt M we e In the L , now in the unich Gallery, hav of of the finest treatment that special species sport . In of f one fine group interlacing struggling orms, we have s depicted seven men , three hor es , a lion and a lioness. The absolute mastery over all the possibilities of line f and the reduc which these orms can give is superb, tion ofall this variety into the unity o fcomposition is N or of equally admirable. are the qualities colour and r otte n f of chiaroscuro fOg in the skil ul manipulation line. ’ The work is a magnificent demonstration of Rubens w peculiar powers ithin the limits defined by his subject . The series generally Show also very strikingly his studio for of H unts method ofproduction , the execution these The was left largely to pupils and assistants . drawing and composition having presented the problems in which f e the ff was Rubens was himsel specially int rested, sta

SECOND PERIOD 87

n of ff called upon to do the painting, the fi al unity e ect

being secured by finishing touches more or less numerous , The applied by the master as occasion demanded . sug gestion ofthese pieces was probably taken from similar

scenes , in sculpture, on the antique sarcophagi studied R of as in ome ; in some cases the style the composition , in the instance ofthe Munich Lion H unt is obviously 7 re minis es in their sculpture The landscape found in some ofthe H unts leads us to the consideration ofyet another Class of subject which also occupied him to a certain ex tent during the years

d . under review, this is lan scape proper Landscape had for long held a conspicuous place in F The of lemish Art . first purely religious inspiration the l Van Eycks and Memling had died with Quentin Massys ’ in 1 530; but within Massys lifetime there had arisen the

beginning of another school . With the earlier masters

there had been a distinct interest in landscape , and it came to be the generally chosen background of their w in paintings , filled ith numerous minute subsidiary te re sts T , in what might be called a garrulous manner. his habit ofcrowding their canvases with irrelevant detail 5 called forth in one of the reported M us of ’ M . ichel Angelo, that master s strong reprobation Pre judicial as the manner undoubtedly was to grandeur of style, it nevertheless indicated the lines along which a

of later school artists might develop, and with Joachim de Patiner and Herri de Bles we find the new way entered ’ in upon . In these masters works , the background so creased in interest as almost to overpower the ostensible s f ohn in the Wilderness ubject o the painting . j and the 88 RUBENS

H oly Family resting during the flight into Egypt appe ar d o f as tiny figures or groups, re uced to mere points f n value among others , in a widespread and antastic pa o of The rama, embracing all the elements landscape . F of h not antastic is the keynote t ese scenes , they are c of of fo r h so mu h studies nature as composition , whic d For nature is consulted to yiel material or suggestion . of of u e a time, this idea utilizing instead studying nat r , s of ar s eems to have held the field , course in v ying degree , according to the temperament and even the passing mood of us the painter. Jan Breughel , to name no other, gives of f f at examples the most anci ul treatment, and again N d t other times, that ature which he has turne to consul has asserted herselfso potently that he was fain to take in suggestion as command , and embody it as the main t r s e e t of . T his picture his Breughel, as we have noted R E arthl above, sometimes collaborated with ubens ; the y P aradise now in the Mauritshuis in the Hague is their R Eve joint work . ubens having painted the Adam and , e Breughel the landscape . Other painters we know wer employed by Rubens to fill in the landscapes ofhis own r pictures , but there were occasions when the busy maste the chose to do his own landscape, and even to make it principal interest ofhis piece . To the years at present under consideration belong quite a number ofworks that must be classed as land a scape proper. At later date he again returned to this of of field study, and did work immense value, but these in later works are a group apart, to be examined their ff f turn , masterpieces in an altogether di erent category rom this smaller group , executed in his earlier years . The so-called P rodigal S on may serve as an example

SECOND PERIOD 89

E in ofthis earlier effort ; at one time in ngland , it is now w t its the Antwerp Museum . Not iths anding name, the picture is primarily a familiar study offarm -buildings and The e the landscape and contrasting lights . landscap to ea right ofthe picture is see n in the rly morning light, just s w of immediately preceding unrise, the rosy glo which To the f s is visible upon the horizon . le t one ees within a wooden stable, horses, cows, and men busy attending to their wants ; a candle in a sconce attached to the wall illumines a com er which the daylight has not as o for yet reached, and the opp rtunity is thus given a play o flights and ruddy reflections upon the brown woodwork o f f a the building. As immediate oreground, is woman - l f f rodi a . eeding pigs, and beside her kneels the hal clad p g t He, together wi h the woman and the pigs, is only s in f ketched , as though the painter were justi ying to him s elfthe expenditu re ofso much pains on a mere study of far - m buildings and broken lights . Later in life he realized that no such justification was ofa ds required , but that the interpretation lan cape was in itselfamply sufficient for the exercise ofeven his great f s powers . Passing rom these various group which spread ’ or s ofR s c n more le s over the whole uben se o d period , and as se e f , we have en , w re to so large an extent the ruit ofhis c o-O of i perative method product on, we must now i of consider two individual pa ntings great importance, a each in its own way characteristic masterpiece.

The Last ommunion o t Francis was a C f S . p inted in ’ 1 6 1 and e 9, is unique in th whole wide realm ofRubens

art . In its conception and e xecution the master seems to have stepped outside ofwhat we are wont to consider his s e us o e proper pher . Acc t m d to the unparalleled exu 90 RUBENS

one berance displayed in all his other work , at first sight

t Francis is tempted almost to doubt whether the S . be ’ Ru if be a in truth painted by bens hand or not, and it veritable conception of his so turbulently active brain . ’ R of But ubens work it incontestably is, and we must necessity rearrange our estimate o fhis multiplex char Francis its acter so as to realize that even the S t. is ’ i i om natural outcome . It is said that Domen ch no s C munion o St erorne n f . j suggested the general compositio — of and the the picture, yet so marvellous unexpected is treatment accorded to the subject that originality remains f W ’ o . e R one its prime characteristics have in ubens work ,

St . the moment chosen , when almost in the death agony, F f of C u rancis rises rom his couch ashes on the h rch floor , of f where divested his rock , he was awaiting his release, f f and as a last act, is about to receive the holy wa er rom f ffi Descent rom the hand o an o ciating brother . As in the f the Cross , the pale spiritualized naked figure is the centre

v d ofinterest ; e erything in the entire picture lea s up to, or The d proceeds from that point. deep brown sha ow in

x of which the e treme right the picture is enveloped , gradually lightens in a downward curv e towards this cen f u tral point, and trans ormed to light the line sweeps p ’ wards , brightening the priest s embroidered cope, the red curtain above, and so, up to the blue sky without the - d of high window, and on to the rose tinted bo ies a group The - d - o fdescending cherubs . dark robe brethren, each f f of f f —in in himsel a care ul study pro ound grie , their of capacity as a part the composition, preserve an element ofthe o fanimation within the gloom right hand , as does i f the priest in h s turn on the le t ; the Vital point, where f li e, as it were, visibly quivers in its intensity is, para

SECOND PERIOD 9;

dox ic all F S f of y the dying rancis, who by heer orce will is r etaining hold upon his body, so that it may obey him o of nce more, in this supreme act love, and earthly wor

s . e w hip Instinctively he touch s the ound on his own side, i of of C ndicative his sense unity with hrist, and pressing f s f as orward he use unconsciously to himsel , but his own , ’ of the strength his brother s supporting arms , so that he a off i lmost rises his knees, n order to advance towards the

celebrant. R of It is indeed strange to find in ubens , all painters , the t capaci y to paint such a work as this ; that he , the f - f big blond, ull blooded lusty man, should be rom time f of to time translated rom his world mastery and success, e n into that other, wher divinity is seen in weakness, whe of the outer body has sunk to the place a mere symbol ,

f . T its proper orces outworn by the spiritual within his, of S t Francis of the moment painting the . , is one these and rare occasions , among the greatest, when the seer and the poet awoke within him, and guided his brain to a great conception and his hand to its powerful expression . fo M. Fromentin closes his criticism ofthis work as l “ lows Quand on a longuement examiné cette oeuvre

‘ OII R ansfi ure ne sans pareille ubens se tr g , on peut plus r ui ni ui R lui rega der rien, personne, les autres, ubens e ’ ” m me ; il faut pour aujourd hui quitter le Musée. For the same church in Antwerp as that for which the F S t. rancis was painted another work was commissioned the following year : this was the celebrated Coup de Lance the hr or C ist between Thieves . On this occasion the Francis painter was as violent and realistic as in the S t. he was restrained and spiritual ; truly in the latter he ” transfi had gured himself. RUBENS

The Christ between Thieves is a powerful presentation of u a the an execution by cr cifixion , aggrav ted by still ’ o ofthe greater torture fbreaking the Victim s legs . One f f m thieves, convulsed by the agony, tears his oot away ro the ic confining nail . It is hard calmly to criticise artist qualities when they are employed in such brutal fashion ; n yet they are there in large measure, despite a certai lack ofunity in the composition and the presence ofSen sationalism of in the groups spectators. Biographically F anc is is S t. r the painting interesting in that , like the , it exhibits signs ofthe coming change ofmanner which s was marked and complete after but five more year . d of Into this space was crowde an immensity work , enough to tax to the utmost the resources ofboth the The indefatigable master and his whole staffand studio. ’ five years output includes the chiefofhis great decora for ofF M tive series, notably those the Queen rance, arie ’ M e f his de edici . W have be ore noted the part borne by assistants in the execution ofthese series ; to Rubens f himsel they must have served principally as practice, an and inven though on immense scale, in composition r tion , at the same time they were magnificent oppo tunities ofrevel in the antique forms and mythological allusions t which he rated so highly. But yet in ano her and most unsuspected direction these gigantic undertakings made their impression on Rubens ; the very devolution ofso ff f much oftheir execution on to the sta , in itsel led to the full development ofthe third manner. On this point

r is a e . The M . Stevenson again luminous xponent third ” use of manner, he writes, becomes evident chiefly by of s a higher keys colour, shadows le s marked, less he vy, of e of less black and brown, a thinn r lay in , pigment

94 RUBENS

of energy, and capable rich decorative treatment in its i Th n ts . e ge eral composition , as well as in accessories

works were , however, cartoons merely, to be executed in

r ff d tapest y, and as such limited in the scope they o ere

for painting . Approximately, the same may be said also

ons tantine with regard to the C series . O f of e d the decoration the Jesuit church , as already stat , d d ns little enough can have been by his own han , the esig only o fthe indi vidual panels and the general scheme M being all that can be certainly attributed to him . ore

v it S ff o er, such as was , doubtless plendid in e ect, it has h peris ed by fire , and we can only gather an impression o fthe lost grandeur from the fe w sketches and drawings

which remain .

The Medici series is thus the principal ex ample . It f has been care ully preserved , may be seen in its entirety ,

under exceptionally admirable conditions, there being now a special gallery in the Louvre set apart for its ex hibition f of r , and urther, the series is not one ca toons of f of merely, but paintings in the ull sense the word , and the finest examples we have o f his purely decorative Of work . course it must be recognized that the assist had a ants great deal to do with even these panels , but presumably very much less than in the c aSe ofthe Jesuit of s of church ; indeed, the impress the ma ter spirit the great studio is very deep on every aspect ofthe Luxem

. E tour de orce bourg series ach panel is a f , characteristic in its every line of that force which was peculiarly R ’ ubens own .

As we pass these paintings under our review, and in

d ti of o f so oing build up our es mate them , and Rubens are f as their creator, there two important acts which we SECOND PERIOD 95

F f must bear well in mind . irst, the subject was in itsel ’ for M a most unpromising field heroic treatment . arie de Medici was the antithesis ofthe heroic ; the actual events o f her life were commonplace to the pitch ofmeanness . She for was born and educated , she was married purely d H political reasons to the el erly enry IV , the ceremony

f d x F being per orme by pro y in lorence , and again on her v F T arri al in rance. here was neither mutual love nor even respect in the union , neither giving the other cause fo r the growth of either sentiment ; Marie quarrelled with her husband , who insulted her in his turn ; she but quarrelled again with her son , on this occasion a ” fl t T reconciliation was eventually e e c e d. his was the poor material on which the artist had to work and e x e r

o f how cise his tact no less than his invention . Out it d of in buil anything a noble decorative character, or t roduc e a regal quality ? Yet such was the task which R e d ub ns was commissione to undertake . The second fact to be remembered with regard to this w ork , and one insisted upon at some length on an earlier R ’ page, is ubens training as a courtier, and his complete f a cceptance o the renaissance courtier ideal . In the passage already quoted from his letter to Dupuy on ’ of f the event his wi e s death , there is a clear light thrown upon his attitude of mind as regards the monarch per

nor reason with us about, its actions ; as an absolute ruler it disposes all things, and since we must needs e ob y it like slaves, we can only try by submission to make our dependence as honourable and endurable as ” The f possible . divinity o kings could hardly be more d r s . e va jdei ofh i da fi n , istinctly implied It was the p ubfig ” . y 96 RUBENS

and ofall ersons li i in t at Ru e s as p v ng h day, b n w the last to step outside or go beyond its limitations ; he d rate t but ai i eco , rem ned unquestioningly w thin its

bounds .

M d n she she m i e ici the , be she, do what ght as n r as a woman , was eve theless a queen , and such , a 23 11513 51011 ofher acts into a language differing from the c ommo s eec h was The s n in her due. event not bei g n_ _ p s 5 m f o themselve 1m the chie actor being r yal, s f th one a way sugge te d itsel to meet the difficulty. Wi of e f R h sweep his inventiv aculty ubens removed t em , f m t a t the m of one and all , ro heir mean re li y into real a insi nific anc e r of llegory, and dressed their g in the ga b s so o mythological pre entation ; doing, he was at nce enabled to give his imagination and his powers of c o m position full scope ; by calling in all the gods and ele f f doc k as ments, the ates and the uries to his canv , he see tour de orce c produced what we , a f , a grand de ora fa tion , heroic in character and yet representing the cts ’ of -M e the Queen oth r s biography. ’ In of of c spite the amount assistants work, whi h as s ff ofRu th regards execution, give the general e ect bens wi f t f i e of n the li e withdrawn , here are wonder ul p ec s painti g e a and a here and ther , more especi lly in one nother e is s salient point wher the nude introduced , and in the e ’ cases probably it is Rubens own touch which we recog The obabl nize . chiaroscuro is som what heavy,pi y this ’ the r o de rance of ET e rs as also is£119 to , p ep n p work , also " the heaviness given by the S6 freqhent USé M red s T s red u in great unbroken ma ses . hi peculiar , a colo r ’ f Ru f a seldom absent rom bens palette, is o ten prime s f is e e it s and in ource o h succ ss s, as appear reappears,

SECOND PERIOD 97 ro or r r e ed or i be uddy light, efl ct , glow ng, as the case may be te e e d , ex nding his colour sch me, refin d and blende in

f . But his own peculiar ashion when used in solid blocks, it is f on too o ten, as this occasion , a note that jars on the W general harmony of the painting . ith regard to com t t a position , hese panels exhibi in large me sure the ’ s r t painter s characteristic ma te y, hough , perhaps, here and there their high decorative quality is somewhat lowered by an over facility of line and a certain lack of repose . But taking into consideration all the circum stances and requirements connected with their produc the M e tion , edici series s rves indubitably to enhance ’ t r heir creato s reputation , and to demonstrate his right to a of s r nk among the master decorators the renais ance. CHAPTE R I I I

THE THIRD PERIOD

HE third manner shows itselffirmly established in

The M a i the two paintings already mentioned , g of M The A ssum tion o the the Antwerp useum , and p f Vir i n r The f n g in Antwe p Cathedral . ormer is in striki g

contrast to other treatments of the same subject . A ff f the totally di erent aim has been be ore painter, and a problem which was almost the reverse of what he

laboured on in previous presentations ofthe same scene. c The To this also must be applied the term tour de for e. swirl ofinventive energy with which he had swept into their places the elements of the Medici compositions had apparently not subsided ; only he turned from their m f artificial i aginings to an old riend , and one on which his best powers might fitly be exercised to their fullest

e . nd xtent It is said that the painting, as it sta s , was the work ofthirteen days ! Hitherto we have seen him usher in the Three Kings of d with a long procession atten ants, the hour has been of towards evening, and we have had elaborate schemes and chiaroscuro, gleams and reflections, depths heights, and these have lent themselves as much as even the o figures to the building up fthe composition . In this instance we have everything laid out on a totally different 98

I oo RUBENS

precludes any feeling o fdevotion ; the great figure ofthe

t of e negro is a striking presentation, but not tha a devote . This picture is in a marked degree a triumphant work of of in art in its own realm , that pure painting, and that, R be truth, was probably all that ubens intended it to . M R ’ “ ” . : ooses criticism on it is valuable In it, he writes , he inaugurates the blond luminous manner that re mained his own henceforward to the end it consti tute s his definitive doctrine he never again lapsed or into opaque tones, harsh transitions in colours and values but (maintained)a deep rich transparency even in his strongest shadows. The A ssum tion ff t l p is on somewhat di eren ines, and , we

may remember, was painted under peculiar circumstances . Begun when Isabella Brant was seized by her fatal ill k ness, it was completed in the first desolate wee s succeed e a f t ing her demise . W h ve the good or une to find it for d occupying the place which it was originally painte , The f over the high altar ofthe cathedral . altar itsel was f R ’ in the first instance erected rom ubens designs, but this was sold in 1 798 by the agents of the Convention Nationale f , and the painting itsel transported to Paris, f F of a fate which befell so many o the lemish works art. 1 1 In 8 5 it was returned to Antwerp, and a new and sumptuous setting ofmarble columns and architrave w as of The erected to receive it . As to the composition A ssum i h are n pt on t e traditional elements naturally prese t, but with numberless small variations on the theme which of O ld give it a rich originality, within the limits the The inspiration . l colour is deliciously clear and radiant, with which the little rosy cherubs are charmingly in of r harmony, and in the swirl whose movement, togethe G [ A n tw erp a lle ry GAS PA R G E R VATI US

1 02 RUBENS

’ one of R e O si ub ns cca onal poems, in contrast to the ” f ofhis antastic orgies large works . The portrait ofGe rvatius may be instanced as another ” of as in c R ff these occ ional poems, whi h ubens has e aced ” f his u himsel , restrained swaggering br sh in order to t realize his subjec . He has indeed made an extremely

delicate and searching study, and created a living monu of fi ment his r end . Ge rvatius te is represen d in a black dress, presumably of f ff ffl his that his pro ession , with white cu s and ru e , u f T e f fig re filling the centre o the canvas . h scheme o the chiaroscuro is an ascending Scale from a deep transparent shadow in the right-hand bottom corner to the diagonally f- F t opposite le t hand top corner. rom this point the ligh e f of S of d falls dir ctly on the ace the itter, that a refine and t delicate studen ; he is seated with quill in hand, just raised from the ac t ofwriting on the white pages ofthe f is book be ore him, and in the pause he has turned and looking out ofthe picture. On the table behind his book ofM f r is a marble bust arcus Aurelius, his avourite autho ; h and e this, toget er with the paper the pen , catch s and holds the light and presents the requisite contrast to the The the shadow be hind . methods are simple indeed , but f f of i b portraiture per ect, the chie power the art st eing s f c e focussed upon the most characteristic point , the a

n are . S o and the ha ds, which exquisitely painted , look s e Le nbac h f ing at this portrait , one realize how ev n ound in Peter Paul his master. In the Antwerp Museum is another painting which u ro though ostensibly a s bject picture, is actually in all p

Anita Mc Mahon in Nineteenth Century Magaz ine. ‘ H a nfs tci ng l ph oto! [ N a tiona l Ga lle ry

T H E C HA P E A U DE POI L

RUBENS

g d i n of f u e , ecorat o which his brain was the un ailing so rc , t his for the t s he ook brush, and, ime being, olaced himself h the t of i d wit creating portrai whatever s tter came to han . s t be of Sometime his happened to a member the court, of ti or a person real dis nction and historical interest, but often enough we have what can only be designated in ” of Man of a the modern catalogue as Portrait a , ” u of L of est Yo th, a ady and work, it may be, the fin quality is found in the portraiture ofsome person quite ’ ofR unknown . In the whole tale ubens portraits we have f d of examples o each great perio , and almost every stage his development from youth to his latest years ; the com lete o f M R e one p number them , given by . oos s as hundred ’ -five f no rt ofhis f s and sixty , orms unimpo ant section li e

work . Notwithstanding the interruptions caused by his poli f f tical activity, the In anta Isabella obtained rom her painter a series ofdesigns for tapestry ; he painted th e f sketches with his own hand , and a terwards superintended in f T their execution ull size by his pupils . his work was 1 62 it was spread over two years ; or rather, begun in 5 , 1 6 2 not finished until 7 , this alone showing how little was

the time Rubens could give to his studio, and how much

was perforce spent elsewhere . The f S f In anta, whom duty to the tate alone held rom formally embracing the religious life after the death of Con her husband , desired to give these tapestries to the of f R L M vent Bare oot oyal adies in adrid, a community of The hosefI belonging to the order Poor Clairs . subject c Trium h o t he Ho S acrament was the p f ly , to illustrate i R e f : The wh ch ube ns designed thirt en cartoons, as ollows Triumph ofthe Holy Sacrament over Paganism ; its Tri

1 06 RU BENS

r e e a an f p ogr ss rath r th n y alling off. Unfortunately the e u t project, b gun with such high hopes , was never bro gh to a conclusion ; court obstructions and intrigues caused

d n o f -M r much elay, and fi ally the exile the Queen othe f put a complete stop to the work, which was le t in all ’ of s stages incompletenes on the painter s hands . In the ofhis a f f catalogue works , m de a ter his death, the ollow ing note occurs : Six large unfinished pictures contain e of of ing sieg s towns, battles and triumphs Henry IV, ofF r e for the king rance, which we e b gun some years ago ” -M ofF . f Queen other rance O these, two large pictures o Uffiz i F one remain , b th now in the Gallery in lorence, ofThe B attle o l vr r the Trium hant E ntr f y , the othe p y of H enr I V into P aris m of for the y . A nu ber sketches e W a C n s series are extant , thr e in the all ce ollectio , other The E . in various uropean galleries, public and private ffiz i of two paintings in the U , only one which can be con s idered d as at all a finishe work , indicate that the master had had certainly made progress , and surpassed the earlier

M n. U n edici panels in treatment, as well as in conceptio fortunately both these works are so ill placed in the Niobe Gallery that it is well -nigh impossible to gauge fully their The n one worth and quality. Henry IV series remai s as ofthe most noteworthy and regrettable among the many

- - f might have bec us in the history o art. ofW Ofthe decoration ofthe Banqueting Hall hitehall , S which also belongs to this period , little can be said . uch ’ has been the action of London s smoke and fog that R oo ses speaks o fthem as be ing at the present time but ” tristes débris de la decoration . As regards their sub

ec t of s f t a h j , the glorification Jame I , he ur her rem rks wit “ ’ a certain humour : In the history of Marie de Medic i [ I a n/ s tri ng !photo! [ Vienna Ga l l e r v

LE PE LISSE

1 08 RUBENS f the of orm , quality which treatment is as marked and individual a feature in his work as any other one of its u constit ents . The word strain 15 pe rhaps hardly so just a one as ” ’ for R lack , when we review ube ns works one by one, ar of and f be be ing in mind his manner thought li e, it comes increasingly apparent that it is a negative rather than a positive quality with which we have to deal in t is h connection . We are accustomed to hear re iterated remark on the ’ s s ofR f and a coar ene s ubens emale types, to h ve it vari ousl F a y attributed to his lemish t ste, his vulgar mind , and in what not, and truth every gallery in Europe gives ocular demonstration ofhis repeated delineation oflow and f f the ugly emale orms, at times touching even point of f revolting degradation . We have only to re er to the il nas P ro ssi r T S o ce ons fo glaring instances in point. hese r works, on which he chose to expend his utmost maste y, e seem , indeed , to indicate , on his part a certain positiv of depravity in taste, a deliberate calling evil good, and f of o ugliness beauty . A comprehensive study the whole in e an man, however, all his relations, s ems to reveal other possibility and to bring some harmony into th e P e was a apparent discord . Peter aul , we must rememb r, for and sincerely religious man , his reputation probity e f virtue was honestly earn d , his li e was open as the day , no was and had discreditable byways or mysteries . He n of f e in all relatio s li e an honourable man , and a gentl man e t - n o fa , and y there is this all pervading sembla ce d f has degra ed taste, and that o ten in works by which he f best expressed himsel . It is a truism to say that the finest human types e ither

RUBENS

venienc e were the sole c onsiderations that counte d in

the matte r.

no a s of w in r f it is Having ide l tandard a oman he sel , ’ not surprising that an ide al of woman s outward form i u ed h s n . W a ea to as a el d imagi ation hat did pp l him , man was of f n f s ftn s o f , the opulence emini e orm , o es f f T r o u of . e de textu e, lustre s r ace, delicacy colour h se e nse s e — r light d his se s, and the e he paint d , without rese ve, — and they were all the beauties that he recognized in a m an and woman . He could paint a as a very Apollo, lid f t o v ss y so more o ten han nce, but a eritable godde , J never ; even his Madonnas were but variations on either 7 the or Helena . Such figures then as we find in

S ilenus P rocessions his o f ro , were no shock to sense p

rie t t d . p y, where here is no ideal there can be no egrading He wished to depict as forcibly as possible the hideo us n s of s n ic es Vice, in tinctively he stayed his ha d when p

ri n of d tu ng the pri cipal character, his standard manhoo ft s f ed being lo y, and Silenu himsel is represent only de lo abl ed f u v are re his p g y inebriat , the a ns e en no mo ; sharpest note ofugliness and depravity he as instinctively ’ i f no for puts nto woman s orm , and it occasions distress, ff and ff u it o ends no interior canon, o ers ins lt to nothing

in his universe . m u s of This lack , de onstrated most flagrantly in pict re S h r the ilenus order, is t at which passing like a trail ove all his work gives it that peculiar quality which calls forth f f o . such requent expressions reprobation It is, however, of of f n not the result a deliberate contemning the emi ine, f for as f nor an nor positive pre erence b e or clumsy orm , y vicious poison at work ; it is but an obtuse ness in one n ofhis n i f ne n how regio co stitution , in tsel a gatio which

I I 2 RUBENS

n a a . ai t in 1 6 0 r Vie n G llery It was p n ed 3 , or the yea f in f ollow g . A ter criticising some defects in its composi M E tion . mile Michel expresses as follows his admiration ofits ar th p ts, toge er with his bewilderment at the para ’ dox which the painter s character presented to his mind M d s a for n. For e th e any etail c ll admiratio xample, e a f the a re b uti ul girl in centre, who with superb gestu , gracefully hands Venus a mirror in order that she may contemplate her beauty ; two women on the right dressed m in black , who hold by the hand two pretty children who they intend to consecrate to the goddess ; then the evolu tions and dances of the little cupids laden with flowers f s and l and ruit , who embrace each other gambol joyous y f of The f e at the oot the altar. le t side is perhaps even fin r, of s with the elegant figures the nymphs, who e supple

c urve e x c ite db the . T e i bodies bend and , y wanton dance h r men a th cavaliers, two vigorous and satyr drunk wi h t are sensuality, hold t em in a close embrace ; heir arms i s i ro ands about the r waist , they seek the r sy lips, their h s r o na tray ove their b dies , and Helena, always Hele , s f U s t e sse s miling and languid, li ted p by the a yr, who pr ea f r s he r her, palpitating against his tawny br st, hal tu n r r e f eems pretty head towards the spe ctator. Natu e he s l s in f the is ri t to share the estival , blue sky sp nkled wi h of o as s e r flakes silver, and a spring breaks int c cade und h of a rock , on t e summit which is a temple with white o ofC r n ofits a r colonnades, tro ps upids come to d i k w te s are of o ers and near by trees , the shade which invites l v

. se e a ac e s meetings Wherever we look we ttr tive imag , f e s a in charming orms, p arly tone , silver grays, p le p k, f t O t a n i s m to i resh green, wi h palescent r nspare c e ade g ve e The a e o ea re pleasure to the ey s . old p int r sh ws the m su

1 1 4 RUBENS

nearest approaches to a realization ofclassic beauty . In t he Paris and his attendant we see the same touch as in M an Apollo introduced into one of the edici panels , f f of beauti ul idealized orm , a realization his own theory of respecting the imitation statues, on which he had The f written a valuable and suggestive treatise . emale We as f . figures o course lack this idealizing touch have, d of but was to be expecte , merely three poses Helena, r de Helena treated with unwonted eserve, and the eye, lighted with the exquisite colour and glistening flesh te x f o f ture, almost orgets to note the commonplace quality ’ fi ure s . S the g general outlines uch as they are , with their of f u r e lustre sur ace, they are shown p against t ees in de p T o f shadow . his contrast, together with judicious points of d brighter colour , and the characteristic blending re s in the other portions ofthe work make the picture one ’ among the master s most charming creations . the In addition to the subject pictures , dominated by of o f Helena influence, we have a large number portraits h f f . e his second wi e S is represented by hersel , in his d company, and with their children ; Helena stan s , sits , k fan bonnetted wal s, wears a mantle, holds a , is or bare

- f 1 6 . f n o headed A hal le gth portrait her painted in 39 , M and now in the unich Gallery, brings her personality f too very vividly be ore us , plump and pretty, amiable , most handsomely dressed and pleased to be so . One if f re begins to wonder , a ter all , the pretty rhapsodies corded on the rare beauties of the new Helen were but flattery offered to Rubens himselfby his over-com f plaisant riends . Quite the most interesting ofthe Helena portraits is e one paint d very shortly after their marriage, showing T HIRD PERIOD ” 5

is her with her husband walking in their garde n . One r - int oduced to their almost princely surroundings, the o n of rnate re aissance portico the pavilion , the handsome f n - f d ou tain , the well grown garden , and care ully ten ed fa e flowers , the vourite dog, the gorgeous p acock , together the and c — of with domestic turkey its hicks , all speak t d Le f aste and wealth an kindliness . ading his wi e, is the n ed and agei g painter, dress in sombre velvet with his

figure somewhat bowed . Helena, who is placed to the fr e ont, and to whos plump beauty her husband serves as f oil, turns almost fully round to the spectator in the act o f r The add essing an attendant page. picture records a and f m happy moment, expresses a more rest ul ood than we perceive in most ofthe Helena pictures . It possesses n of f eve something idyllic grace, and orms, in sentiment , a pendant to the earlier bridal group ofPeter Paul under m the honeysuckle arbour with his excellent co panion , a Is bella Brant. This garden scene leads us insensibly to that great group oflandscapes which was one ofthe most notable of Oft products his later years . hose which may be as n r n 1 6 sig ed to ce tai dates , we have two between 35 and 1 6 0 1 6 6 1 6 one 1 6 8 4 , five belong to 3 , two to 37 , to 3 , and f u 1 6 0 of f o r to 4 , the last year his li e, or we should rather sa f r Ma oth of y the last hal yea , since he died on y 3 that year. In addition to these , whose dates are definitely s h of t t a certained, t ere is a number o hers making, wi h the of s u of inclusion tho e exec ted in his earlier years, a total f - orty one . R as a ubens landscapist occupies an important place, fr of not so much om the number his works, though that, as we s n is o f have ee , by n means inconsiderable, but rom 1 1 6 RU BENS f the fa t that b e ni e a an e d the art ftin it c defi t ly dv c , li g from the older ac ade mic limitations into the free do m o f

an nd e d e te e as an art ffic en un itse l£ i ep n ent xis nc , su i t to was afer an in r a of ou t n ear and on It t te v l ab t we ty y s , s n in the ha ea S ee n t his nti n his ettleme t C t u de t , hat atte o

was a s e to lan c a e and n as attracted econd tim ds p ; the , was u ow h the his wont , he bent pon it his whole p er, wit result that probably in no field of art has his influe nce r or be en more profound and lasting. He was the precu s of s Netherlandish and D that great landscape chool, utch, at n d o r e which was o ce realistic an p etic . Pe haps ven the lonely genius o fRembrandt would not have penetrated ’ far re s of a t n so into the sec t e r h s beauty , had not the o ly

less great Peter Paul pursued that path be fore him . ’ Rubens landscapes ofthis later period must be divide d into two groups ; those be longing to the one were but e and l Van sketch d in by him , carried on by his pupi and R as af s Uden , then retouched by ubens he terward T in . n saw fit hese are the more umerous , and are treated m wh f t a e a so e at decorative style, which takes rom heir v lu u e The P hilemon and B aucis a as p re landscap . , at Vienn , The R eturn rom Work Ul sses discrnbarkin f , and the y g , f The n are o h . both in the Pitti , t is order other, and i finitely u of e more valuable , gro p, on all accounts , is works don We are f s s entirely by his own hand . ortunate to posse two ofthe finest e xamples ofthis latter class in the Na

tional iz The S u et em of ur v . ns e Gallery, , , an absolut g colo Chdteau de and poetic rendering, and the better known teen T own se in S . his latter is a landscape with his hou troduced merely as one ofthe features ofthe whole c om of position ; the painting is not a portrait his castle, it is s fe s his rather the home cene , that which daily re r hed

I 1 8 RUBENS

other natural and vital forces necessary to a true and

complete presentation . The R ainbow Landscape in the Wallace Collection is

an excellent instance of these energetic epitomes . We

have a characteristic Netherlandish landscape . A field mown the h partly , roadway winding t rough it, and a loaded wain passing along ; a blue distance fades away towards the horizon full of delicate indications of detail and interest ; a storm has passed away and a rainbow arches d f r the sky ; a pon in the oreg ound is enlivened by ducks, cows are grouped on its banks and reflected on its smooth f r of two sur ace ; a g oup peasants , a man and girls, advance r o f ud along the oad . A line r dy colour binds the various

o f a elements the composition , and give it generally n autumnal tone ; the sleek chestnut horses in the full sun light start the note ; it is carried along by the red bodice of of r of s one the girls, the b onzed skin the man , and trail offinto the distance in the line ofscarlet poppies which h of n ofthe To fringe t e edge the still u cut portion corn . r f a curso y glance this is all , every part alling into its place f u —it f serves to make up a per ect pict re, is only a ter a very careful examination ofall the parts that the additional of s f presence a little rustic comedy make itsel apparent . The r k w figu es are but s etched in ith the lightest touch, of to preserve the just proportion the epitome, and yet these master- strokes tell the irresistible little tale that ’ u fof has caught the painter s humo r, and is in itsel such r The of sunbum t primitive t uth . swain the skin is walk two ing between the girls, the while paying his clumsy but of T we compliment to one them . his, see, would be o fsmall matter to the second damsel had not the fact e The b en observed by another . waggoner with the loaded

T HIRD PERIOD 1 1 9

s u for wain has just pa sed , and tho ght the situation called ’ and a joke ; at once the girl s pride is in arms, she smarts The under what is now made to appear a slight . whole r of sto y is given , or rather suggested by a sweep or two the as and as brush, and is, it were , there not there, just the ‘ We 1 observer chooses , so delicately is it indicated . have f of given us, in act, no inanimate slice landscape but an of epitome all its energies, with the balance so exquisitely adjusted that even the rural comedy is but complement

h of f- rt ary to the rest, and wit out any degree sel asse ion . ’ To this last stage ofthe painter s career belongs also a m of - — of re arkable group altar pieces, the sum work done We h at this time is almost incredible . ave the land a e S m of sc p s executed at teen, with presumably ost the paintings inspi red by Helena ; there was the colossal labour ofthe decoration ofthe city ofAntwerp for the tri um hal ofthe C - f p entry ardinal In ant, and the Ovid series, bo th probably executed in the big town studio ; then dovetailing into all this mass ofvarying interests we find of - a succession religious pictures , principally altar pieces . T of for a M a hree these call special notice . One is donna w ith S aints M Fromentin , sometimes , as by . , called ’ - . eor of R S t G g e. This is the altar piece the ubens mor r tua y chapel in the church of St . Jacques in Antwerp; placed in the position it still occupies by the express wish of m the painter, it serves as an absolutely fitting emorial . By universal consent this painting ranks among his finest works, his most admirable qualities as artist being all

x . The h displayed in its e ecution canvas is a square, t e for rv corners, the most part in deep shadow, se e to throw t w the principal interest o ards the upper centre . As “ o f regards its arabesque, the main lines the composi 1 20 RU BENS tion swee p round in circular fashion so as to give the f s idea o a tondo set in a quare . 5 0 great is the c leam ess of ur and tra a e of the n s h t colo , nsp r ncy flesh ti t , t a this luminous c entre glea ms out ofthe obscurity ofthe little e on au n T u chap l even a dark tum day . o ches ofbe autiful n r th the e red co t ast wi xquisite flesh colours, and there is a total abse nce ofthe heavy red which so freq uently loads his o o F t e ther w rk . orming hems lves into a partial frame

r for the n . wo k ce tral group are St Jerome and St. Geo rge, the tawny s kin ofthe one and the armour of the other acting as foil to the delicate tints ofthe female group sur ro n Y e t undi g the Holy Child . though one uses perforce “ “ ” “ ” s and and o the word gleam glow brilliant, in trying t s e of t a de crib this marvel colour blending , here is, in actu l f ru r t o re act, no t ly b illian col ur patch in the whole pictu , withal the e ntire central portion has the effec t ofa rich ’ ness not be surpassed . This is Rubens grand achieve e t — a n ofthe m n , his re lization by his own ha d idea which had seized upon him when he first saw triumphant art in i His u f d d c n c e . o Ven colo rs now are used and blen e , trasted and a and h rmonized , revealed withdrawn , still so h be gleaming, into a luminous shade t at his pictures come a play of iridescence that is of inde scribable W as the e of M adonna and e u . b a ty hen , in cas this aints t u a n S , here is added to the vis al beauty certai s i a a the s r c a but pir tual ppe l and exaltation , ob e ver nnot be lost in admiration of the master hand and creator

mind which brought such works into being. The othe r two paintings which we must specially con re the M and sider a both in Brussels useum , by a happy m n ha on the s m arrange e t ng a e wall in the great gallery, where they may be see n to the best advantage ; they are

T HIRD PERIOD 1 2 1

Liev in A scent respectively the M arty rdom ofS t. and the

o alvar e 1 6 1 6 . The fC y , and b long to the years 35 and 37 L ” D f St. Calvary and the ievin , says elacroix , orm the ’ ” ofR M aestria few culminating point ubens , and , looking d at them, will wish to ispute the dictum . ’ R e Accepting these two as ub ns prime masterpieces , it may be well at this point to try to realize what was the unique achievement of this great master in all the d o of f varie and immense lab ur his li e. He was great as e decorator, as colourist , in landscap art and portraiture , but in all these realms he has rivals ; what is there in his work that is specially and peculiarly his own , that gives him his proper and distinctive place among the masters that none other can challenge ? For the space ofa few lines il faut reculer pour mieux f sauter . o of Greek art , we say, is the art beauty and joy. b f f f Christian art set e ore itsel , paradoxically, rom the i of t me it reached adolescence, the task expressing pain .

Its central subject is an execution by torment, its second n d ary subjects are largely torments likewise, e dure by f of f ollowers the chie Victim . Italian artists accepted the u s d s bject , but in their treatment they eliminate the pain d and the repulsive elements inci ental to torture. Their

i ff r Chr st is crucified , but the body does not su er, it is e a o o f f W presented as symb l the spiritual act behind . ith of f R e the influence Italy resh upon him , ub ns painted after this tradition in his E levation of the Cross in Ant we rp Cathedral . But Peter Paul was by temperament m f no ystic, and , painting rom his own inspiration , his method is Opposed to that of Italy ; the Christ ofhis if ff imagination , crucified , must su er. He sets himself n s h accordingly, either consciously or u consciou ly, t e great RUBENS

t o f n et n e ask painti g pain , and y creati g b auty in the Fr his s of picture. om tandpoint literal imagination there h r T s h n his e was no ot e way. hi t e is uniqu achievement, by which he makes for himselfhis own distinctive place s o f E among the great painter the world . xhibited in the highest degree in his great religious pictures we see the same gift exercise d on a lower plane in eve n the S ilenus P rocessions he f sm ted , the ugly and t pain ul tran u by his a n magic into something that comma ds our admiration . How far he accomplished his task on the higher plane o f the great religious picture we may judge best by those s e off e to be seen in Belgium . Some in tances ther are ailur , f of and rom this point view, despite technical excel n lence the horror is almost too great to look upo , as in Christ d la aille Cou de the celebrated p , and even the p

Lance see e s . ; but again , it is here we his suprem succes es on t We have already noted The Las t Communi qf S . Francis and ad d as be , the two paintings, alre y allude to n of longing to these last years , are the culmi ation his

labours f o f . KL , and the ull achievement this special task r r o t Liev in of The M a ty dom fS . is a scene unmitigated e horror, as regards subject ; in its treatment it is attun d

of to a scheme gray, shown up by gleaming high lights The r of and touches ofvivid red . sto y the picture is direct and obvious ; the deed is perpetrated with callous bru ’ r and . To tality, the saint s tongue to n out given to dogs the martyr’s agonized eyes are visible two rosy cherubs de ’ s scending with palms and Victor crown ; avenging angels, f r d by no means grace ul figu es , break through the ark

clouds, on the other hand , with thunderbolts ready to hurl against the torturers ; those who see them are terror Re . stricken, the rest continue their murderous work

[ B russels Ga lle ry

T H E ASC EN T O F CALVA RY T HIRD PERIOD 1 23 voltin l flinc hin g y horrible as subject , it is told without g l or blinking one sanguinary detai , and yet the picture is of e of a marvel b auty, and that not through brilliancy f tint . Seen rom a distance there is one salient spot o f ’ for colour only, the executioner s red cap ; but the rest , ’ there is the master s unexampled breaking ofthe colours

one into the other, resulting in iridescent radiance rather of of than brilliance colour contrast, in which the details of horror are lost sight , and only the general sentiment of of The pain , with that the final triumph remain . d blen ed reds and grays play , like stringed and wind

instruments, one over against the other, creating by their combination a perfect glamour of beauty that defies d escription . The A scent o Calvar f y is even nobler in achievement , L . St. as it is in subject It too, like the ievin , is pitched to a tone ofgray ; an ashen atmosphere encircles it from f - le t to right, round up to nearly the starting point , leaving

of the centre in a gleam light, as it were shooting through f of a ri t in the circumambient cloud . Into this scheme a sunset- reddened gray we have woven the tragic picture o f A o a var n of the scent f C l y . O e sees the gray rock the hillside ahead , and behind it are disappearing two pikes ofjust vanishing horsemen ; two more cavaliers f of with waving banners ollow, the dulled hue the flags against the gray sky give a general lurid aspect to the ’ air, while the men s gleaming armour shows out at once blacker and whiter than the cloud against which they are outlined. A third horseman to the right, with fluttering red of garment, makes a vivid splash colour contrasting s the f trongly with prevailing gray, and relieving the aw ul m r h of e es . e so b n s T haunches the last, a gray horse, are 1 24 RUBENS w U s s o of e es hite, and throw p , by contra t , the p t de p t Th w b . e shado in the picture, which comes just elow cavalcade thus far has se emed a triumph to escort some d — o for mun ane hero, but seeking Him , the central p int —we find which all the rest is brought together, Him in h of s . T e f this spot deepe t shade hero has allen , and in L His dark robe almost lies Upon the ground . eaning f upon His hands and turning a pallid ace, worn almost

Tw - ft . o to death , He tries to rise brown skinned men li f His n d the cross rom weake e shoulders . Veronica has f h pressed orwards, we hardly notice t at she wears the f of f f s orm Helena ; here she is a aith ul one, and she wipe i o ff the pale brow with her white veil , wh ch shading into darkness as it touches her own arms and shoulders, of e merges into that her black rob . Below, bringing up of the rear this strange procession , are the two thieves , f W f hal naked and bound . ith the ewest touches possible they are indicated , so that they may fill up the measure ofthe whole tragedy without taking from the importance

- O ne ofthe central group but each master stroke tells . f f and f o the men, a hulking ellow with ruddy hair ace, is un n d f s of almost man e by ear, one see the gleam terror Th e e . e t f in his y o her, older and eebler, is pallid and d has har ly conscious now, numbed by anticipation which M overtaken the reality. ingling with the central group the s of r are daughter Jerusalem and thei children , Th grieving, but restrained in action as in expression . e absence of any supernatural element preserves the un of is one of its s of broken dignity the work, and point h Liev in fo R s t e S t. r r uperiority over , ubens was no t ue of n was n e n tr seer the u seen , and ever at his b st whe y

. For as the S t ing to represent it the rest we find, in .

CATA LOGU E O F T HE P R IN CI PA L WO RKS O F RU BEN S

Arranged according to the Galleries in which they are to befound.

’ Students desiring to consult a c omplete list ofthe Master s w ks n n drawin s s d s and s ra o s of oks or , i cludi g g , tu ie , illu t ti n bo , ’ ar M Max R s s nva a ata o de e referred to . oo e i lu ble C l gue ’ L CEuvre de Rubens en Gravure et en Photographie exposé au - in An w r Musée des Beaux Arts aAnvers printed t e p,

Rhin. m m . E . B s ma Rem ert de la t du I pri erie J u ch n, p por e

A USTR IA .

E A — L VI NN THE IMPER IAL GA LERY .

The MIR CL OF T R NCIS X IER . a d 1 6 1 A ES S . F A AV P inte in 9 or 1 6 20 for the high altar ofthe Jesuit church in Antwerp .

The MIR L F N TIU Y L a n 1 6 20 for ES T G S O . AC O S . I A LO A P i ted in the h h al r f h An w ig ta o the Jesuit churc in t erp.

The OFFER IN TO NUS 1 0 1 1 a in 6 6 . G VE . P int 3 or 3 T HE ELISSE . a nte toward 1 6 0 P P i d s 3 .

Th are a f n r f t ex ere lso others o minor i te est. Still ur her am es are th A a m f n A pl in e c de y o Fi e rts, and in the

L TEN TE N ALLERY ICH S I G .

THE ISTOR OF I S M a te 1 1 f H Y DEC U US. P in d in 6 8 or certain m han s of erc t Genoa. I 28 RUBENS

E E a n ed b rde SK TCHES FOR TH H ENR Y IV GALLERY. P i t y o r ’ ofMarie de Medici for the Luxembourg Palace in 1 6 28 fi h an 1 6 0 L ft un nis d. d 3 . e e

There is also a number ofportraits .

A TW M E M N ERP US U . T ” H A . da ed E CHR IST A LA PAILLE. triptych N0 te assign

by M. Rooses. “ The OUP DE LANCE or HR IST BETWE N THIE ES . C , C E V Paint in 1 6 2 0 for the high altar of the church ofthe

Réc ll ts at An w at th x f h as Rockox . o e t erp, e e pense o Nic ol

THE ADORATI N OF THE M I n in 1 6 2 f r the h h O AG . Pai ted 4 o ig a f f tar o o t. M l the Abbey S ichel .

THE UN I n ed in 1 6 1 R NCIS. a LAST COMM ON OF ST. F A P i t 9 for h ofthe Ré l at the ex e ns the churc co lets at Antwerp, p e f r s o Gaspa Charle .

ORTR IT r E V I ds 1 6 28 . o . R AT S a n ed t war P A G G U . P i t o

The Collec tion contains nineteen other paintings of less im fl r o an and hr sk es . ur r the ro nd p rt ce t ee etch F the , on g u oo ofthe Museum is an almost complete c ollection ofrepro ’ duc tions of R ens works f im n valu to the ub , o me se e s tudent.

CATHEDRAL OF NOTR E DAME .

t n 1 6 1 0 f r the h THE RAISING OF THE CROSS . Pain ed i o hig W h f a r at Antwe . altar ofthe churc o St. lbu ge rp

. A r t Pai ted rom THE DESCENT FR OM THE CROSS t ip ych. n f 1 6 1 1 to 1 6 1 4 for the al tar ofthe Brotherhood or Guild of

the Arquebusiers in the cathedral ofAntwerp.

1 39 RUBENS — R F NOTRE AME . MALINES . CHU CH O D

inted ch . a T HE MIRACULOUS DRAUGHT OF FISHES . Tripty P ’ in 1 6 1 8-1 6 1 9 for the altar of the Fisherman s Company fMal n o i es.

R . CHU CH OF ST . JOHN

R I T t h . ainte d for the THE ADO ATION OF THE MAG . rip yc P

h h 1 6 1 It s ill o u e s that hig altar of the churc in 9. t cc pi

position.

D E N MAR K . — EN AGE ALLER HR ISTIANSBOU RG . COP H N. G Y OF C

ORTR IT OF Y RSS LIUS ai ed owards 1 6 0. P A E . P nt t 3

— E E PARIS TH LOUVR .

’ H I R Y F R IE DE MEDICI ainted b the rde T E H STO O MA . P y o r ’ f M i f r h uxemb u ala e fom o Marie de edic o t e L o rg P c , r

1 6 2 2 to 1 6 2 5 .

THE ADOR TION OF THE M GI . a nted obabl 1 6 2 A A P i pr y in 7, for the w ow of e r P ec uius who ave it to the hur h id Pi r e q , g c c f i n u s ls o the Annonc ades i Br s e .

THE K ER a nted towards 1 6 6 . MESSE . P i 3

OR TR IT OF ELEN FO R MENT and a numb of th P A H A U , er o er

m n r k i o wor s .

In the museums and alle es ofB rdeaux G n ble L lle g ri o , re o , i , L ons Nan al n enn s es t v l are fu th r ex y , cy, V e ci e , r pec i e y, r e m a les but not of re m r m o ta . p , p ie i p r nce CAT ALO GUE O F WO RKS 1 3 1

GE R MAN YI —M M N E . BERLI . US U

’ n h ol are v ofR ns wo ks but ofm I t is c lection se en ube r , inor n i terest.

EL L ER CASS GA L Y .

HE LI H N YPT in in 1 6 1 nd fo o h T G T I TO EG . a d a F P te 4 , ur t er

w rk f m tan o s o less i por ce.

RE EN GALLERY D SD .

R N E N ER LE t A D U K H CU S. Pain ed in Italy for the Duke of Mant a fom 1 600 t 1 608 u r o .

A B R UNT nt tw n 1 6 1 2 1 h O . a d ee and 6 1 and t A H P i e be 5 , o er w ks ofless m o tan e or i p r c .

L E MUNICH GA L RY .

This is the largest and most generally representative c ollec ’ n ofR n wo k and n ludes m of the mos tio ube s r , i c a nu ber t a e xam l s am n th s are not bl e p e , o g e e

THE LL OF THE R E EL AN GE LS ai t d 1 6 2 0 f r a FA B . P n e in , o h h ofN o at the x ns ofW fan W lh m c urc eub urg, e pe e ol g g i el , f Duke o Neubourg.

T HE LL OF THE MN ED. a nted owa ds 1 6 1 FA DA P i t r 4 .

L D EMENTS Lar an l The two AST JU G . ge d smal . Painted in 1 6 1 8 and abo 1 6 1 s e tive the fo me at the ex , ut 5 re p c ly, r r pense of the Duke ofNeubourg for the Jesuit church of ’ eu . i w v a l ass s ant w k N bourg It s ho e er l rge y i t s or .

TT ! a t 6 1 0 THE BA LE OF THE AMA ONS. P inted be ween 1 and

1 6 1 2 .

R IL nt t 1 1 8 . THE P OCESSION OF S ENUS . Pai ed owards 6 I 32 RUBENS

PORTRAIT GROUP O F THE EARL AN D COUNTESS OF AR N EL ai i D t n 1 6 20. U . P n ed PORTRAITS O F RUBENS AND ISABELLA BRANT IN THE

ON EY U KLE ARB UR . n 1 1 H S C O Pai ted in 609 or 6 1 0. RUBEN S AND HELENA FOUR MENT WALKING IN THE IR

R DEN a nt d in 1 6 0 or 1 6 1 . GA . P i e 3 3

In a d t o to hes man hers amo t to a t tal d i i n t e are y ot , un ing o f - o seventy six works .

GRE A T B R ! TA[ N I

— E LER LONDON TH NATIONAL GAL Y .

HE U MENT F R I to r s 1 6 6 a d wa d . T J DGE O PA S. P inte 3

h H E D I n F me nt T e P U E O L. A rai of usa n our C A A P port t S e , ’ h f a nted wards 1 6 20 . sister oft e painter s second wi e. P i to

AUTUMN L N DSC PE ITH IE OF THE HATEAU DE A A , W V W C

TE EN a nted t wa ds 1 6 6 . S . P i o r 3

L ND APE AND UNSET and s v ral h fi c om A A SC S , e e ot er gure

positions .

W LE T THE ALLACE COL C ION .

E ai nt t r s 1 6 6 . THE RAIN BOW LAN DSCAP . P ed owa d 3

RTR IT OF S ELL B R NT and one or two o hers . PO A I AB A A , t

Throughout the country are numerous other examples in h s f vat own and o pri e ers.

H OLLAN D . — AM TER AM . R I KS M E M S D J US U .

ORTRA IT OF ELEN F U RMENT a t d w 1 6 0 P H A O . P in e bet een 3 I 2 and 63 .

I 34 RUBENS — ROME THE CAPITOL .

ROMULUS AND REMUS.

— T ETER B R THE ER M TAGE . S . P S U GH . H I

’ ER D BAN UE T HR IST IN THE USE O F IMON THE H O S Q . C HO S

H R ISEE . aint t n 1 1 n 1 2 0 P A P ed be wee 6 5 a d 6 .

o ra s ofIS ELL BR NT and ELEN FOU R MENT and P rt it AB A A H A , th xam l s n lud n ske t h s of the de orat ons for o er e p e , i c i g c e c i

h m h l r n h n l- nf t t e triu p a ent y i to Antwerp oft e Cardi a I an .

MA R D —THE RA D I P DO.

THE ADOR TION OF THE M GI . a nt d in 1 6 1 0 b the A A P i e , y ’ order ofthe magistracy ofAntwerp for the State s Cham

ber ofthe Town all. R em v d to Mad d and r tou hed H o e ri , e c b R ubens at Ma r in 1 6 2 8 - 2 d d 1 6 . y , i , 9 TH R L in E G DEN F O E . t a A O V Pa ed bout 1 638 . LA R ON D OR THE NCE OF ILL ER a t ab ut A, DA V AG S. P in ed o 1 639. The sketches for the series of THE TR IUMPH OF THE EUCH RIST and o he r wo ks of le ss m o an al l A , t r i p rt ce, in s xt -five xam l s i y e p e .

L - M E T K M. M S OC HO US U .

N N AND E ELDER US TH S. a t S A A P in ed about 1 62 0 .

THE THR EE GR CES . a nted ab t 1 6 A P i ou 2 0. I N DEX

h c ur s ar rint tal s T e Titles ofPi t e e p ed in I ic .

’ Adoration the Ma i Malines Brant sa ella u ens first wife qf g ( , I b , R b , 8 russels 8 Ant“ 2 her chil ren 2 eath of 74s 75: 7 ; (B ), 77: 7 ; 4 ; d , 7 ; d , wer - h aint 1 aintin s of 2 1 0 p), 93, 98 100 ; ot er p 4 ; P g . 4. 74. 3 ; ’ in s 2 6 u ens relations with 1 0 1 0 . g , 31 7 1 77 R b , 7, 9 Aersc hot Du e of his re uff to Breu he l an his frien shi with , k , b g , J , d p Ru ens 8 u ens 2 his c olla oration b , 4 , 49. R b , 3 ; b

Al ert Arc h u e ofFlan ers c om with u ens 0 1 88 . b , d k , d , R b , 3 , 3 , ’ missions u ens to ain an altar Buc in ham Du e of u ens ac R b p t k g , k , R b i f r uai ntan with 0 sale of Ru ece o . c p S Croce di Gerusalemme, q e , 4 ; ’ m 1 o e 6 . e ns art collection to . R , b , 43 dr m A n o eda , 1 1 1 . ’ Anne wife of illiam the Silent Carava io u ens intro uc tion , W , gg , R b d

her relations with ohn u ens to 1 6 66. J R b , , 5, 5 ,

° l ~ Carleton Sir Du le 2 . 4 , d y, 3 , 35

Antwer ecoration of the Town Cha eau de P oil Le 10 . p, d p , , 3

Hall at 2 ecoration of the Charles ubens ni hte . , 3 ; d I , R k g d by, 45

esuit Church at in uence Chaste Susannah 1 1 1 . J , 33 ; fl , - of u e ns on the art of 6 Chdtm u o Steen 7 7a 1 1 6 1 1 8. R b , 35, 3 . f , , 55,

Ar ue usiers Guil of 7 7Ie Descent Chri st ala aille Le 1 22 . q b , d , p , , om the Cross ommissi n d b rist be e Cou fi , c o e y, Ch tween Thieves. Se p

26 . de Lance.

Ascent o Calvar The 0 1 2 1 on tantine Histor . f y , , 5 , , C s , y of, 33, 94 - 1 2 1 2 . Cou d Lance Le 2 1 1 22. 3 5 p e , , 8, 74, 9 , Assum t on l d 8 p i ofthe B esse , The, 4.

A ssum tion o t ir n T D les H rri 8 . p f he V gi , he, 93, e B , e , 7 8 1 00 1 01 D ecius Mus Histor the Consul 9 , , . , y qf ,

33s 34 : 93a 94

B athsheba bat in 1 De atiner oachim 8 . h g, 1 1 P , J , 7 B attle the A m escent rom the Cross The 2 of asons, The, 74. D f , , 5, 73. B attle I r T e qf v y , h , 1 06 . 78 . 1 36 RUBENS

e Vo aul 1 Henr V fF ro ectedseries D s, P , 3 . y I o ranc e, p j

Dido 1 1 1 . of tin in honour of . , pai n gs , 47 ’ Domenic hino s Communion qfSt. Isa ella the nfanta olic of Fra ncis 1 b , I , p y , 39 , 9 u ens em lo ed 0 Du u letters of u ens to 1 p y y, 4 , 44 , 45, p y, R b , 4 44, R b b 8 eath of I ta estr I O 47. 4 ; . 49. S ; p y 45 . 95. S d

esi ns u ens for 1 0 10 . d g by R b , 4, 5

E arthl P aradi se The u ens y , , by R b or aens . com ared with u e ns J d , J p R b and Bre u hel 88 . g , R i t as a moralist, 8 1 his Le o boi ,

E ducation M ar The 1 0 . qf y , , 3 8 1 , 82 .

E mont ustus von 1 . g , J , 3 ud ment o Pari s The 1 1 . j ge f , , 3 at h r ss The 2 6 E lev ion oft e C o , , 5 , 7 , - 6 0 2 1 2 1 . La in ount van . 9, 7 7 , la g, C ess , 7 Elsheimer A am in uence of on Lan sca s in Fle mish Art 8 , d , fl , d pe , 7 ; by

- - u ens 6 8 8 . u ens 8 8 1 1 1 1 . R b , 7, 3, 4 R b , 7 9, 5 9

t mm nion St. Francis The Las Co u qf , ,

- ’ 28 8 1 1 22 . Fa er Dr ohn u ens h sic ian . 74. 9 9 . b , . J , R b p y , a r d emm t the 8 L f g . . 34 . 74. 4. 1 9. :5 . Fall the Damned The 8 8 . qf , , 34 , 4 , 5 Lauwers Nicolas en ravin s Fer inan the Arc h u e 1 his , , g g by, d d, d k , 5 ; 1 0 - 5 . entr into Antwer 2 . y p , 5 54 Lenbach Von in uence u ens , , fl d byR b , fl a ellation The 28 . g , ,

1 0 1 1 02 . Flemish K er messe 1 , , 1 3.

Lion Hunt The 86 8 . Fli ht into t The 8 , , , 7 g Egyp , , 3 , 84 . ’ Li sius ustus 1 . Fourment Helena u e ns secon p , J , 9 , , b d R ’ Louis X ofFrance u ens Con wife 6 ortraits of 1 0 III , R b , 4 , 47 p , 3, ’ stantine series c ommissioned 10 1 1 1 -1 1 u ens relations by, 7, 4 ; R b i h -1 1 33 w t , 1 07 1 .

Love and Wi ne, 1 1 1 . Fourment Susan ortraits of 1 0 . , , p , 3 Lux em our ro ec te ec orations b g, p j d d Four P hiloso hers The 1 . p , , 9

f 1 0 1 06. or the, 35 , 5 , Fromentin M. uote 8 1 1 1 . , , q d , 7 , 9 , 9

r t. Geor e Madonna with Saints, o S g ,

Garden Love The 1 1 . of , 3 1 1 9, 1 20. Genoa u ens wor on the archi Mante na An rea his wor at , R b k g , d , k

tec ture ofth e alaces of . t p , 34 Man ua, 1 2, 63. ’ Ger ier 0. Me ic i Le onora de 1 . b , 4 d , , 4 ’ Gervatius Gas ar ortrait of 1 01 Me ic i Mari e de marria e of I 1 , p , p , , d , , g , 02 1 . paintings illustrating the history Gonz a a Vinc enz o Du e ofMan of 2 - u ens intro g , , k , 33, 9 , 94 97 ; R b tua 1 0 ta es u ens into his duc ed to Peiresc c om , ; k R b , by , 35 ; servic e 1 1 sen s u ens on a mi i to ec orate , ; d R b ss ons Rubens d mi si n s o to the S anish Court 1 . the Luxem our 1 0 1 06 p , 7 b g, 35 , 5 ,

1 38 RUBENS

employed as intermediary between ’ sa ella and Marie d M dici 8 e e S t. Geor e 1 1 1 20. I b , 4 ; g , 9, ‘ rebufled the Du e ofAerschot by k , 8 with raws from olities 4 , 49 ; d p , his ec orations for the entr St L M rt r 1 -1 2 49 ; d y . ievin , a y dom qt; 1 2 3 . ofthe Arch u e Fer inan into Schelte Bols wert en ravin s d k d d , g g by, Antwer 2 retires to Stee n p , 5 54 ; , 105 . his eath in ivi uali 6 t Schul en Van . 54 ; d , 5 ; d d y d , , 54 ofhis work his three erio s Silenus P rocessi n 80-8 1 08 , 59 ; p d , , o s qf; 3, , earl in uences on 6 1 -6 1 10 1 22 59 ; y fl , 7 , , his A oration i tur - c es Sn ers Frans 0 . d p , 75 79, yd , , 3 8-100 hi s Sil nus ic tures v M 1 e Ste enson . A . . uoted 9 ; p , , R , q , 3 , 80-8 com are with or aens 2 3 ; p d J d 73. 9 . 93 a l as mora ist, 8 1 ; his Last .Sunset, The, 1 1 6. ” ” u ements 8 8 his Hunt J dg , 4, 5 ; ic tures 8 -8 his lan sc a es Tintoretto in uence of on u ens p , 5 7 ; d p , , fl , R b ,

- - “ 8 8 1 1 1 1 th t. Franc i 62 6 . 7 9, 5 9 ; e S s, , 3

- - 8 1 the Medici Series Titian in uenc e of on u ens 6 2 . 9 9 ; , 94 97 , fl , R b , his ortraits 1 01 - 1 0 esi ns Trium h the Hol Sacrament p , 4 ; d g p of y ,

r ta t for th nfan I 1 0 . fo pes ry e I ta sa 7 k , 4 ella 1 0 his ro ecte ec ora Trium hantE ntr o Henr I Vinto b , 4 ; p j d d p y f y tions for the Luxem our 1 0 b g, 5 , 106 ; his decoration of the ban ’ uetin hall hitehall 1 06 Uden Luc van u ens u il 1 q g , W , ; , , R b p p , 3 ,

his ortraits ofHel na Fo 1 1 6 . p e urment, 107 1 1 4 his relations with Helena and his attitude towards women 1 0 - 1 1 his l t al Van D c Anthon u il of , 7 1 ; as tar y k, y, p p

iec es 1 1 his uni ue a hiev u ens 1 . p , 9 q c e R b , 3 34 ’ ment 1 2 1 -1 2 2 V en tto van u ens master 8 , . e , O , R b , ,

u ens hili his irth affec 6 1 . R b , P p, b , 4 ; 9, tion e tween his rother and 1 8 Velaz uez relations of u ens with b b , ; q , R b , ” one Ofthe Four hil h r P osop e s , 44 . .

1 munic i al s c r r a A t ar min Hersel 8 4 9 p e eta y t n Venus W g f, 4

v er 22 his eath 2 . on k Rumaldus 6. p, ; d , 7 Verd c , , ’ fi Rubens and his B ride 2 . V rhaecht To ias u ens rst , 4 e , b , R b

master, 7 . ’ Sandraart u ens io ra her Whitehall ecorations ofthe ban , R b b g p , 7 , , d

uetin hall of 6 1 06 . 43 q g , 4 ,

Francis t e Wo Hunt The 8 86 . St. h Last m n l , Com u ion of, f , , 74, 5 ,

- 28 8 1 1 2 Wouv rius ohn 1 . , 74 , 9 9 , 2 . e , J , 9 c urswrc x P RESS : CHARLES WHITTI NGHAM AND c o.

' TOOKS c ov nr CH NCER L N E LONDON . , A Y A ,

’

Bell s Miniature Series of Painte rs .

H S Series is e i ne mainl to hel those who without the o or I d sg d y p , pp tunit of oin ee l into the stu of art et wish to be a le to T y g g d p y dy , y b i h r Each volum e take an intelligent interest n t e w o ks of Great Masters. ’ c ontains a short s e tch ofthe artist s life an essa on his art a list ofhis k , y , hief ic tur s e tc c p e , .

P t 811 nt loth covers with 8 Illustr t ons I s. net ac or in o t 0, dai y C , a i , e h,

lim leather with P hoto r amere F ntzlf ieee net . p , g ro p , W NO READY.

ALMA TADEMA. H E LE N ! IMMERN By .

SA N HE . FR N K H I RD RO BO UR By A . - N E N . MA L OLM BUR JO ES By C BE LL.

C NSTA LE. A RT H U R . CH MB ERL O B By B A AIN .

C REGG . LEADE R SCOTT OR IO By .

FRA ANGEL C . G . C . I LLI MSON Lit D. t. I O By W A ,

H . M S A A N R . B G S G ELL. I BOROU By . G . E ! E B H RO LD AR M IT G G . E R U y A A .

H GA TH . G . ELLIOT AN STRUTII ER O R By .

H LBE N . A. . H M BERLAI N O I By B C A .

H LMAN H NT . G . C. ILLI M i D SON L tt. . O U By W A , E MCDO G LAND E R. . U LL O S By W A SC TT . HT N LLI LE IG . G. C. I MSON Litt. D O By W A , . M A ANGEL E DW CH EL . RD RU TT . I O By A C. ST A LD R L. . MI LLAIS . By . BA Y M U B E E LLET. EDGC M ST L B. A. I By A Y,

M R LL . . . I LLI MS U B G C O N Litt. D. I O y W A , M DO L A HA EL. . C U G L T R P By W A SCO T. REMBRAN DT . By HOP E REA . LD OWLE LE V E N S . C E E R Y O By R Y . MN E B OWLE LEEVE C . RO Y . y R Y

T . B ALBIN A H E R URN ER y I W R Y.

V L E! . . I L E A! G. C LI MSON Litt. D QU By W A , .

WATTEA . B EDGCU MBE ST LE B . A . U y A Y,

ATT B . T TE M N S . . W y C BA A .

H TLE B MRS A. BE L S . . G L . W I R y . O PI N I O N S O F T H E P R E S S .

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