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I
I THE GIFT OF I
)W.Q..\w.Ti,.t^ I
Bine Arts.
y 2
/ • t
CATALOGUE RAISONNE
OF
THE WORKS
OF THE MOST KMINltNT
Sutct anti ^lemisi) painters.
PART THE SECOND,
CONTAINING THE LIFE AND WORKS
OP
PETER PAUL RUBENS.
RBPRINTKD FOR
SANDS AND COMPANY,
LONDON AND EDINBURGH:
MCMVIII.
77iw Edition is limited to 1250 Cojnes.
■'WHTSM. PAWI, lEtTMBiEJE
Zt-^fi /U*j>^ i, ..„„> ,( j„ i.':,r«f2iM Sn
A CATALOGUE KAI'-vNM.
THE W(>[;K>
iiF THE M.'-»l hM '-. ' .
DUTriL FLEMISH, AND li^iV' !! i ':\:i!-
Jrn fef)icf) is mclutJrt a »f)Ott Biogn;-! .. " i .• i* - ^. > * ••
WITH A Coriu' s T•^>. 5 , ■ ■ ..
THEIR PRIXCTPAL PI' Ti'i:! <
V ^TATEMBVT OK THE PMCKS AT WHI'H -.< i 'i I •
VT ITBI.I' SAIP>S ON THK <Mi\ , ,K' « *'
A RKKKRKNri. r« • .►
I i
(JALLERIES AND PRIVaTI ••
IN WHICH A I.M1<:K P'lj/rKtN' A >: h
AND THE NAMKs OK THK AK1I.^1> i:Y WHOM Ili^. .i*.' >
TO WHICH Is ADDED,
A BRIEF NOTICX OF THK SCHOLARS * XKITATOIUI
OF THF
GKKAT MASTEES OF THE AHOVK ^< ;;"..!
BV
JOHN SMITH,
DEALER IN FDTI UEs.
PART THK SKCOND.
Sonlron :
PUBLISHED BY SMITH AND tS<>X, 137, NEW BOND STRKET.
MDcrt x\x.
A CATALOGUE RAISONNE
OP
THE WORKS
«
OF THE MOST EMINENT
DUTCH, FLEMISH, AND FRENCH PAINTERS;
Sn b)f|tc{^ in intlnUH k sfiort )Btogtap{)tcal i^oticr of tf^r Artists,
WITH A CX)PIOUS DESCRIPTION OF
THEIR PRINCIPAL PICTURES;
A STATEMENT OF THE PRICES AT WHICH SUCH PICTURES HAVE BEEN SOLI>
AT PUBLIC SALES OX THE CONTINENT AND IN ENGLAND ;
A REFERENCE TO THE
GALLERIES AND PRIVATE COLLECTIONS,
IN WHICH A LARGE PORTION ARE AT PRESENT ;
AND THE NAMES OF THE ARTISTS BY WHOM THEY HAVK BEEN ENGRAVED J
TO WHICH IS ADDED,
A B&ixr NonoB or thx boholabs * zbotatobs
OF THE
GEEAT MASTEKS OF THE ABOVE SCHOOLS:
BY
JOHN S_MITH,
DEALER IN PICTURES.
PART THE SECOND.
HonBron :
PUBLISHED BY SMITH AND SON, 137, NEW BOND STREET.
MDCOCXXX.
lo<^o
• •
EDINBURGH :
PRINTED BY JAMES SKINNER ft CO., 87 THISTLE STREET.
ACKNOWLEDGMENTS.
With the diflSculties, trouble, and expense,,
attending the compilation and publication of a
Work of this nature, the public generally are
unacquainted ; these can only be fully known
to the Author, or to those who have been
engaged in a similar pursuit. Without any
intention of assuming more merit than is due
to the completion of the work, the Writer
candidly owns, that, had he foreseen the
pains and penalties which have attended its
progress, he would have assuredly declined
the undertaking. Having encountered and
overcome these difficulties, he is enabled^
from a keen recollection of them, to appreciate
the numerous acts of kindness received in the
prosecution of his labours ; and he feels it to
be one of the most agreeable duties, now
distinctly to acknowledge them. He is more
295743
VI
especially Induced to perform the duty on the
present occasion, lest another opportunity
may not be afforded him ; for the continuation
of the Work will depend upon the encouragement
he may receive by the number of subsciibers — a
source too uncertain to rely on in a work, the
readers of which are necessarily very limited.
To the numerous noblemen and gentlemen
on the Continent, the Author offers his
warmest thanks ; particularly to His Excel-
lency the Baron Verstolk de Soelen, a gentle-
man distinguished for his excellent taste and
sound judgment in the arts ; to Messieurs
Six Van Winter, Van Loone, Schamps, Van
Sasseghem, Van Lanckeren, and Francken, of
Holland and Flanders ; and to Messieurs
Perigaux, Valdou, and the Chevalier Erard,
of Paris. The same thanks are due to the
Directors and Custodi of the Public Galleries
and Royal Collections in Holland, Flanders,
Paris, Frankfort, Dresden, Munich, Vienna,
Venice, Florence, Genoa, Turin, and Pots-
dam ; many of whom, in addition to assisting
the Author with ladders to enable him to
inspect pictures hanging above the reach of
t ■
vu
the eye, also furnished him with the measures
of such as he desired to have, and whatever
other information their registers possessed.
The Author is equally impressed with a
grateful recollection of the kind and conde-
scending attention shown, by numerous noble-
men and gentlemen in this country, to his re-
spectful applications to view their collections,
for the purpose of noting correctly the several
pictures necessary for this Work : but while he
thus offers his unfeigned thanks to those who
have so obliged him, he feels it but just to con-
fess, that his respectful applications were not,
in one instance, equally successful; and he has
consequently been compelled to obtain, at the
expense of his pocket, that which should have
been granted him, on such an occasion, from
that particular quarter, as a matter of course,
or at least conceded as a favour, and doubtless
would have been, had those gentlemen, to
whom the Writer applied, chosen to have made
the object of his applications known to the
illustrious individual whose collection it was
indispensable that the Writer should inspect ;
Vlll
but, thanks to the good feelings of the gentle-
men of the country, that is a solitary instance.
In conclusion, the Writer begs to acknow-
ledge the great satisfaction he has experienced
during the progress of the Work, in the ready
disposition manifested by those concerned in
the commerce of pictures to aflFord him every
information in their power. To an eminent
collector and skilful connoisseur in prints, he is
much indebted for the liberty given to refer, at
all times, to his valuable collection of portraits
after Van Dyck. He has also experienced the
most obliging civility from several eminent
printsellers who have so frequently allowed
him to inspect their portfolios. Such indeed
has been the universal kindness experienced
by him (with the exception already alluded
to), that he has felt it a duty to persevere in
rendering the Work as perfect as possible, and
with that view has spared neither pains nor
expense that might contribute to that end.
THE
LIFE
OF
PETER PAUL RUBENS.
X HE secluded and tranquil life of an artist furnishes in
general but few materials for the pen of the biographer ;
and the casual anecdotes of the foibles and eccentricities
that inquisitive curiosity may glean from his domestic
habits, or his occasional connections with the world, are
frequently too unimportant to entertain the judicious
reader. To record circumstances not really necessary
to elucidate the character of the individual, is not only
an insult to the judgment of the reader, but a detriment
to the memory of the person to whom it relates, whose
life, if it be worth writing, should present examples
worthy of imitation to those who wish to pursue a
similar path to fame and distinction.
The artist, whose history it is intended to record in
the following pages, differs from almost every other
of the same profession — his life abounding in promi-
nent events : at one time exercising his art as a
painter, at another engaged in the cabinet, or in exe-
cuting some important diplomatic mission ; admired
X LIFE OF RUBENS.
and praised for the excellent productions of his pencil,
honoured and dignified by sovereigns and potentates for
his conduct as a statesma.n. Peter Paul Rubens,
the worthy object of these encomiums, descended from
a respectable family, who dated their origin from Styrie,
a province in the Austrian dominions ; his grandfather,
Bartholomew Rubens, joined the suite of the Emperor
Charles V. upon the occasion of his splendid coronation
at Aix-la-Chapelle, in 1520 ; at the conclusion of
which ceremony he accompanied the emperor to the
Diet at Worms, and subsequently took up his residence
at Brussels. The Court of Charles was then the most
magnificent and brilliant in Europe ; and the young
Bartholomew, having the advantage of a good edu-
cation and possessing all the fashionable accomplish-
ments of the time, attracted the admiration of such a
Court. He found no difficulty in forming an advanta-
geous union with a lady of noble family, named Barbara
Arens, surnamed Sperinck. The commerce and opu-
lence of the city of Antwerp, at that period, brought
together a confluence of merchants from all countries,
and consequently such gaiety and amusements as were
well calculated to excite a disposition in the young
couple to remove to that city; to this they were further
induced, by its being the residence of some of their
relatives. Of this union, in the month of March 1530,
was born John Rubens, the father of the artist. Gifted
with a ready disposition to study, his acquirements in
the knowledge of the sciences and polite literature were
extensive : at the age of twenty-four he went to Italy,
where, during a residence of six years, he perfected
himself in the several universities for the profession of
LIFE OF RUBENS. XI
a civilian, and took the degree of doctor of civil and
canon law at Rome. Soon after his return to his native
city he married a lady of distinguished family, named
Maria Pypeling, daughter of Henry Pypeling and
Clara Tolion, and established himself at Antwerp, in
the profession of the law. His erudition and prudence
shortly acquired him distinction, and, in May 1562,
he was elected a counsellor of the senate. About this
period the Low Countries were agitated by the Icono-
clasts, whose zeal for the destruction of images was
attended by persecution, pillage, and every species of
disorder, creating dissention and misery among all
classes. These disasters, continuing for some time,
induced John Rubens to quit the official situation
which he had held six years, and to remove with his
family to Cologne, preferring peace and tranquility to
the prospect of wealth.*
After ten years of calm enjoyment in domestic occu-
pations, he was blessed with the birth of a seventh
child (the subject of these memoirs), who was born on
the 29th of June 1577; and this being the day on
which the feast of St Peter and St. Paul was solem-
* His residence at Cologne was in the Rue de I'Etoile, in the
parish of St. Peter. A stone tablet, inserted in the front wall of
this house, bears an inscription, signifying that Peter Paul Rubens
was born there the 29th day of June 1577 and that John Rubens,
his father, died there in 1587, and was buried in the church of
St. Peter. Another tablet, placed on the opposite side of the door,
records that Marie de Medicis, Queen of France, occupied the
same house, and died in the same room in which Rubens was born,
in 1642, aged sixty-eight. This house was subsequently the resi-
dence of a Monsieur Jabach, and is now in the occupation of a wine
merchant and publican.
XU LIFE OF RUBENS.
nized, the infant was baptized, in the name of both
saints, at the church of St. Peter. His natural
capabilities, were manifested from the commencement
of his studies, by his surpassing all his juvenile com-
panions ; and he showed an extraordinary predilection
for the acquirement of languages. This aptitude for
learning was cultivated with great care by his father,
whose whole attention had been directed to the edu-
cation of his children ; but this worthy man was sud-
denly seized with a malady, which, in March 1587,
terminated fatally, leaving to his widow the charge
and care of five sons and two daughters.*
The death of John Rubens, and the restoration of
order in the Low Countries, induced the widow, in the
commencement of the following year, to quit Cologne
and return to Antwerp. One of her motives for this
removal was the recovery of her husband's property,
which had been seized and confiscated, at one time by
the Royalists and at another by the Iconoclasts, under
pretence that his emigration, without a regular per-
mission, was sufficient to implicate him in the con-
spiracies which then prevailed ; and her presence at this
period was extremely fortunate to the family, as she
was enabled, by the assistance of her powerful friends,
to remove the imputation cast upon her husband's
character, and thereby to recover the greater part of
his property.
* lliographers erroneously state that John Rubens, the father of
the artist, returned to Antwerp, and resumed his official situation.
The inscription already quoted, and a second one on a tablet in
St. Peter's church, at Cologne, confirm his death and burial in
that city.
LIPK OP RUBENS. XIU
Eubens (then eleven years of age) resumed his studies
in the several branches of learning, in each of which he
distinguished himself by a facility that denoted his
future excellence ; and, by the time he approached his
sixteenth year, he had made such progress in Latin,
and other useful languages, that he was considered
qualified to commence the study of the law, for which
profession he was intended. At this period an oppor-
tunity occurred of introducing him to the noble family
of the Countess de Lalain, in quality of page, in which
he would have the advantage of observing the manners
of polished society, and obtaining that patronage which
would tend to promote his future interests. His good
sense and docility rendered a conformity to the rules
of the establishment an easy task, and his quick appre-
hension enabled him to familiarize himself readily with
the ceremonious style of the lofty Spanish nobility who
figured at that period. This situation, however, was
not to his taste ; his predominant inclination for draw-
ing, which had hitherto been indulged in only as an
amusement, began to develop itself more decidedly ;
he became disgusted with the servility of the situation,
and resolved to quit it and pursue the study of the arts
and polite literature. This resolution he took an early
opportunity of communicating to his indulgent mother,
who expressed unwillingness that he should follow a
profession which she considered to be unworthy of his
birth, observing, that he was yet too young to choose
for himself, and that his superior education entitled him
to higher distinction than the pursuit of painting could
procure. Notwithstanding this admonition, his natural
attachment to the art, accompanied by a spirit of in-
XIV LIFE OF RUBENS.
dependence, induced him to reiterate his solicitations
to his mother — to open to her his thoughts and anxious
wishes, and in conclusion, emphatically to declare,
that the situation of a page accorded so little with his
taste and feelings, that, however it might lead to
honours and distinction, the summit of his ambition
was to be a great painter, and in the pursuit of this
object he should enjoy a life of liberty dearer to his
heart than all the charms which his present situation
might promise.
This declaration made a suitable impression upon his
parent, who was well acquainted with the predilection
of her son for the arts ; and it was agreed, after consult-
ing the rest of the family, that he should be permitted
to pursue the bent of his inclination. Having decided
upon this, their next object was to find a suitable in-
structor for him, when a painter (whose only recom-
mendation probably was an acquaintance with the
family) of the name of Tobias Verhaest was accepted ;
but the penetrating scholar soon discovered his master's
deficiencies, and quitted him to enter the school of
Van Oordt, or Noordt, an artist at that period of some
celebrity, but whose works, consisting of familiar
subjects and portraits, have, like those of many others
of that date, long since been forgotten.
The young artist, eager to acquire knowledge,
entered this school buoyant with gay expectations, and,
doubtless, resolving in his mind to compete with his
two fellow pupils, Henry Van Baelen and Sebastian
Francks ; these intentions were, however, blighted by
the morose disposition of his instructor. The temper
of Van Oordt, so opposite to the mildness and alBfability
LIFE OF RUBENS. XV
of Rubens, soon produced dissatisfaction in the mind of
the latter — a feeling more readily excited from the
previous buoyancy of his hopes. Complaints of the
brutality of his master reached the ears of a friend of
the family, who, having satisfied himself of the truth,
recommended him to enter the school of Octavius Van
Veen, called Otho Voenius, of whose character for
urbanity he spoke in high terms of praise, and as one
fully qualified to give the aspiring genius of Rubens a
proper direction. Otho was the most celebrated
painter of his day, having studied and improved his
taste in Italy, where he resided many years in the
service of the Duke of Parma ; his superior talents had
also procured him the notice of, and the appointment
of painter to, the Archduke Albert and his consort
Isabella. Such an accomplished instructor revived
the languishing ardour of the young artist.
The amiable disposition and accomplishments of the
pupil, now in the nineteenth year of his age, soon at-
tracted the esteem of Otho Voenius, who felt a pleasure
in communicating his lessons to a mind so admirably
formed to receive them ; nor were these merely con
fined to painting, for the taste of the scholar for
literature was encouraged and assisted by the master,
and the arts and belles-lettres were mutually cultivated
by a mind so peculiarly adapted for learning. The
grateful pupil was sensible of these acts of kindness, and
pursued his studies with such ardour and delight, that,
at the expiration of four years, his friendly Mentor
declared him in possession of all that he could com-
municate in art, and that the time was then arrived
when it became indispensable, for further acquirement,
to visit Italy. The young student had long anticipated
XVI LIFE OF RUBENS.
this pleasure, and had been looking forward to it with
anxiety, doubtless created by the glowing descriptions
of the glories of the great Italian masters, whose praises
he had heard so frequently pronounced by his master.
The value and importance of the desired journey to
Italy were duly laid before his mother, and her permis-
sion respectfully solicited ; which, after some delibera-
tion, was granted. Otho Voenius being informed of
this, and feeling anxious to contribute his friendly
assistance to promote the interest and secure the suc-
cess of one whom he so highly esteemed, procured an
audience of the Archduke Albert and Isabella, for the
purpose of obtaining for his young friend letters of
introduction to the various Courts in Italy. On this
occasion the master and the scholar were received by
their highnesses in the most flattering manner, and the
generous Otho commended in the highest terms the
talents of his disciple, both as an artist and an accom.
plished scholar : of the truth of the latter, Rubens
gave ample proofs by his eloquent address in returning
thanks for the several letters with which he was
furnished by their order, and on taking leave of them
previous to his departure.
The last interview between the master and the
scholar showed their mutual satisfaction — approbation
on the one side, and gratitude on the other.
Rubens quitted Antwerp on the 9th of May, in the
year 1600, taking the road to Italy through France.
It would not be difficult to imagine what was the
subject of the thoughts of the young traveller during
his long journey from Antwerp to Italy : they were
doubtless on the bright prospect before him ; he was
hastening to that classic country whose riches in art all
LIPB OF RUBENS. XVll
concurred in praising, and which his imagination dwelt
upon with delight Plans were laid and resolutions
formed for the regulation of his future conduct; — these
all related to his beloved art, the idol of his constant
adoration.
At Venice, his first object was to visit and con-
template the works of Titian, Paul Veronese, and other
masters of that school, which at that period were seen
in all their glory ; from these, after due reflection,
he commenced making copies and detached studies.
While thus engaged, an accidental circumstance in-
troduced him to the notice of an amateur, who was so
highly pleased with his performances, that, on his
arrival at Mantua, he mentioned them in such terms of
commendation as induced the duke to engage him in
his service.
The duke's invitation was most flattering and ac-
ceptable to the artist, as he instantly foresaw that it
would not only be the means of opening to his view
the treasures of art in the palaces and cabinets at
Mantua, but would also introduce him into the highest
order of society. His introduction to the duke was
followed by a conversation on the subject of the arts,
and a reference to his country and family ; upon this
Rubens presented his letters of recommendation from
the Archduke Albert, with which the duke was so
well satisfied that he instantly named him one of the
gentlemen of the court.
He had now ample opportunity of indulging in his
favourite studies, from which neither the pleasures of a
gay court nor the polite invitations which he received
VOL. II. b
XVIU LIFE OF RUBENS.
could seduce him, his time being constantly employed
in drawing, painting, or reading.
His first interview with the duke had left an im-
pression on that prince's mind highly favourable to
him ; and subsequent conversations, in which literature
and the arts formed the chief topics, augmented that
impression. Gifted with an extraordinary quickness of
comprehension, an eloquent manner of delivering his
sentiments, possessing an extensive acquaintance with
languages, and these advantages being aided by a
handsome person and graceful manners, he riveted the
esteem of the duke, who frequently honoured him with
his presence. On one occasion, when passing near the
door of the artist s apartment, who was then engaged
on a subject relating to iEneas, and reciting to himself
some lines from Virgil, the duke suddenly entered
his room, exclaiming — " Bravo ! Rubens, the subject is
excellent."
Some time after, the duke, desirous of cultivating
the friendship of Philip III. of Spain, proposed sending
to him a splendid carriage, drawn by eight superb
Neapolitan horses; and to the Duke of Lerma, his prime
minister, a suitable present. As the estimation of these
gifts might be greatly enhanced by the quality of the
agent chosen to present them, the duke, to give them
their full efiect, selected Rubens, justly considering that
his talents as an artist would be highly agreeable to
the king, and add lustre to the present. The artist
was therefore honoured with the appointment, and in
1604 left Mantua in the character of envoy to the
court of Spain.
LIFE OP RUBENS. XIX
His reception at the court of Madrid was very flat-
tering. The king, in an audience, conversed with
him on the subject of his mission, the motive of his
journey to Italy, and glanced at the state of affairs in
the Low Countries, then agitated by disturbances ; and
on each subject the artist delivered his sentiments with
such propriety that His Majesty, in his letters to the
Duke of Mantua, expressed his high satisfaction of
the envoy.
During his residence at Madrid, the king sat to him
for his portrait, as did also several of the nobility ; and
upon the occasion of his taking leave, His Majesty
gave him assurances of his high satisfection, and sent
him presents by the hand of the Duke of Lerma.
The skill with which he had conducted the secret
commission entrusted to his care, had prepared for hira
an honourable reception from th# duke, on his return
to Mantua ; to which were added several costly presents.
These advantages and honours, however flattering, did
not detach the artist from the primary object of his
journey : having already passed more than three years
at this court, and painted many pictures for the duke
and other distinguished persons, he now felt desirous
of visiting other cities in Italy, particularly that of
Kome.
The works of Raffaelle, Michael Angelo, and the
other distinguished painters that enriched the city of
Rome, had such an overpowering effect upon his mind,
that it required the deliberation of several days before
he was sufficiently composed to commence any studies
whatever ; and no sooner was his pencil employed in
copying, than his reputation, which had long preceded,
XX LIFE OF RUBENS.
him, procured numerous applications for pictures.*
The Archduke Albert, having heard that Rubens was
at Rome, sent an order for three pictures to adorn the
church of Santa Croce della Gerusalemme in that city,
the prince having borne the title of cardinal of that
church previous to his marriage with the Infanta of
Spain. The subjects of these pictures were, " St. Helena
discovering the real Cross," ** Christ crowned with
Thorns," and " the Crucifixion."
This engagement detained Rubens considerably
longer at Rome than he bad originally intended, and
his departure from thence left some promises unfulfilled,
and rendered necessary his declining many solicitations
for pictures. His appearance in Florence was hailed
with pleasure by many distinguished persons ; but none
expressed more satisfaction at his arrival than the Duke
of Tuscany, who honoured him with a long audience,
and concluded by requesting a portrait of the artist,
to be placed in the public gaUery of the city.t While
here, he painted several capital pictures for the Grand
Duke,J and was also much engaged by many of the
* That he deeply felt and appreciated the grandeur of the Italian
school is evinced by the numerous drawings and other studies done
by him after Raffaelle, Michael Angelo, Lionardo da Vinci, Giulio
Romano, Polidoro, and other eminent artists. Several of these
drawings are in the collection of the late Sir Thomas La^vrence,
P.R.A. ; and many more may be found in the folios of amateurs.
The knowledge he imbibed by these studies may be traced in those
wonderful productions — "the Fall of the Damned," Triumphal
Processions, and Lion Hunts.
f It has been the custom for upwards of two centuries to place
the portrait of every distinguished painter, done by his own hand,
in this gallery. J See pp. U3-150.
LIFE OF RUBENS. XXI
nobility. The splendid gallery of pictures and antique
statues (particularly the latter) which forms the chief
attraction, of this city, excited his enthusiastic admira-
tion, and engaged his frequent studies. The grace
and beauty of the Venus de Medicis, and the grandeur
of Michael Angelo's works, were the theme of his
highest encomiums ; and although the appropriation
of the beauties of the antique is not very apparent in
his subsequent productions, his ideas of form having
been vitiated, in a measure, by previous impressions,
yet there is occasionally in his works sufficient to prove
that he was not insensible to the grace and majesty
of the Greek sculptures. The success which he had
experienced on similar occasions, in other cities, at-
tended his engagements here ; and, on his departure
for Bologna, he received expressions of the highest
satisfaction from the Grand Duke, accompanied by the
gift of that prince's portrait attached to a gold chain,
and several other presents of considerable value.
His stay at Bologna was short, as he had already
seen numerous examples of this school at Rome, and
was desirous of hastening to Venice; probably the
solemn grandeur of the Carracci school possessed but
few charms to arrest his progress on his second visit to
the works of the Venetian painters, whose splendid
colour had excited in him enthusiastic admiration. It
is not improbable that this journey was the result of
premeditation, the artist having, on a former occasion,
quitted Venice at the invitation of the Duke of Mantua,
since which period he had passed through the principal
cities in Italy and spent some time at Madrid, where
he had viewed everything that was excellent in art in
XZll LIF£ OF RUBENS.
those places ; and was therefore naturally desirous of
passing a few months in the exclusive study of the
works of Titian, Paul Veronese, and other eminent
Venetian painters.
Satisfied with his observations here he again returned
to Rome, to fulfil some previous engagements and to
complete unfinished works. The style of the Flemish
school, either for its colouring or novelty, appears to
have been exceedingly admired in this city. By com-
mand of Pope Paul V. he painted a picture for the
oratory of the church of Monte Cavallo, represent-
ing the Virgin and St. Anne worshipping the infant
Saviour. Various palaces of cardinals, princes, and
nobles, were also enriched by the productions of his
pencil.
The continual occupation of his time had hitherto pre-
vented him gratifying his desire to see Milan and Genoa :
to accomplish this, he was under the necessity of declin-
ing further engagements in Rome, which he quitted
about the commencement of 1607 for Milan, where, as
in other cities, he executed many capital works. For
the Ambrosian library he painted a picture of the Virgin
with the Infant Jesus in her arms, which his friend
Breughel encircled with a garland of flowers ;* he also
copied the celebrated picture of the Last Supper, by
Lionardo da Vinci. He then proceeded to Genoa, pur-
suing with the same industry his researches in art and
his pictorial labours; his reputation at all times preceded
him, and his arrival was welcomed l)y invitations and
orders from the most distinguished persons in the city.
For the Jesuits' Church he painted two large pictures
♦ Page 69, No. 205.
Il
LIFE OF RUBENS. XXlll
representing the Circumcision, and St. Ignatius heal-
ing the diseased.*
The extraordinary number of portraits and historical
compositions which he painted in this city detained
him there much longer than at any other place, except-
ing Mantua ; as, in addition to his usual pursuit, his
attention being taken with the beauty and magnifi-
cence of its edifices, he made plans and drawings of
the elevations and decorations of several palaces and
public buildings. t While thus engaged, intelligence
arrived that his mother was dangerously ill ; upon the
receipt of this news he instantly set ofi" for Antwerp, and
while on his journey thither he received the announce-
ment of her death : the shock was rendered more
severe in consequence of an absence of eight years and
five months from her to whom he owed so much. On
his arrival at Antwerp he entered the abbey of St.
Michael, where his parent was buried, and remained
there many weeks, devoted to filial sorrow. A tomb
in the church, erected by the family, records that she
died the 14th of November 1608, aged seventy years.
The honours and celebrity which Rubens had
acquired in Italy had long been proclaimed among
his countrymen, who, as soon as he appeared in public,
♦ Pages 153 and 154.
f These were subsequently engraved under his own direction,
and published at Antwerp, in 1622, entitled Palazzi Antichi e
Moderrti di Genoa, raccoUi e designati da Pieiro Paulo Bubens,
A second part appeared in 1652, folio, 189 plates. Colonel
Bentinck has in his possession a thick book containing numerous
sketches of parts of buildings, with detached portions of altars,
termini, and other architectural objects, most of which are inter-
spersed with numerous memoranda in various languages.
XXIV LIFE OF RUBBNS.
were eager to congratulate him on his return, and to
do homage to his talents : but notwithstanding the
flattering reception he met in all quarters, and the
kindnesses of friends and relations, he felt a languor
and depression of spirits, a dissatisfaction with every-
thing around him ; so much so that he determined
upon returning to Italy. The Archduke Albert and
the Duchess Isabella, to whom the character and con-
duct of the artist during his absence in Italy and
Spain were well known, being informed of his inten-
tions, and considering him too valuable an ornament
to their court to lose, commanded his presence at
Brussels ; on which occasion the duke entered into
familiar conversation with him relative to the occur-
rences in the various courts which he had visited,
particularly that of Madrid, and concluded the con-
ference by expressing a wish that he would paint the
portraits of himself and the archduchess. In order
to induce Rubens to relinquish the idea of quitting
Flanders, the duke appointed him painter to the court
with a considerable pension, and finally honoured him
with the gold key. Thus distinguished by marks of
high favour from their highnesses, and civilities from
the nobility, his meditated return to Italy was aban-
doned ; but in order to be enabled to pursue his profes-
sion free from the interruptions of a court, he solicited
and obtained permission to establish himself at Antwerp.
In that city he shortly afterwards purchased a spacious
house, which he greatly embellished, and rendered in
every respect commodious for his art.*
* Views of this house, with its courts and gardens, are engraved,
in two plates, by Harrewyns, 1684.
LIFE OF RUBENS. XXV
In the early part of the following year, 1610,
Rubens married Elizabeth Brant, daughter of John
Brant (a doctor of laws and municipal secretary of
Antwerp), and of Dame Clara de Moy, sister to his
brother Philip's wife. Hitherto the painter had not
exhibited any of his works at Antwerp, although
many applications for that purpose had been made
by amateurs and others interested in matters of art
Among the most eager to see his productiona were
Cornelius Jansens and Wenceslaus Koeberger, painters
of some eminence. The former had the temerity to
send him a challenge for a trial of skill in the art, the
decision of which was to be submitted to the connois-
seurs of the Pays Bas. Rubens good-humouredly
replied, "that his pictures had long since passed the
" ordeal of the connoisseurs of Italy and Spain, and
" that Jansens was at liberty to expose his in the
" same way, when and wherever he pleased."
The archduke and duchess shortly after summoned
Rubens to court ; he was then nominated a councillor,
and held his first conference with the ministers in the
presence of their highnesses, who, at the conclusion,
were pleased to express their warmest approbation
of the wisdom and eloquence he had displayed in the
cabinet : at the same time they signified a desire that he
would paint a picture of the Holy Family to decorate
the oratory of their private chapel.* This picture
raised the painter exceedingly in their estimation, and
its exhibition in the apartments of the palace excited
universal approbation ; confirming what fame had
previously announced. The nobles of the court, and
* Seep. 231, No. 812.
XXVI LIFE OF RUBENS.
several other distinguished persons, members of the
Order of St. Ildefonso,* being struck with the extra-
ordinary beauty of the picture, requested the artist to
paint one for the altar of their chapel, in the church
of St. Jacques de Caudenberg, the subject of which
should represent some passage in the life of their
tutelar saint.
The picture was shortly after produced (a sketch
having been previously made and submitted to the
brotherhood) ; it represented the Virgin investing
St. Ildefonso with the chasuble t of his Order.;]: The
talents and genius of Rubens were now universally
acknowledged. Patronised by the Court, and honoured
in a particular manner by the Archduke Albert, —
esteemed by the nobles and courted by the clergy and
other wealthy individuals, he found such numerous
demands for the employment of his pencil, that it was
quite impossible that his individual exertions could
satisfy them ; he therefore received into his sttidio
several talented youths, whom his ready manner of
* An order originally m«tituted in Portugal during the vice-
royalty of the archduke, and through his interest transferred, with
all its privileges, by a special bull, to Brussels, in 1596. Of this
distinguished order the archduke-cardinal was chief, and among its
members were found the names of nineteen Knights of the Golden
Fleece, and nearly the whole of the nobles of the court. The
solemn respect in which this institution was held induced a friend
of the artist to advise him to register his name for election as one
of its mem])ers, to which he prudently replied, that he desired
nothing more sincerely, quoting at the same time the proverb,
Beg's cul eremplum tottis componitur orhis.
f Chasuble, a term frequently used in this work, signifying the
splendid mantle worn by a Catholic priest.
J For description see p. 91, No. 295.
LIFE OF RUBENS. XXVU
instruction soon made competent to commence and
even to forward his large pictures : some of these
became excellent painters, and were employed by him
on all his great works. The wealth of the bishops
and priests, and the zeal which at that period actu-
ated all classes to enrich and embellish their churches,
brought an immense demand for pictures ; and during
the space of' ten years he was constantly engaged in
designing and completing many of those grand altar-
pieces which are described in the following catalogue ;
besides these, he produced numerous sketches and
small pictures, painted wholly by his own hand.
The history of his life now approaches that memor-
able epoch when he undertook the celebrated series of
twenty-one pictures, illustrative of the important events
in the life of Marie de Medicis; for this princely
order he was indebted to the Baron de Vicq, then
ambassador from the Archduke Albert and Isabella to
the Court of France, who being, among others, con-
sulted by the Queen respecting an artist capable of
such an undertaking, mentioned his countryman ; at
the same time eulogizing his merits, not forgetting to
mention the high esteem in which he was held by his
royal master. The Queen, satisfied with this recom-
mendation, requested the baron to write to the artist,
and invite him to her court
Rubens lost no time in presenting himself at the
residence of the ambassador, by whom he was in-
troduced to the Queen, who honoured him with instruc-
tions relative to the pictures required. The artist, on
his part, promised to use every exertion to expedite
them ; and added a request that, for the greater
XXVIU LIFE OF RUBENS.
convenience of study and painting, he might be
allowed to execute them in his painting-room at
Antwerp, which was readily granted.
A grateful acknowledgment of the friendly service
of the ambassador was the first object of the artist, on
his return to Antwerp ; and the best efforts of his
pencil were employed on a picture representing the
Virgin and child, which he instantly sent as a present
to the baron, at Paris. On a subsequent occasion
he painted the portraits of the baron and his lady, in
his most finished manner.
Having thoroughly acquainted himself with the
history of the life of Marie de Medicis, and arranged
all the principal events in due order, he made spirited
sketches of each subject ;* these he gave to his pupils
to work from,t under his constant superintendence;
by which means this prodigious work was completed in
less than two years.;]: While engaged in this profitable
undertaking, a miserable painter, of the name of
Brendel, whose mind was affected by the pursuit of
alchymy, proposed to Kubens to associate with him in
the search of the philosopher's stone; to which he
replied, '' My friend, you are come too late. Twenty
" years ago I might have been tempted to listen to
" your offer, but I am now in possession of the object
* Now in the Munich Gallery.
t At this period he had, as assistants or pupils, Van Dyck,
Justus Van Egmont, Jacques Jordaens, Peter Van Mol, Cornelius
Schut, Jan Van Hoeck, Simon de Vos, Deodato Delmont, Nicholas
Vander Horst, Snyders, Mompers, and Wildens ; the three latter
being exclusively occupied in painting animals and landscapes.
X For description see pp. 121 to 127, inclusive.
LIFE OF RUBENS. XXIX
'^ of your researches;'^ and, showing his pencils, ob-
served, " these have long since obtained the magic
** power of turning all they touch into gold."
As soon as these pictures were completed, the artist
accompanied them to Paris, in order to finish the
portraits of several of the principal characters, and
superintend the placing of the pictures in the Palace
of the Luxembourg : while thus engaged, he was
frequently honoured with visits from the queen, who
took a particular pleasure in his conversation, and
would sometimes place herself by his side and forbid
him to rise from his seat. The completion of these
pictures was succeeded by an order for four portraits,
viz. that of the Queen, in the character of Bellona, the
Grand Duke and Duchess of Tuscany, and of the
artist himself When the series was finished, the
queen entered the gallery on the day they were
arranged, attended by many distinguished persons, and
was conducted by the painter through the appartment,
when he explained to her majesty the meaning of the
numerous allegories introduced by him for the purpose
of pictorial illustration. The great satisfaction ex-
pressed by her majesty at the manner in which he
had performed his task, and the praises she bestowed
on the several pictures, were reiterated by the com-
pany ; many pressing invitations were given to him to
reside at Paris and attach himself to the court : to all
which he replied, " That, being engaged by every tie
" of gratitude to his own sovereign, to whom he owed
** his best services, he was under the necessity of
" declining the honour proposed." A few days after
he obtained an audience of the queen, when her
XXX LIFE OF RUBENS.
majesty honoured him with many splendid presents,
and he quitted Paris on the 19th of September
1622.
During his residence in Paris, he was accidentally
introduced to the Duke of Buckingham, then in France
upon some political affair f and the conversation that
ensued, being also of a political nature, was the cause of
Rubens's visit to the English Court. A second inter-
view occurred between them at the hotel of the duke,
when the subjects of the misunderstanding between
the Courts of England and Spain was the topic of their
conference.
On his return to Brussels, the nature of these con-
versations was faithfully detailed in an audience with
the Archduchess,t when the princess expressed her
high satisfaction at the disclosure of the conciliatory
disposition of the English Court, and desired Rubens
to cultivate the friendship of the Duke of Buckingham
by continuing the correspondence, the result of which
should be communicated to the Court of Spain. In
some of the letters which subsequently passed between
them, the duke proposed to purchase the splendid
collection of pictures, statues, bas-reliefs, and gems,
which composed the cabinet of the artist, for the ac-
quisition of which the duke was so anxious, that he
♦ Michel, in his Life of Rtibensy says, tliat the Duke of Buck-
ingham was then in France, with other English noblemen, upon the
occasion of the proposed marriage of Prince Charles with Henrietta-
Maria ; but as this event did not take place until two years later,
either some other business must have called him to Paris, or there
is a considerable error in the dates.
j" The Archduke Albert died the preceding year, 1621.
LIFE OF RUBENS. XXXI
sent an agent, named Blondel,* conversant with the
value of objects of art, who took an inventory of every
article, and gave his opinion of the value. An ojBfer of
100,000 Jlo7nns was noade for the whole collection; this
sum was accepted, on condition that the purchaser
should, at his own expense, leave casts of all the finest
statues, busts, and bas-reliefs, to fill the vacant places ;
these terms being mutually agreed upon, the whole
were sent to England, in 1625.t
The friendly understanding between the Duke of
Buckingham and Rubens, which commenced at Paris,
was shortly after renewed by a visit from his Grace
to the house of the artist, at Antwerp, where it is
probable that the duke sat to him for his portrait (and
not at Paris, as stated by Michel) ; and the duke's
frequent visits to the artist s house afibrded him oppor-
tunities of examining the extensive collection which
he afterwards purchased ; for it is not reasonable to
suppose that he, the duke, would have consented to
pay so large a sum of money for what he had never
seen. Such an intercourse also enabled him to judge
of the diplomatic talents of the artist, and to acquaint
himself with the influence which it was said he pos-
sessed at court. This intimacy probably led to his
*.The portrait of this gentleman is painted by Van Dyck.
f In this capital collection were nineteen pictures by Titian,
twenty-one by Bassan, thirteen by P. Veronese, eight by Palma,
seventeen by Tintoretto, three by Lionardo da Vinci, three by
Baffaelle, and thirteen by Kubens. Previous to the sequestration
of the Buckingham estate, in 1649, a great part of this collection
was sent to Antwerp for sale, and were purchased by the Archduke
Leopold for his collection at Prague; they are now in the Belvidere
Gallery, at Vienna.
XXXll LIFE OF RUBENS.
accompanying the duke and Prince Charies the fol-
lowing year (1623) to Madrid.* During his residence
in this city, on that occasion, Rubens, by the desire of
Philip IV., copied several fine pictures of Titian,t which
Prince Charles had particulariy admired : when these
copies were finished, it was expected that Philip would
present them to the prince ; but the generosity of the
monarch towards his guest scarce knew any bounds ;
— he kept the copies for himself, and sent Charles
the originals : these were afterwards returned to the
king, when the prince, at the instigation of Bucking-
ham, broke his engagements with the Infanta.;]: Philip
having completed his hunting-seat in the neighbour-
hood of Madrid, applied to Rubens for a series of
suitable pictures to decorate it ; and sent him, at the
same time, the sizes and a description of the situations
in which it was intended to place them. The pic-
tures were executed at Antwerp, and represented
hunting subjects ; the animals being painted chiefly by
Snyders and Paul de Vos, and the landscapes by Wil-
dens, Mompers, or Van Uden.§ His majesty, desirous
* Michel, in his Life of Rubens^ takes no notice of this journey,
and several subsequent events render this statement doubtful.
t Seei?p. 136 and 137.
J Vide Cumberland's Anecdotes of Spanish Painters, Vol. II.,
pp, 168-172.
§ These auxiliary painters were once vain enough to think that
their assistance was indispensable to Bubens, and boasted of this at
a dinner among themselves. Their imprudent vaunting reached
his knowledge, and, to convince them of their arrogance, he soon
after painted two magnificent pictures of Hunts, done wholly by his
own hand ; he then good-naturedly observed to them, that their as-
sistance was no further necessary to him than to forward his works
LIFE OP RUBENS. XXXUl
of conferring a mark of distinguished regard on his
favourite, the Duke of Olivarez, and at the same time
to merit the esteem of the Order of Carmelites, for
whom the duke had recently erected a convent at
Loeches, commissioned Rubens to paint some pictures
to adorn the hall of that Order ; and these he executed
in his grandest style and richest glow of colour.* The
same year (1623) he painted the altar-piece for the
church of St. Rombout, at Malines, t and at the com-
mencement of the following year produced the capital
picture of '* the Adoration of the Magi," for the church
of St. John in the same city. J
His tranquillity suffered a painful interruption by the
loss of his wife, Elizabeth Brant, who died the 29th of
September 1626, leaving him two sons, Albert and
Nicholas.§ She was buried in the tomb of his revered
mother, in the abbey church of St. Michael, and Rubens
decorated the altar with a picture which he had exe-
cuted in Rome for the church of Sante Croce, but which,
when done, was found too large for the place originally
intended for its reception.||
The death of his beloved partner interrupted his
favourite pursuits, and rendered his home uncomfort-
able. In order to dispel his grief, and divert his attention
from objects which incessantly renewed the remem-
brance of his loss, he quitted his residence on a tour
* For descriptions, see pp, 138-141.
t Seejp. 48, No. 125. % See pp, 43-44.
§ Albert, for whom the archduke stood sponsor, became secre-
tary to the privy council ; and Nicholas, Lord of Ramyen and other
places.
II See J?. 10, No. 18.
VOL. II. G
XXXIV LIFE OF RUBENS.
through Holland, with an intention of visiting in his
route every artist of eminence. His first stay was at
Gouda, where he called upon a painter named Jacob
Roger Block, eminent in architectural subjects, of whom
he bought several pictures ; at this place he had the
pleasure of meeting Sandrart, an artist of considerable
talents, with whom he had been on intimate terms
at Rome : the encounter was mutually agreeable, and
ended in a proposition from Sandrart to accompany
him in his intended tour, an oflfer which was gladly
accepted, as his amiable manners and learned conver-
sation rendered him a valuable companion. Their
first visit at Utrecht was to Cornelius Poelemburg,*
with whom they had become acquainted in Italy, when
he was in the school of Elsheimer : his productions in
art, representing tasteful landscapes, embellished with
the ruins of temples and groups of nymphs and other
figures, were greatly admired by Rubens, who became
the purchaser of several. They spent the follow-
ing day with Gerard Honthorst, whose works had
often attracted the admiration of Rubens by their
singularly-powerful eflFect. Gerard was at the time
engaged in putting the last touches to a picture, the sub-
ject of which was — Diogenes at mid-day, with a lantern
in his hand, looking for an honest man : of this Rubens
also became the purchaser. In this manner, during a
fortnight, were the two friends engaged visiting every
* Poelemburg has commemorated this event, by painting the
portraits of himself in conversation with his friend Rubens ; they
are represented standing together in the fore-ground of a landscape.
The latter is seen in a profile view, without his hat, habited in a
scarlet mantle ; the wife of the former is seated on a bank before
them. Size of the picture 18 in, by 26 in, — P.
LIFE OP RUBENS. XXXV
artist of repute at Amsterdam and other cities, con-
versing with them in the most friendly manner, and
never quitting their painting-rooms without purchasing
some of their works. Whether his visit to Holland had
any object of a political nature, as Michel insinuates, is
noteasy at this time to determine ; although it is pos-
sible that his sagacity as a politician might have com-
bined the two motives. The candour, generosity, and
noble-mindedness of Rubens were manifest on all occa-
sions towards his brother artists ; an instance of this,
in addition to those already stated, occurred on his
return to Antwerp. Van Dyck, who had recently
returned from Italy, complained that the productions of
his pencil did not furnish him enough for his mainte-
nance : this declaration most sensibly affected Rubens,
who went the next day and bought every picture he
had finished. This and similar acts of generosity did
not, however, secure him from the jealousy and malevo-
lence of Cornelius Schut, who took every opportunity to
decry his works. Rubens, though informed of this, was
determined, by an act of kindness, to make Schut his
friend : he called upon him, and, in a familiar conversa-
tion, passed some handsome compliments upon his pic-
tures, at the same time enquiring if he were disposed to
sell them, to which Schut readily consented. Rubens
liberally took them at the price demanded ; and, before
he left Schut, added, that if at any time he was disen-
gaged, he would be glad of his assistance. These acts
of urbanity had but little influence upon the morose
and envious mind of Schut.
The correspondence between Rubens and the Duke of
Buckingham, being occasionally of a political nature, was
XXXVl LIFE OF KUBBNS.
regularly communicated to the King of Spain ; and a
secret disposition existing in both courts to terminate all
diflFerences, it was arranged, by the advice of the Marquis
Spinola, then prime minister to the Archduchess Isabella,
to send Rubens to Madrid, to lay before the king all
matters relative to the aforesaid correspondence, and to
receive instructions for a proposed mission to the En-
glish Court. Rubens arrived at Madrid in September
1627,* and was received with much distinction by the
king, with whom and his minister, the Duke of Olivarez,
he had frequent conferences, in all of which he gave the
most satisfactory proofs of his diplomatic talents. The
king was further confirmed in his high opinion of
Rubens, by his wise and prudent observations in an
affair of difficulty, on which His Majesty purposely
sounded him ; and the Duke of Olivarez emphatically
declared, that he knew no one more capable of con-
ducting an affair of state.
A singular event, which excited much conversation
at the time, occurred during the residence of Rubens
in this city. John, Duke of Braganza, afterwards
King of Portugal, hearing repeatedly of the extraordi-
nary merit of the artist, and of the high esteem in
which he was held at Madrid, expressed a strong
desire to see him, and sent an invitation for that pur-
pose from his hunting-seat at Villa Vizzosa. The
honour was readily accepted, and permission being
obtained of Philip, Rubens made suitable prepara-
tions for the journey ; many gentlemen of distinction
* Cumberland makes it April 1628 ; but this statement is not
confirmed by subsequent events.
LIFE OP RUBENS. XXXVll
requested that they might be allowed to escort him,
being curious to see the Portuguese Court. When the
cavalcade reached the environs of Villa Vizzosa, the
duke, being informed of the approach of Rubens with
a large retinue, became apprehensive of the expense,
and dispatched a gentleman to meet them, and
apologize to Rubens for his unavoidable absence on
affairs of state at Lisbon, and at the same time to
present him a purse, containing fifty pistoles, to defray
the expenses of his journey. The company was ex-
ceedingly surprised at the ungracious message ; but
Rubens, with becoming dignity, replied : " I beseech
you. Sir, to assure the duke of my humble duty, and
that having, in obedience to his wishes, made this
journey, I am exceedingly mortified in being de-
prived of the honour of offering my services to his
commands; and I trust his highness will deign
to believe, that the object of this journey was not
the expectation of fifty pistoles, having myself pro-
vided one thousand pieces of the same money for the
expenses of the visit.'
The tedious delays of court politics had already
detained Rubens at Madrid eighteen months ; * during
which time (although confined some weeks with the gout
in his feet) he completed eight pictures for the large
saloon of the palace; among these were the "Rape of the
Sabines,'' and the companion. He also painted several
* Cumberland says nine months, a period far too short for the
artist, even with all his miraculous expedition, to have executed the
great number of works which this writer attributes to his pencil,
among which is a capital altar-piece of the Martyrdom of St.
Andrew.
XXXVIU LIFE OF BUBBNS.
portraits of PhUip IV., one of which was half-length
size, done as a companion to a portrait of the Infanta,
for the Archduchess Isabella. In addition to these were
five or six portraits of illustrious persons. Towards the
latter end of August 1629, he received his final in-
structions ; and being also furnished with his creden-
tials for the British Court, he was honoured with an
audience by the king previous to his departure, when
his majesty, in token of his high satisfaction, and the
confidence he entertained of his prudence and ability,
presented him with a valuable diamond ring and six
Andalusian horses ; he also nominated him, by letters
patent, secretary to the privy council, with a reversion
of the same to his son Albert. Immediately on his
return to Brussels, his instructions were laid before the
archduchess, who, having examined them with her
minister Spinola, signified her entire approbation of
their contents, and an order was issued for his
immediate departure for England.
The arrival of Rubens in London, on this secret
mission from the Courts of Spain and Flanders, oc-
curred in October 1629. His great friend, the Duke
of Buckingham, had been dead upwards of a year; and
the object of his arrival being then a profound secret,
it was necessary to procure an introduction to the
Chancellor, Lord Francis Cottington. In this he suc-
ceeded a few days after ; and, in the first conference he
held with that nobleman, had the good fortune so to
ingratiate himself, that he informed the King of the
artist's arrival. His Majesty, to whom the merits of
the painter had long been known and highly appreciated,
desirous of learning the motive of his journey, named
LIFE OF RUBBNS. XZXIX
an early day for his admission to an audience. In this
interview, the King interrogated him on a variety of
subjects — of his family, the Spanish Court, his travels
and profession — to which his replies were given with
so much candour and eloquence, that the King was
surprised to find such an union of talents in one person.
His Majesty, desirous also of seeing the productions of
his art, appointed a day when he would honour him
by sitting for his portrait*, which took place soon
after; while thus engaged, the subject of the pre-
vious conversation was renewed, which, gradually
assuming a more definite character, ultimately gave the
sagacious artist an opportunity of explaining himself
more fully, concluding with the observation, " that
if the two Courts were reciprocally disposed to ar-
range their differences, the means were at hand."
To which Charles replied : " If the King of Spain is of
" this opinion (as you seem to indicate) why does he
** not send some one to open a negotiation ?" This
was the expected question ; to which the following
ready answer was given : " Sire, if I might presume to
the honour of being acceptable to your Majesty in
that capacity, I could explain myself more openly
on the intentions of the king ray master, in virtue of
the credentials with which his majesty has furnished
me." The King was much pleased with this dis-
'*' There is no reason to doubt that His Majesty sat to him
for his portrait ; yet it is not a little remarlcable, that no notice
occurs in any of the royal catalogues, or by writers of the period, of
the existence of such a portrait, and it surely could not be that in
which the artist has represented the King in the character of St.
George.
xl UFB' OF RUBBN8.
CO very, and having inspected his appointment, returned
it with compliments of the most agreeable and flat-
tering description, bidding him place his papers in the
hands of Lord Francis Cottington, who would receive
his propositions. In this interview there does not
appear any recognition of Rubens on the part of His
Majesty, which, in all likelihood, would have been the
case, had he accompanied the King and Buckingham to
Spain in 1623, as stated by Cumberland. In all their
subsequent conferences, the prudeuce and ability of
Rubens in negotiation were attended with so much suc-
cess that, by the end of December in the same year, the
differences between the two countries were satisfactorily
arranged, and, in November 1630, the conditions ratified
by the contracting powers ; the plenipotentiaries being
Lord Francis Cottington, on the part of Great Britain,
and Don Carlos Colonna, on that of Spain.
The preceding negotiation was conducted to a con-
clusion so much to the satisfaction of King Charles, that
he rewarded Rubens with the honour of knighthood, on
the 21st day of February 1630,* presenting him, at
the same time, the sword with which he had performed
the ceremony ; and, as a further mark of distinction,
added to the quartering of his arms, on a dexter canton,
guleSf a lion passant, or. Shortly after, when the dig-
nified artist paid the usual homage to His Majesty,
previous to bis departure, the King gave him a diamond
* Michel states, that this ceremony was performed in full Parlia-
ment ; while other writers allege that it took place in the Palace of
Whitehall. The latter appears to be the most probable, although
Michel takes his account from the writings of Gevartius, to whom
Bubens is said to have communicated the principal events of his life.
UFB OF RUBKNS. xll
ring from his finger, the loop from his hat (worth
10,000 crowns), and his portrait attached to a gold
chain.* Pending the negotiations, the artist, by the
desire of His Majesty, painted nine large pictures for
the ceiling of the Hall of the Ambassadors, at White-
hall,t representing, by a variety of allegorical figures,
the prosperity and the good government of James I. ; f
for which splendid work he was paid 3,0Q0l. He also
painted the portrait of the King, in the character of
St. George ; § an allegorical composition, representing
Peace and War ; || and a design, en grisaille j for a mag-
nificent silver salver. For the Earl of Pembroke he
executed an altar-piece, the Assumption of the Virgin.
* There is still an honour due to the memory of the artist, which
this coimtry must ever gratefully acknowledge. To his recommen-
dation and assistance England is indebted for the possession of those
invaluable treasures in art, the Seven Cartoons, by Raffaelle, bought,
in Flanders, by Charles I., for a mere trifle. These pictures are
now equal (if not superior) in value to any seven produced by that
divine painter.
f Sometimes styled the Banqueting-Room, and at present the
chapel.
X Basan states, that Rubens painted the sketches only in England,
and that the large pictures were done at Antwerp, as was his usual
custom in all large works. For description, see p. 234.
§ Page 162. || Page 161.
** There is a letter extant, in the Museum, dated March 6, 1630,
which states, that ^* My Lord of Carlisle hath twice in one week
" most magnificently feasted the Spanish Ambassador, and M. Ru-
'* bens also, the agent who prepared the way for his coming, and
'* who, in honour of our nation, has drawn with his pencil the
" history of St. Greorge, wherein (if it be possible) he hath exceeded
" himself ; but the picture he has sent home into Flanders, to re-
'* main as a monument of his abode and employment here." This
xlii LIFE OF RUBENS.
A council was held immediately on his return to
Brussels, when, after some preliminary arrangements, it
was determined that he should proceed forthwith to the
Spanish Court, to assist in the formation of a treaty of
commerce, as well as the adjustment of some differences
between Flanders and the States of Holland, and to give
explanations of the various articles comprised in the
recent negotiations. On this occasion his appearance at
Madrid assumed a more distinguished character than it
hitherto had done ; and his reception from the king,
the ministers, and the court, was accordingly more
dignified and imposing. His majesty, at the conclusion
of this affair, honoured him with the Order of the Gold
Key ; * he also confirmed, by letters patent, dated 21st
of August 1630, the title of knighthood bestowed by
Charles I. of England ; and before his departure Rubens
received from the Duke of Olivarez, on the part of his
majesty, presents of considerable value.t
Rubens, having successfully accomplished the several
cannot have been a copy of the one which he presented to His
Majesty, as stated by some writers, as no such picture appears in
the catalogue of the artist's effects ; nor indeed is any second picture
of the subject known to the Writer. It is, therefore, highly pro-
bable that it was the original, which was subsequently purchased
of the artist by Mr. Endymion Porter, for the King.
* In the collection of the Right Hon. Earl Spencer is a mag-
nificent whole-length portrait of Rubens, p>ainted by Van Dyck ;
he is habited in black, having a gold key, the emblem of that
Order, placed in his girdle.
fA period rendered additionally memorable by the arrival of
Marie de Medicis at Brussels, who, in the month of July in that
year, took refuge there, in consequence of the misunderstanding
between her and Louis XIII.
LIPS OF RUBBNS. xliu
diplomatic miBsions in which during three years he had
been consecutively engaged, returned to his residence at
Antwerp, to enjoy the wealth and honours which his
merits had acquired. In the following year (1631) he
married a second wife, named Helena Forman, a lady
of great personal beauty and accomplishments, then in
her sixteenth year. His long absence from home had
occasioned a suspension among his countrymen of that
zeal for the arts which had previously prevailed; and it
might have been expected that, returning as he did from
the splendour and luxury of courts, he would rather be
disposed to indulgence than to resume the arduous
(although delightful) pursuit of painting : but the con-
trary was the fact, his love of the art being paramount
to every other inclination. This was verified by his
accepting the same year the oflBce of Director of the
Academy, in conjunction with Wautier Snayers, a
duty he performed voluntarily, being, by virtue of his
privilege as councillor, exempt from all civic services.
In compliance with an ancient custom, he presented the
academy with a chair covered in morocco leather, on
the back of which was inscribed " Petrus Paulus
RuBBNS, 1631," and which is still carefully preserved
in the Academy. He also gave an inauguration picture,
representing the Virgin with the youthful Jesus and
St. Joseph.*
His first grand work, on resuming his pencil, was a
magnificent altar-piece for the abbey church of
Affleghem, representing Christ bearing his Cross to
Calvary : t this glorious production, an incontestible
♦ Page 24, No. 83. t ^^8® ^6.
Xliv LIFE OF RUBENS.
proof of his undiminished powers, was followed by
the celebrated picture of St. Roch healing the Dis-
eased.* In this manner he continued for some months,
in domestic tranquillity and the uninterrupted enjoy-
ment of the arts. From this state he was suddenly
summoned to Court, in consequence of hostilities be-
tween Flanders and Holland, in 1633, to receive in-
structions from the Marquis d'Aytona, then prime
minister to the Archduchess Isabella, relative to pro-
positions for a truce, in order to gain time to obtain
succours from Spain. Rubens, on this mission, using
his customary precautions to conceal the object, arrived
at the Hague, by a circuitous route, in the disguise of
an ordinary traveller. His ingenuity soon contrived
means of opening a negotiation with the leaders of the
council ; and he had made considerable advances in the
object of his mission, when the sudden death of Prince
Maurice of Orange put an end to the treaty. Soon
after the war was carried on with increased vigour to
the advantage of the Dutch ; the Court at Brussels,
alarmed at the success of their enemies, and fearful of
the consequences, again dispatched Rubens on a secret
commission to the Hague ; the result was, that the
States-General expressed a willingness to treat with
accredited ministers from the Courts of Madrid and
Brussels for a permanent peace, which was speedily
accomplished through the judicious arrangement pre-
viously made by Rubens. Scarcely had he returned to
his family and resumed his usual occupations, when
news reached him of the dangerous illness of the Arch-
♦ Page 42.
LIFE OF RUBENS. xlv
duchess Isabella, which terminated in her death, on the
Ist of December 1633, in the sixty -seventh year of her
age. Her loss was severely felt and deplored by the
grateful artist, who was sensible that he owed much to
her patronage and protection as well as that of the Arch-
duke Albert ; for, under their joint auspices, his talents
had been fostered, and to them he was, in a great mea-
sure, indebted for the honours and distinctions he had
attained.
The government of the Low Countries having been
settled conditionally by Philip II. of Spain, on his
daughter Isabella, at her marriage with the Archduke
Albert of Austria, by their deaths, in default of heirs,
it reverted again to the crown, and became vested
in Philip IV., who, at the commencement of the fol-
lowing year, appointed his only brother, Ferdinand,
governor-general. At that period a misunderstanding
had arisen between the Swedes and Hungarians ; and
previous to the prince taking possession of his govern-
ment he was sent by the king, his brother, at the head
of a powerful body of Spanish troops, to assist the
Austrian and Hungarian forces, assembled under the
command of Ferdinand III., King of the Romans and
Hungarians, and brother to the Emperor Ferdinand 11.
The enemy's troops, composed of Swedes and Germans,
were commanded by Gustavus Horn. Scarcely were the
combined forces, under the command of Ferdinand, as-
sembled on the heights in front of the city of Nortlingen,
when, on the morning of the 5th of September 1634,
they were furiously attacked by the enemy, and a san-
guinary battle ensued, which ended in the defeat of the
Swedes and Germans ; among the numerous prisoners
Xlvi LIFE OF RUBENS.
was the commander-in-chief. Immediately after,
Prince Ferdinand assumed the reins of Government
at Brussels, and Rubens appeared at his court.
The mayor of the city of Antwerp, being informed
that it was the intention of the prince to visit that city
in the ensuing May, resolved, with the consent of the
authorities, to grace his entrance with dignity and
splendour by the erection of eleven triumphal arches,
placed at the entrances of the principal streets. In
order to accomplish this intention in a suitable manner,
the senate requested Rubens to make the necessary
plans, and Jpose the decorations, setting forth, in a
series of allegorical pictures, the virtues and heroic
actions of their new governor. The numerous sketches
and studies made by the artist for this work, and the
completion of the iamiense pictures under his direction
(in many instances terminated by his own hand) prove
his prodigious powers of invention and his indefatigable
application.
Prince Ferdinand, accompanied by a numerous
suite, quitted Brussels early in May, and proceeding
by the canal in a splendid barge, arrived the same
evening at the suburbs of Antwerp. The following
morning a splendid cavalcade, composed of Spanish
nobles, ministers of state, the mayor and senate, with
the various companies and religious orders of the city,
accompanied the prince in procession through all the
triumphal arches, and, in the absence of Rubens, who
was then unfortunately c^onfined by the gout, the alle-
gories were explained to the Prince by the burgomaster.
Chevalier Robert Tucher. Rubens was, however,
consoled for the disappointment he suffered, in conse-
LIFE OF RUBENS. xlvii
quence of his malady, by the kindness of the prince,
who condescended to visit him at his house, where he
remained a considerable time in conversation with
him, and examining the rich collection of pictures,
statues, and other objects of art with which his
mansion abounded.
He now bade adieu to the Court and all political
affairs; the few remaining years of his life were
devoted to the enjoyment of domestic peace, and the
agreeable pursuit of his favourite studies. Occasionally
he passed a few months at his ch&teau of Stein, near
Malines, where he amused himself in painting those
delightful landscapes which excite the admiration of
every connoisseur, and are alone suflScient to immor-
talize his name : many of these were probably the last
efforts of his pencil. He still had abundance of occu-
* pation for himself and assistants, as appears by letters
dated 1637 and 1638, written to a Mr. Geldorp, in
answer to an order for an altar-piece representing the
martyrdom of St. Peter, destined for the church dedi-
cated to that Saint at Cologne.^ From various causes
(perhaps his declining health was one) this picture was
not completed for three years, and it remained in his
possession until his decease. His increasing debility
during the last two years of his life confined him
entirely to easel pictures, sketches, and drawings ; his
attention was also much engaged in superintending the
engraving of his works, t which were executed in a
* For description, see 2;. 111.
t To this he appears to have always paid the most vigilant atten>
tion, as is manifest hy most of the prints differing more or less
from the pictures ; omissions, additions, and alterations in forms
xlviii LIFE OF RUBENS.
style that must immortalize the painter and engravers.
The names of Pontius, Bolswert, and Soutmau, will
ever be connected with that of Rubens, and partake of
the radiance of his glory. Many severe attacks of the
gout embittered the last years of his life, and left him
but short intervals of repose ; in these moments he
would amuse himself with his folios of drawings, or
trace with his feeble hand the subjects of his still fertile
imagination. The increasing severity of the malady at
last deprived him of these solaces, and he sunk under
its effects, on the 30th of May 1640, in the sixty-
third year of his age.
His funeral was performed with solemn pomp. The
procession consisted of the clergy of the collegiate
church of St. Jacques, in which the body was interred,
and several orders of the poor, to whose comfort he
was a liberal contributor. On each side of the bier
were sixty orphan boys with torches ; these were
followed by the chief officers of the city, many noble-
men, merchants, and citizens of Antwerp, and the
members of the Academy of Painting.
The person of Rubens is described to have been of
just proportions ; his height about five feet nine inches
and a half ; his face oval, with regular and finely-formed
features; dark hazel eyes; a clear and ruddy complexion,
contrasted by curling hair of an auburn colour, with
or effect, were made by his own hand, in chalks, on the prints in
their progressive state — drawings having been previously made for
the engravers either entirely by his own hand, or commenced by
his best pupils under his direction, and finished by himself. By
these means the truth and spirit of the pictures were given by the
engravers.
LIFE OP RUBENS. xlix
mustachios and beard ; his carriage was easy and noble ;
his introduction and manners exceedingly graceful and
attractive ; his conversation was facile and engaging ;
and, when animated in discourse, his eloquence, delivered
with full and clear intonation of voice, was at all times
powerful and persuasive. He would converse freely
with those who visited him, and at the same time pursue
the operations of the pencil, or attend to the reading of
some classical author ; a practice to which he had much
accustomed himself. His habits were to rise early,
attend the service of the church, and afterwards employ
himself in sketching or drawing ; having breakfasted, he
would enter his painting-room and examine the progress
of his scholars, correct their works, and direct their
further proceedings ; his lessons, conveyed with perspi-
cuity, were illustrated by such excellent examples that
his pupils soon became capable of forwarding all his
large works. In the evening he frequently rode on
horseback, or walked on the ramparts of the city. He
seldom visited, but was always happy to receive those
who came to his house. The supper hour was generally
cheered by the society of some friends, chiefly of learned
men or eminent painters ; among the former were
Nicholas Rockox, the burgomaster of the city, and
Gaspard Gevartius.*
The goodness of his disposition is manifested in various
* Gaspard Grevartius was born at Antwerp, in 1593 ; he waa a
jurisconsult, councillor, and historian, to the Emperor Ferdinand III.,
and author of a learned description, in Latin, of ancient triumphal
arches. His portrait, by Rubens, when about the age of forty-
five, is now in the possession of the Baron de Boos, of Brussels. —
See p. 264.
VOL. n. d
I LIFE OF RUBENS.
parts of his memoirs, and his nobleness of mind is appa-
rent on all occasions : witness his kindness to the orphan
children of his friend Breughel, who found in him a
parent and protector ; also his urbanity and munificence
towards contemporary artists, in aiding them in their
profession, and purchasing their works. The arrogance
of Jansens and the envy of Schut were punished only by
' kind advice and generous assistance, and the imprudent
vaunting of Snyders and Wild ens was silenced by a can-
did and unequivocal conviction. His collection showed
that every artist of merit in his time found in him a
friend or a patron. The work.s of Breughel, Brauwer,*
Van Dyck, Jordaens, Snydei's, Honthorst,Poelemburgh,
De Vos, Wildens, Snayers, formed a considerable part
of his cabinet ; nor is his modest and conciliating dis-
position less evinced by the frequency with which he
enriched the pictures of other artists with figures.
His works being in constant demand, might have
justified the exaction of a higher remuneration than he
* When thia painter fled from the severity of his master, Franc
Hals, he was arrested as a spy, and confined in a prison at Antwerp,
from which he was released by the interference of Rubens, who re-
ceived him into his house, gave him employment, and recommended
his works ; but the depraved mind of Brauwer was insensible to gra-
titude, and he quitted his benefactor in a disgraceful manner, ob-
serving, that " the well-regulated house of Rubens was more insup-
portable to him than the prison of a citadel." A few years after he
returned to Antwerp in a deplorable state, and died in the hospital
two days after. As soon as Rubens was informed of the event, he
caused his body to be transferred from the obscure place of its in-
terment and placed with due ceremony in the church of the Car-
melites ; and, had his own life been spared, he would have erected a
monument to his talents, for which he had already composed a model.
LIFE OF RUBENS. H
was in the habit of requiring ; but he never suflTered him-
self to be swayed by mercenary motives. If the price
demanded was readily paid, he frequently compli-
mented his employer with an additional picture, or per-
haps his portrait. His attention to the education and
future welfare of his children is shown in the choice of
his amiable and learned friend, Gevartius, as their in-
structor ; and the distinction to which his sons arrived
proves that he made a judicious selection.
By his second wife, Helena Forman,* who survived
him, he had five children, viz., Francis, who was a
councillor; Clara Eugenia, married to Philip Van
Parys ; Elizabeth, married to Nicholas Lundens ;
Constantine Albertine, who took the veil ; and Peter
Paul, who became a priest.
By a memorandum in his will, he ordered that, in
case either of his sons should adopt the profession of
painter, or any of his daughters marry an artist, then
they, or any of them, should become possessed of the
whole of his drawings, sketches, prints, and painting
apparatus. As this did not occur, the whole of the
collection was dispersed.
His friend Gevartius was requested by the family to
compose an inscription for his monument; with which he
complied : but, to their disgrace, it remained neglected
until a century afterwards, when Jean Baptiste Van
Parys, a descendant of the family and a canon of the
church in which Rubens was buried, caused it to be in-
* A very erroneous opinion has frequently existed, that the artist
had three wives, and pictures have in consequence obtained the
appellation of " Ruben's three wives ; " but his second partner
surviving him, effectually contradicts this opinion.
lii LIFE OF RUBENS.
scribed, thereby removing from himself the reproach
of forgetfulness, which will ever be affixed to his
predecessors.
The attachment of Rubens to works of art led him in
early life to form a large collection, which he continued
to the last to augment ; even in the year previous to his
decease he wrote to his friend Quesnoy (called Fiamingo),
the celebrated sculptor, then at Rome, to send him casts
from various figures by his hand ; he had also agents who
bought for him in other parte of Italy. By these means,
and the produce of his own pencil, he had amassed im-
mense treasures ; the catalogue of his effecte enumerated
three hundred and nineteen lots of pictures, besides
carvings in ivory, ancient and modern medals, curiosities
in agates, crystal, onyx, and other rare stones. It was
originally the intention of the family to dispose of the
whole of this collection by public sale, and catalogues
were distributed for that purpose : but this project,
however, was not acted upon ; and a value having
been affixed to the several articles by Fi*ancis Snyders,
Jean Wildens, and Nicholas Moermans, they were sold
in detail. Several purchasers soon after appeared, being
the agents of the King of Spain, the Emperor of Ger-
many, the Elector of Bavaria, the King of Poland, and
of Cardinal Richelieu, who purchased a large portion
of the finest of the pictures. The whole of the
medals, carvings, and gems, were bought for the King
of Spain.
In the private drawers of the artist were found six
massive gold chains, to which were appended medals
and portraits of various sovereigns and other dis-
tinguished persons, who had presented them to him ;
LIFE OP RUBENS. liii
also a loop composed of diamonds and gems of great
value ; together with several costly rings and articles
of jewellery.
As Fuseli has remarked, that *' it is better to say
nothing than little on the wide range of Rubens," the
Writer will conclude this succinct account of his Life
without an attempt at a critical dissertation on his per-
formances. If Fuseli shrank from the task, who shall
accomplish it ? The range, indeed, is wide ; none but
a painter's and a poet's eye can take in the vast cir-
cumference,— ^and none but the pen of one gifted with
both qualities can give, with just discrimination, the
characteristic marks of a genius so excursive and uni-
versal. The catalogue which follows will show the
universality of his powers as a painter ; but will the
mere enumeration and description of liis works convey
to the reader a just idea of the originality of conception,
the vigour of execution, the boldness of expression, the
intensity of feeling, the splendour of colouring, the
magnificence of arrangement, and the daring deviations
of genius, as exhibited in the productions thus classified ?
No : it requires eloquence, equal to the pictorial repre-
sentations, to produce these to the mind's eye ; and if
Fuseli, and the Author of the Elements of Art, have
abandoned the attempt, the world must wait for the
elucidation until some one arises gifted with equal
powers, but with greater temerity. With these im-
pressions upon his mind, the Writer begs to close the
history of the life of this great man by a few short
observations on the most prominent characteristics of
his genius and works, and endeavour to present them
in the same succession to the view and mind of the
liv LIFE OF RUBENS.
reader as he has, seen and felt them himself : for it
cannot but be supposed that, having been some years
engaged in a research for the materials which compose
the present volume, he has had abundant opportunities
of acquiring an extensive acquaintance with the master's
various productions: therefore, whatever his reluctance
may be to such ai) undertaking, he feels convinced that,
in offering a Work containing exclusively a history of
the life, and a description of the pictures, of so eminent
an artist (being the first of the kind attempted), some-
thing of the nature of the following summary will be
expected from him.
The numerous observations which occur upon pictures
in the course of the following Work, renders it necessary
to be brief in reviewing the pictorial powers of this
mighty genius— this universal painter, from whose
prolific pencil proceeded, with a spontaneous facility,
an inexhaustible variety and abundance in every class
of the art — history, poetry, and familiar life; por-
traiture, animals, landscape, fruit, and flowers — each
possessing such excellence, as though he had made that
particular branch the exclusive object of his study.
But though he could thus successfully adapt himself to
every department of his art, his powers and genius
appear to expand in proportion to the difficulty of the
subject. When the vastness of the composition and
the action required energy in the figures — when the
passions, violently excited, were to produce terror or to
excite horror in the spectator — in such scenes he had
full scope and could range at large, displaying profusely
the riches of his invention and the inexhaustible stiores
of his poetic imagery. These mighty powers are
LIFE OF RUBKNS. Iv
exemplified in those prodigious works representing *'the
Fall of the Damned," '' the Day of Judgment," " the
Resurrection of the Just," and ** the Conversion of
Saul." The fervour of his genius is displayed with the
same success in " the Overthrow of Sennacherib and
his Host," '* the Murder of the Innocents," and the
agonizing sufferings of '* the Impenitent Thief on the
Cross." A similar spirit pervades all those subjects in
which the representation depends on the imagination ;
such are " the Battle of the Amazons," '*the Rape of
the Sabines," '*the Death of Hyppolitus," "the Brazen
Serpent," and the Hunts of Wild Animals. His poe-
tical taste is admirably depicted in Bacchanalian Scenes,
the Loves of the Centaurs, and other mythological
subjects. " The Horrors of War," *' the History and
Apotheosis of James L," ** the Triumphs of the Church,"
and the Luxembourg series, evince his transcendent
powers in allegory. It must, however, be admitted,
that an equal degree of excellence is not discernible in
those compositions where the predominant expression
should arise from an emanation of the soul, or the
supposed operation of invisible agency — such inspir-
ation as should illumine the countenance of holy
persons, or radiate that of the suffering martyr, who
glories in being thought worthy to die for his faith.
In all these his expression is purely human, occasionally
elevated, but seldom dignified, and never divine. As
his mind imbibed a strong impression of objects, so his
pencil faithfully transferred them to the canvas, where
their material forms, texture, and expression, are always
depicted with a strength and energy that must ever
delight the connoisseur. But that which has won all
Ivi LIPE OF RUBENS.
eyes to admiration is his resplendent colour, the super-
lative beauty of which has become proverbial ; even
Titian is compelled to divide with him the palm of
superiority. From that master he acquired his know-
ledge of the harmony of colours,* although he retained
the Flemish manner of using them ; from his pre-
dilection to the taste he acquired in the school of Otho
Voenius, we may trace why his pictures are deficient in
the chaste and solemn breadth of colour which dis-
tinguish those of his prototype, whose tints bleed
insensibly into each other; while those of Eubens,
although brought together with equal propriety, being
left pure, or only tenderly united with the pencil, re-
quire to be viewed at a suitable distance to conceal the
manoeuvre of the palette; when so viewed, they present
a rich and perfect union, and such brilliancy and force
as bear down all competition. His compositions, al-
though frequently overcharged with objects, arising
from the fertility of his invention, are always skilfully
grouped, and united by intermediate links, presenting
to the eye a curved line or the volution of a wreath ;
the whole being judiciously governed by due proportions
of light and shade, and exhibiting the efiect of a rich
cluster of flowers.
* Watelet, in his Dtctionnaire des Arts (a work of great erudition
and useful knowledge), has very ingeniously laid down a scale of
the comparative degrees of merit of each eminent artist, dividing
the necessary qualities into four, viz., composition, drawing,
colouring, and expression. Of the first, that is composition, he
estimates Rubens at 1 8 and Titian at 1 2 ; in drawing, Rubens at
13 and Titian at 15 ; in colouring, Rubens 17 and Titian 18 ; and
in expression, Rubens at 1 7 and Titian only 6.
LIFE OF RUBENS. Ivil
To a profound knowledge of all the principles of the
arty he added that of being the most accomplished
adept in its machinery of any one that ever painted ;
and his rapidity of execution was only equalled by
his extraordinary powers of invention. It is recorded
of him, that he performed as much in three days
as another could complete in so many weeks; this
astonishing rapidity was the cause of the frequent
incorrectness in his drawing, observable in many
of his productions : the fervour of his genius not
allowing leisure for reflection. These defects, how-
ever, did not arise from a deficiency of knowledge,
as may be instanced in numerous pictures, where
the human frame is portrayed with most admirable
correctness, the articulations being given with a pre-
cision that shows an accurate knowledge of anatomy ;
neither are his female figures devoid of grace, although
they often present what may be more properly styled
the comely, than the beautiful. These defects un-
questionably proceed from early impressions, uncor-
rected by a due study of the antique, until those
impressions were so fixed in his mind that no after
study could remove them. It is sufficient, however, to
be able to say, that Rubens possessed a more universal
genius, a more extensive knowledge of all the principles
of the art, and a greater power in the practice of
them, than any other painter who has hitherto existed.
The Writer is happy to conclude his remarks by
quoting the following beautiful eulogium on the genius
and talents of Rubens, which presents in one view the
essence of all that can be said on the subject, and
conveys it to the mind in such eloquent language, that
Iviii LIFE OF RUBBKS.
it resembles one of the artist's spirited sketches, which
comprehends all the beauties of composition, character,
and colour, to be found in his larger and more finished
productions.
But lo ! from climes less genial, where the muse
With pride her Belgic trophies still reviews ;
Rubens, with spoils enrich'd, with honours graced,
Completes the great triumvirate of taste ;
High waves proud competition's flag unfurl'd,
And claims to share the homage of the world.
The powers of painting in his praise combine,
And wreaths unfading round his temples twine ;
For him invention opens all her springs,
And fancy wafts him on her wildest wings ;
Her magic hand light execution lends.
And colouring her rich tissued robe extends.
Whether, to Heav'n devote, his skill divine,
Adorns, with sacred themes, the hallow*d shrine;
Or leam'd, in Allegory's mystic maze.
The acts of kings and heroes he displays ;
Whether, with nymphs and satyrs lured to rove,
He frolics, wild, in Pan's laugh-echoing grove ;
The landscape spreads with light, luxuriant grace,
Or hunts, in sylvan scenes, the savage race ;
Whatever shape the graphic Proteus wears.
The full magnificence of art appears ;
All that the head can plan, or hand perform,
Delight in theory, or in practice charm.
Yet genius, oft unequal found, by turns,
Now blazes fierce, and now as feebly burns ;
In Rubens's course we trace each wide extreme.
Its dazzling lustre, and its doubtful gleam :
But tho', like Avon's bard, his orb displays
Some darker parts amid the general blaze.
LIFE OF RUBENS. Hx
Struck by his splendours, each rapt eye admires,
For while we see his spots we feel his fires.
As petty chiefs fall prostrate, and obey,
While monarchs move their strength in proud array :
But when the pomp is past, the peril o'er,
Bebel against the rod they kissed before.
So cavilling tribes, who roam the graphic waste
Scarce rescued from the savage state of taste,
Assail the rights of Bubens, grudge his praise.
And talk high treason 'gainst the state he sways ;
But, when triumphant crown'd in every part,
He moves in some vast enterprise of art ;
His lawful praise licentious critics own,
And wondering painters bend before his throne.
Vide Sheets Klementa of Arty Canto III. line 227, et seq, ;
also the excellent note to line 230.
PRELIMINARY OBSERVATIONS.
The perusal of the Catalogue MaisonnS of the works
of Rubens will doubtless frequently excite in the mind
of the reader surprise, if not incredulity ; for he will
naturally be inclined to doubt the possibility of one man
having been able to produce such an immense number
of pictures, many of which are of large dimensions, and
oflFering such variety of subjects, and diversity in the
compositions. These doubts the Writer of the Cata-
logue has often heard expressed, and to meet the ques-
tion has been one of his endeavours ; with this view he
has inserted throughout the work all the authentic in-
formation he has been able to collect. Notwithstanding
this, he thinks that he shall place the matter more intel-
ligibly before his readers, by giving a brief account of the
manner and the ingenious methods adopted by Rubens
to vanquish this apparent impossibility. Presuming
that the reader has gone through the account of the life
of Rubens, in which the energies of his mind and physi-
cal powers are largely noticed, he will have perceived
that he was able to perform, in the space of a few days,
as much work as would cost other artists so many weeks;
that numerous sketches, designs for the models of large
pictures, were frequently the result of a few hours'
amusement, or, at most, the eflforts of two or three days'
application.
PRELIMINARY OBSERVATIONS. Ixi
Let the reader, then, imagine such a genius, such a
phenomenon in art, to have under his control six or
eight clever pupils, well versed in the facile system of
painting peculiar to the school ; and that each of these
was furnished with a model, or sketch, to work from on
an enlarged scale, by the unerring medium of lines ;
and that, having correctly drawn in the subject, for-
warding their several pictures under the continual in-
spection, and with the occasional assistance of their
instructor ; that, lastly, he passed over them his broad
rapid pencil, infusing life and spirit in every figure,
and harmonized the piece; — he will perceive how,
by the labour of a day or two, Rubens rendered
the work his own, and worthy of his distinguished
name. But, in addition to his regular pupils, it should
also be remembered, that he had the aid of Francis
Snyders and Paul de Vos, to introduce animals, fruit,
and objects of still life, into such subjects as required
them ; and Wildens, Van Uden, and Mompers, to paint
the landscape department : by such means the work of
eight or ten persons was accomplished daily. Nothing
short of such auxiliaries could have produced in less than
twQ years the sketches and finished pictures representing,
in a series of twenty-one allegories, the life of Marie de
Medicis, besides portraits and other smaller works, done
exclusively by his own hand. The same means were
doubtless used to execute the immense pictures for the
convent at Loeches, in Spain (as these were also painted
at Antwerp), the ceiling of the Jesuits' Church, the Life
of Decius, and the numerous pictures which formerly
adorned the altars of the churches in the Low Countries.
It must further be observed, that these skilful assistants.
«
Ixii PRELIMINARY OBSERVATIONS.
in the absence of large works, were unquestionably
employed in copying pictures, frequently introducing
in such copies certain variations from the originals,
either in subject or size, so as to give them the appear-
ance of new compositions ; this may account, in some
measure, for the great number of pictures of Holy
Families, and other favourite subjects. The entries in
the Catalogue are much increased by descriptions t-aken
from prints engraved from parts of pictures, and some-
times from others improperly ascribed to the master
by the engraver.
There are, no doubt, many pictures also inserted
in the Catalogue which, if the Writer had seen, he
might have rejected as spurious works; but the de-
scriptions of them being inserted in catalogues of cele-
brated collections, it formed one of the objects of the
Work to record them. Nor must it be supposed,
however great the number of entries may appear, that
the whole of the pictures by the master are inserted
in the present volume ; there are yet many which have
never come under the eye of the Writer, or been
noticed in any catalogue, or commemorated by the
hand of the engraver, although the enumeration of
prints after his works exceed fourteen hundred. — Vide
Observations, p. 27, in the Introduction to Part I.
LIST OF ILLUSTRATIONS.
PAGE
Frontispiece — Reproduced from the Original Lithograpli.
Chapkau db Paillb, ....'... 32
The Fair, 116
Hblbna Form an and her two Children, . 118
Flight of Lot, 120
Eltzabsth of France, Daughter of JIbnry IV. 12H
THE WORKS
OF
PETER PAUL RUBENS.
THE
WORKS
OF
PETER PAUL RUBENS
1. Xhe Elevation of the Gross. The composition of this
splendid picture is so rich and varied that any description,
however elaborate, must fail to convey a correct idea of its
grandeur and magnificence. The outlines of its arrangement
are nearly as follows : In the centre is represented the suffering
Saviour attached to a lofty cross, the weight of which requires
the united efforts of eight powerful men to elevate ; their vari-
ous attitudes and exertions are finely depicted. To the right
of the cross is a company of five women, three children, and
St. John ; the latter stands by the Virgin, whom he appears to
be consoling. Among the group of females is one (nearest the
spectator) seated on the ground (with an infant in her arms)
falling backwards with terror ; on the opposite side of the cross
are four Boman soldiers on horseback, one of whom (without a
helmet) is extending his hand, in which he holds a war club,
apparently giving orders. The crucifixion of the two thieves,
and the presence of numerous spectators, are subordinate parts
of the composition.
This immense altar-piece is formed of three divisions ; the
groups on each side of the cross are painted on the interior of
the covers, which, when open, exhibit the whole complete.
U/t by 15 ft.
Engraved in three plates by Witdouc.
VOL. II B
2 RUBENS.
Upon the exterior of the covers are painted : —
Saint Catherine, with a palm branch in one hand and a
sword in the other ; her attention is directed upwards, from
whence two angels are descending.
Engraved by Bolswert, and again Marietta ex.
Saint Eloy, whose figure is truly apostolical, adorns the
other cover.
This splendid production was painted in the year 1610, for the
sum of 2600^0., 334/. It is said to have been the first public
work of the artist after his return from Italy ; but this opinion is by
no means borne out either by its style or colour : judging from these,
it appears to have been a very subsequent production. Its ex-
hibition in the church of St. Walburge (for which it was painted)
attracted immense crowds, and excited the most enthusiastic
applause. In the year 1627, Kubens retouched this picture, and
introduced a dog, of the Newfoundland kind, in the right-hand
comer.
This picture was added by the French to the overwhelming
riches of the Louvre, and restored to Antwerp in 1815. It now
adorns the church of Notre Dame, in that city.
2. A finished Study for the preceding picture, of the highest
excellence and beauty, is in the valuable collection of Jeremiah
Harman, Esq.
2 ft. 3^ in. by 4 ft. ^ tn.—C.
Exhibited at the British Gallery, 1815.
Formerly in the collection of the Prince de Conti, and was with-
drawn in the sale of 1777.
3. A second Sketch, with considerable variations, painted
with a bravura freedom and a rich impasto of colour, is in the
possession of J. T. Batts, Esq.
Exhibited at the British GaUery, 1818.
4. A Pen Drawing, tinted, said to be the first study for the
Elevation of the Cross, —
Was sold in the collection of M. Lempereur, 1783, 404 /». 16/,
RUBBNS. 3
5. The Descent from the Cross. The subject is composed
of nine figures, and represents the body of the Saviour being
lowered from the cross, by the means of a sheet, by two men,
who are mounted on ladders, and bending over its transom ;
one of them holds the linen in his mouth, while he lowers the
body with his right hand. They are assisted by Nicodemus
on one side, and Joseph of Arimathea on the other ; both of
whom are also on the ladders. St. John, who is clothed in a
scarlet robe, stands below, receiving the body in his arms ; on
his left are Mary Magdalen and Salome, on their knees,
extending their hands to aid him ; the former is attired in a
dark green vest, the latter in a purple one. Beyond them
stands the Yii^in Mary, clothed in a blue mantle ; her gesture
and expression mark her anxious solicitude. The gloom of
evening prevails, the multitude has departed, and none remain
but those performing the mournful duty, and whose love and
sorrow were mutual.
13^. by 9 /if. ^ifk—P,
Engraved by Lucas Vosterman, and in mezzotinto by Val-Green.
Upon the interior of the doors which cover the preceding
are painted : —
The Visitation of the Virgin to Elizabeth. The affec-
tionate interview is exhibited as taking place on the summit
of a flight of steps, which form the entrance to a house, from
the door of which the aged Elizabeth is advancing ; and, by
the movement of her hands, and the animation of her coun-
tenance, appears to be uttering the prophetic words — " And
whence is this to me, that the mother of my Lord should come
to me ? " To this mysterious salutation the Virgin, who stands
before her, leaning on the balustrade, is giving meek and pious
attention; behind her are Zacharias and Joseph, grasping
each other's hands; and near them is a female attendant,
mounting the steps, with a basket of linen on her head. A
man-servant, unloading an ass, is close to the front,
Engraved by P. de Jode.
4 RUBENS.
The Presentation in the Temple. "And when the days
of her purification, according to the law of Moses, were accom-
plished, they brought him to Jerusalem, to present him to the
Lord." The Virgin (seen in a profile view), clothed in a blue
mantle, stands in the left, her arms extended, and her attention
directed to the venerable Simeon, who holds the infant Saviour
in his arms, and, looking upwards, seems to be uttering, in
pious rapture, the devout prayer — "Lord, now lettest thou
thy servant depart in peace, according to thy word," &c. The
prophetess Anna stands on his right, and close to the front is
Joseph, bending on his knees with the ofifering of two young
pigeons, as commanded by the law of Moses.
Engraved by P. Pontius, Holhenmels, Visscher, and Val-Green.
On the exterior of the doors are painted : —
A colossal figure of St. Christopher, bearing the infant
Saviour on his shoulders through a river.
Engraved by Eyndhouedts and Van Tiennen.
A Hermit, with a lantern in his hand.
These pictures were painted for the chapel of the brotherhood
of Arquebusiers (who acknowledged St. Christopher as their patron),
as a compensation for a piece of ground which they had ceded to
the artist, when he rebuilt and enlarged his house at Antwerp.
The history of this event is related by the author of the Life of
Rvbena as follows : — '^ When the artist decided upon establishing
himself at Antwerp, he purchased a large house, the greater part
of which he pulled down for the purpose of increasing its size, and
rendering it more commodious for his art. In digging the new
foundation, on a site which separated his ground from that of his
neighbours, some slight encroachment was unavoidably made upon
the premises of the company of Arquebusiers ; in consequence of
which, a meeting of that brotherhood was held, and a deputation
waited upon Rubens, to inform him that he was trespassing upon
their ground. They were received by the artist in the most polite
manner, who, in his turn, explained to them what he conceived to
be his right, on the justice of which he had the fullest reliance.
The difference at length became so serious, that both parties were
ttOBEKS. 5
detennined to appeal to a court of law. Things were in this
situation when the burgomaster, Kockox, who was then the chief
of the company and a friend of Rubens, interposed as mediator,
and, in a mild and friendly manner, convinced him of his error :
this produced a proposition for an arrangement. The chief ac-
cordingly communicated the wishes of the painter to the company,
who readily resolved that their president should return, with full
power to terminate the business ; the conditions of which were,
that the artist should present to the company a picture, with covers,
the subject of which should represent some passage of the life of
their patron, St. Christopher. This saint is said to have carried
the infant Saviour upon his shoulders through a river, his legs and
staff increasing in length in proportion to the depth of the water.
The learned painter treated this legend allegorically, and produced
the preceding picture, which, when completed, he invited the
company to inspect ; but no sooner did these learned Arquebusiers
enter the gallery, than they eagerly sought for their patron saint,
whom, not finding, they, with emotions of surprise and disappoint-
ment, inquired, 'Where, Sir, is our St. Christopher?' Rubens,
who was fully prepared for such a result, pointing to the picture,
replied, * There, gentlemen, is what you required of me; only,
as an acknowledgment of our good fellowship, instead of one
St. Christopher, I have given you several ; ' at the same time, he
fully explained the allegory of the legend. This answer by no
means satisfied the gentlemen, who were quite unable to understand
the allusion, and expressed openly their dissatisfaction at these
pretended St. Christophers (so they styled them) ; and the com-
plaisant artist, unwilling to offend them, painted their patron of a
colossal size, on one of the exterior covers, and a hermit, with a
lantern in his hand, on the other."
The exhibition of this altar-piece is said to have excited the most
intense curiosity, and to have attracted crowds of admirers from all
parts. Such was the universality of its reputation, that it long
continued to be an object of lucrative importance, both to the
church and the city.
It was transferred to the Louvre during the war, but restored in
1815, and now adorns the church of Notre Dame, at Antwerp.
6 RUBENS.
^ ^^PJi ui small, of the Descent from the Cross, done in the
school of Rubens, is in the Academy of the city ; and a di*awing,
carefully finished in chalks, commenced by a pupil and perfected
by Rubens for the engraver, is in the Mus^e at Paris,
6. The Afisumption of the Virgin. Seated on clouds, and
surrounded by light, the Virgin ascends gracefully through the
refulgent air, and is apparently approaching the presence of
Divinity, indicated by a celestial radiance. Her countenance
is directed upward, and appears glorified by the beatific vision ;
her right hand is extended, and the left placed on her bosom ;
her ample robes of blue and pink are agitated by a gentle
breeze. A host of angels accompany her ascent, some of whom
officiously bear the skirt of her robe and mantle, while others
have wreaths and palms in their hands ; and two are soaring
to place a chaplet on her head. In the lower part of the
picture are the twelve apostles and three females, assembled
at the deserted tomb, placed in front of a sepulchre in the
left ; five of the apostles are close to its side, two of whom
are bending over it and looking within ; the three women are
also at the tomb, with the winding sheet in their hands ; one
of them, wearing a crimson robe, is kneeling on a step in
front, with her back to the spectator, holding up a handful of
fresh flowers, which the apostles (who are in the right side)
view with devout surprise; and one of them, clothed in a
light grey vest and a scarlet robe (seen in a profile view,
looking up), is raising his hands in adoration.
IS ft. 6 in. by S ft. e in. (about.)— F. (arched top.)
Engraved by Bolswert.
Of the many pictures representing the Assumption, this is
decidedly the best. The composition is an example of per-
fection in art : its base is earth, its termination heaven ; and
aU the intermediate parts blend and unite to form one sweep-
ing line ; it is equally distinguished by appropriate dignity
RUBfiNS. 7
and grace. The seraphic expression of the Virgin, and the
elegant beauty of her form, merit the highest commendation.
This superb altar-piece is recorded to have been the produce of
sixteen day's labour, for which the artist received 1600^0., 140/. ;
now worth 5000Z. or 6000/.
This treasure in art was added to the superabundant riches in the
Louvre, from whence it was transferred in 1815, and, with other
pictures, placed with suitable ceremony in the church of Notre
Dame, for which it was originally painted.
7. The Resurrection of our Lord. The Saviour, with a
palm branch in one hand and a banner in the other, is
triumphantly quitting the tomb ; and the sentinels, overcome
with fear, are falling in confusion before him.
4/f. 6 in, by Sft, 10 m.— P.
Engraved by Bolswert.
The same subject is engraved by Galle and Punt, and in small,
anonymous.
On the covers of the preceding were painted : —
St. John the Baptist, standing erect, with his left hand in
an attitude of address.
4 /f. 6 in. by 1 //. 8 in, — P.
And St. Martine, clothed in a crimson vest and a scarlet
mantle, bearing in her hand, a palm branch.
^fi, 6 in. hy I ft. Sin,—P.
The above decorated the tomb of J. B. Moretus, whose portrait
(also by Rubens), in an oval form, was at the top of the picture.
These, by the date on the portrait, were painted in the year 1610.
They are now in the Academy at Antwerp.
8. The Portraits of Alexander Goubau and his Wife, in one
picture. The apparition of the Virgin is seen in- the clouds.
This picture ornamented the tomb of the family whose portraits
are represented. CkUhedral of Notre Dame.
8 RUBENS.
9. Christ triumphant over Sin, Death, and the Grave.
The Saviour, attended by angels, is represented sitting on the
tomb, treading Sin and Death under his feet.
Engraved by Eynhouedts.
This picture was painted to adorn the tomb of the family of
Cockx, in the church of St. Walburge ; but it has long since dis-
appeared from its depository.
10. Saint Walburge, in a boat tossed by a tempestuous sea.
She is on her knees at prayer ; about a dozen persons are with
her, several of whom are labouring at the oar. A slight and
hastily-painted picture.
2//. by 1ft 7 tn.— P.
Now in the collection of M. Schamps, Ohent,
11. Angels bearing St. Catherine to the tomb.
12. Christ upon the Cross.
13. A representation of the First Person of the Trinity.
14. Two Angels. These and the preceding one were cut
out to the contours of the figures.
The whole of the above five small pictures were included with
the grand altar-piece, in the sum of 2600 flo. The latter pictures
were sold in 1739, for 993^0., 89/.
15. The Virgin and infant Saviour, with Saints. The com-
position exhibits the Virgin seated in a bower, with the infant
Saviour in her arms, before whom St. Bonaventura is kneeling
in adoration ; behind him are three females and St. Geoi^e,
the latter, clad in armour, holds a banner in his hand, and the
vanquished dragon is lying at bis feet. On the opposite side.
RUBBNS. 9
close to -the front, are St. Jerome kneeling on a lion, and an
angel assisting him to hold a large book ; four angels, flying
over the head of the infant, bear a chaplet of flowers and a
branch of palms in their hands. The St. George is a portrait
of the artist, and most of the others are supposed to represent
members of his family.
8/f. 6 in, by 7yif.— P. (about.)
Engraved by Pontius, Eynhouedts, and Aubert.
This picture was placed by the widow of Rubens in the chapel
of his tomb, in the church of St. Jacques, at Antwerp, where it now
remains j respect to the memory of the artist has hitherto pre-
vented its removal.
16. The Martyrdom and Miracle of St. Justus. The Saint
is represented, in conformity to the legend, carrying his head
in his hands, and approaching two men, who behold the
supernatural sight with surprise and fear.
Engraved by Witdouc.
This picture is said to have been painted at the time the artist
was in the school of Otto Voenius ; it formerly adorned the church
of the Annunciation, at Antwerp, and was sold in the
Sale of suppressed convents at BruesdSy 1786. . 1300^a 117/.
Again in the collection of M. Horion, dittos 1788 1125 Jfo. lOlL
17. *The Adoration of Magi. In the composition of this
picture, which consits of eighteen figures, the Virgin is placed
in the left, holding the infant Saviour on a pillow, before whom
one of the Magi and a youth are kneeling ; behind these is
another of the wise men (with a vase in one hand and its cover
in the other), whose bonnet a servant is lifting off; near these
are a man on horseback and several other persons looking on.
St. Joseph stands behind the Virgin, and the head of a cow
(lying down) fills up the front comer.
Uft. 6tn. by 11/f.— C.
Engraved by Lommelin and Eynhouedts.
10 tCDBENS.
This picture was painted for the abbey church of St Michael, at
Antwerp, at the express request of the abbot, who, upon its com-
pletion, desiring to know the price, was answered by the artist,
" that, having employed thirteen days to paint it, his demand was
1300^., 117?." The abbot no less surprised at the rapidity of his
pencil than the amount of his claim, endeavoured to reduce the sum
required, which Eubens would by no means aUow ; but, as a mark
of friendship for the abbot, he consented to paint his portrait and
present it to the abbey. This portrait is mentioned by writers in
high terms of commendation. The former is now in the Academy
at Antwerp.
18. St. Gregory, with St. Clara and other saints, assembled
near an archway, surmounted by a picture of the Virgin and
Child.
Engraved by Eyndhouedts.
Painted for the abbey church of St. Michael.
A pictmre of a similar subject, composed of seven figures and a
globe, with the inscription S. P. Q. R. on it, over the archway, is
engraved, anonymous.
19. A Portrait of Philip Eubens, brother to the artist.
Engraved by Galle.
This picture was painted to adorn his tomb, erected by his
widow, in the abbey church of St. Michael, from whence it has
long since disappeai'ed.
20. The Entombment. The body of the Saviour, placed
upon a stone in an inclined position, is supported behind by
Joseph of Ajimathea. while the Virgin, who stands on the
other side of the body, is holding the drapery behind the
head; the Magdalen is by her side, and St. John behind.
This is a highly-studied production.
ift 1 in, hySft 3 m.— P.
Engraved by Ryckman, and in the Mus6e Fran^ais.
Painted for the tomb of Michelsens, in the church of Notre
Dame.
RUBENS. 1 1
It was removed from the Louvre in 1815, and is now in the
Academy at Antwerp.
The Vii^n, with the infant Saviour in her arms. The
composition represents the Virgin holding the naked infant
erect on a table. The babe is seen in nearly a profile view,
with its left hand on his parent's left hand, while her right
hand encompasses its middle. The Vii^gin wears a scarlet
mantle, and is viewed nearly in front ; her head inclines a
little forward, A slight picture.
St. John the Evangelist. He is sitting on a bank, clothed
in a gray vest and a scarlet mantle, holding a large book in
his right hand, and is looking up at an eagle. The head of
the saint is remarkably fine and expressive.
4/^ 1 in, by I ft 5 tw.— P.
The last two pictures were formerly doors to the preceding
altar-piece, and are now in the Academy at Antwerp.
21. A Council of Cardinals, Bishops, Doctors of the Church,
and Monks, assembled in Synod, to deliberate upon the mys-
teries of the Eucharist. The Divinity, with a globe, and
a group of four angels, bearing large books, are seen above.
Engraved by Snyers.
Painted for the church of the Dominicaus, ut Antwerp.
22. A Portrait of Breughel, suruamed Velvet.
This picture was painted by Rubens to adorn the tomb of
Breughel, in the church of St. George, at Antwerp. Rubens had
80 great a friendship for Breughel, that he undertook the care and
education of his two orphan daughters.
23. The Flagellation. The suffering Saviour is represented
with his back to the spectator, and naked all but the loins ; he
ia surrounded by four men, one (standing on his left) has a
cord ; and two others (in the opposite side) have rods in their
hands ; the fourth figure is on the farther side of the group.
12 RUB£NS.
holding his left hand over his eyes. This is a brilliant and
highly-finished production.
Engraved by P. Pontius.
The preceding picture was transferred, during the war, from
the church of the Dominicans, at Antwerp, to the Louvre, and
restored in 1815. Visitors to the church should be careful to see
the original, which is always kept covered, and a copy hanging near
exposed. This copy was obtained from a young artist some few
years ago (1818), as a condition for allowing him to paint one
from the original, for an English gentleman.
24 The Adoration of the Shepherds. This composition,
consisting of eight figures, represents the Virgin seated on the
farther side of a crib, on which the infant Saviour is reposing ;
her right arm ia under, the pillow, and the left raising up the
covering of the babe, while a shepherdess kneels in adoration
before him, having her simple offering of a basket of eggs and
two fowls on the ground by her side ; two shepherds rendering
their homage are on her right ; and a third (leaning on a staff),
and a female, with a can on her head, are behind them. St.
Joseph stands on the right of the Virgin, and three cherubs
are above. An ox and an ass are in front.
Engraved by L. Vosterman, and etched by Spruyt.
Painted for the church of the Dominicans, at Antwerp, from
which it has long since been taken. A highly-wrought drawmg of
the preceding, by a pupil, and perfected by Kubens for the en-
graver, done in chalks, washed in India ink, and heightened with
white, is in the Mus^e at Paris.
25. Christ descending, armed with thunder, to destroy the
world, and the Virgin on her knees in the clouds, interceding
for the Human Bace. In the lower part of the picture are
St. Dominick (kneeling by the side of a globe, which he partly
covers with the skirt of his mantle), St. Franois d' Assise,
bishops, cardinals, and a great many saints, imploring
the divine clemency. Among the latter may be observed
RUBENS. 1 3
St Catherine (on her knees in front), St. Sebastian, St. Jerome,
St. Cecilia, and other celebrated saints and monks ; and beyond
them appear multitudes lof people. The First and Third
Persons of the Trinity are seen above, enthroned in light.
16/^. by 10 A (about)— C. (arched.)
It was painted for the church of the Dominicans, at Antwerp,
and is now in the public gallery at Lyons.
The author of the Life of Rubens very properly expresses an
opinion that the composition of this picture never could have
originated from so learned a man as the painter, but that it pro-
ceeded from some pious enthusiast. The composition is done in
outline in the Anncdes du Musee,
26. A Portrait of Michael Ophovius, the last bishop of
Bois-le-Duc, and confessor of Rubens. This picture adorned
one of the rooms of the monastery of St. Dominick.
Engraved by Vanden Bergh.
Now in the Mus^e at the Hague.
27. The Crucifixion on Mount Calvary. In the represen-
tation of this awful subject, the artist has chosen the evening
of the day and the close of the affecting scene. In the right
are two soldiers on horseback, one of whom is piercing with a
spear the side of the Saviour, who has already yielded up the
ghost and bowed his head upon his breast ; on his right is the
believing malefactor, whose countenance, expressive of faith
and pious resignation, is directed towards him ; the other
sufferer is on his left, undergoing the punishment of having his
legs broken by the executioner, and in his agonizing struggles
has torn his foot from the nail which attached it to the cross.
Close to the front are Mary, the mother, with Mary, the wife
of Cleophas, and St. John ; and at the foot of the cross is Mary
Magdalen, imploring the soldier (who is piercing the Saviour)
to spare her Lord. — Vide St. John, chap. xix. v. 32-34.
14/f. by 10 fi. 2»n.— C.
Engraved by Bolswert and Aubert.
1 4 RUBENS.
This magnificent altar-piece was presented to the church of the
Recollets, at Antwerp, by Nicholas Rockox, in the year 1620, he
being at the time burgomaster of Antwerp.
The writer observes with regret, that this glorious work of art
has suffered most lamentably from unskilful cleaning and lavish
restoration ; it has, however, recently been judiciously improved by
the removal of some of its repaint, and new varnished. Sir Joshua
Reynolds, in his Tour through Flanders, gives a detailed description
of this picture, and concludes by remarking, that '* It is certainly
one of the first pictures in the world for composition, colouring, and
correctness of drawing."
It was transferred to the Louvre during the war, and restored in
1815, and is now in the hall of the Academy at Antwerp.
28. The Sketch for the preceding picture, done en grisaiUe,
exceedingly spirited and beautiful, was formerly in the
monastery of the Recollets.
2 ft, IJ in. by 1 ft 1\ in.—?.
Now in the collection of Monsieur Schamps, at Ghent. Worth
150 guineas.
And a Drawing en grisaille, possessing extraordinary power
and energetic expression, done by the artist for the engraver to
work from.
23 J in. by 17 in.
Now in the splendid collection of drawings of Sir Thomas Law-
rence, P.R.A.
29. Saint Francis d'Assise sinking under approaching dis-
solution, supported by the brethren of his order, while kneeling
at the altar to receive the communion from the hand of a priest.
A composition of thirteen figures, and three angels above. This
is a work of the highest exceUence, possessing extraordinary
force of colour and effect ; its style and character bear con-
siderable affinity to the works of the Caracci, which the painter
appears to have had in view.
13/f. 8 in. by ^ ft. 3 in.—V.
Engraved by SnyerSj and in small, anonymous.
RUBENS 1 5
This picture was painted for the church of the Recollets, at
Antwerp ; and, according to the receipt preserved in the archives of
the family of M. Charles, the donor, it cost about 900 /o. . 81Z.
It adorned the Louvre until 1815, when it was restored to
Antwerp, and is now in the hall of the Academy, formerly the
church of the Recollets, for which this and the preceding were
painted.
30. The Incredulity of St. Thomas. The Saviour, clothed
with a scarlet mantle round the loins, stands in the right,
extending his left hand towards St. Thomas, who is accom-
panied by two disciples. A composition of four figures, seen
to the knees. This picture is distinguished for delicacy of
finishing and beauty of colour.
4/^. 7 in, by 3ft,U in.— P.
£ngraved by Chataign^.
Upon the covers of this picture are the portraits of Nicholas
Rockox and his wife Adriana Perez. The former (seen in a
profile view), habited in a black silk vest, a full ruff, and a
gray cloak lined with fur, in an attitude of prayer ; the light
hand placed on his breast, and the left holding a book. The
lady is in a similar position ; she is attired in a black figured
silk robe and a full white ruff; a double row of pearls is sus-
pended round her neck, and a cornelian rosary in her hands.
4/f. 7 in, by I ft 9 tn.— P.
Engraved in the Mus^e Napoleon.
The above pictures were painted to adorn the chapel of the noble
family of Rockox, in the church of the Recollets, at Antwerp.
They were taken from the Louvre in 1815, and are now in the
hall of the Academy of that city.
There is a bust portrait of N. Rockox, engraved in an oval form,
by P. Pontius.
31. The Coronation of the Virgin, by the Holy Trinity.
The Virgin is represented kneeling upon an inverted crescent,
1 6 RUBENS
with angels fljring in the clouds under her, and the First and
Second Persons of the Trinity are placing a crown on her
head ; the former is clothed in a white vest and a broad yellow
mantle, and is seated with a globe under his feet, and a sceptre
in his left hand. The Saviour stands in the opposite side,
covered with a scarlet mantle ; and the Virgin is attired in
a purple dress and a dark blue robe. A free and hasty
production.
\2ft 11 in, by 8/^. 2 in.— C.
Engraved by P. Pontius, and also anonymous ; Vanden Enden ex.
The same subject, differently composed, is engraved by Jegher
and Fauci ; by the latter, from a picture then in the collection of
the Marquis Guerini, at Florence.
The preceding was painted for the church of the KecoUets, and is
now in the Mus6e at Brussels.
The following are the subjects of thirty-six pic-
tures WHICH ADORNED THE CEILINGS AND GALLERIES
OF THE Jesuits' Church, at Antwerp. These, to-
gether WITH THE GREATER PART OF THAT SPLENDID
EDIFICE (BUILT AFTER DESIGNS BY EUBENS), WERE DE-
STROYED BY LIGHTNING, ON THE 18TH OF JULY, 1718.
32. St. Michael driving before him the rebel Angels.
33. The Nativity.
34. Queen Sheba before Solomon.
35. The Adoration of the Kings.
36. David cutting ofif the Head of Goliath.
This subject, differently composed, was engraved by
Paimeels.
37. The Temptation in the Desert.
Engraved by Jegher.
— 38. Abimelech giving the sacred Bread to David.
39. The Last Supper.
40. Moses with Aaron and Urr.
41. The Elevation of the Cross.
RUBKNS. 1 7
42. Abraham about to sacrifice his Son Isaac.
43. The Besurrection of Christ.
44. The Promotion of Joseph in i^ypt.,
45. The Ascension of Christ.
46. The Translation of Elijah.
47. The Assumption of the Virgin.
48. Esther before Ahasuerus.
49. The Coronation of the Virgin.
50. St. Athanasius.
51. St. Ann and the Virgin.
52. St. Basil.
53. St. Mary Magdalen.
A print of this saint is engraved, anonymous.
54. The Name of Mary surrounded by Angels.
55. St. Cecilia.
"• 56. St. Gregory.
57. St Catherine.
58. St. John Chrysostom,
59. St Jerome.
60. St. Lucie.
A print of this saint is engraved, anonymous.
61. St. Augustin.
There is also a print of this saint engraved, anonymous.
Vanden Enden ex,
62. The Name of Jesus surrounded by Angels.
63. St Margaret.
A print of this saint is engraved, anonymous.
64. St Ambrose.
65. St Eugenia.
66. St Gr^ory.
- 67. St Ann and St Mary,
Fortunately the compositions of these splendid works have been
preserved through the medium of drawings in red chalk, by De
Wit) from which prints have been engraved by Preisler, and also
by Punt That these prints are sadly deficient in the characteristics
VOL. II. 0
18 RUBEKa
of the prototypes is entirely owing to the imperfections of the
drawings, which partake of the style and manner of the Dutch
painter rather than that of Rubens.
68. St. Francis Xavier raising the Dead. This distinguished
missionary of the church of Eome is represented standing on
a high pedestal in the left of the picture ; he is habited in the
black robes of his order, his right hand extended and the left
pointing upwards ; behind him is a youth, similarly clad, hold-
ing a book under his arm, and around him are assembled a mul-
titude of persons composed of various nations, among whom,
and in front, is seated a resuscitated man ; on whose left are
three females, one of them is removing the linen from his face,
the other two are looking up with gratitude to the saint ; nearer
the side are two men with spades, and beyond them is a
mulatto female holding forward her dead infant with an im-
ploring look for its restoration ; a little retired from this group,
and upon an elevation of stone work, is a Hindoo rising from
the bed of death, and from whom a negro is removing the grave
clothes. These supernatural events have produced correspond-
ing effects upon the beholders. At the base of the pedestal, in
the left, is a group, composed of a young man, a woman, and a
negro, on their knees ; and behind them are a blind mulatto,
and a tall man in a scarlet vest, who seems to be deeply affected.
Beyond the multitude rises a magnificent temple adorned with
idols, one of which, in front of the building, is tumbling from
the pedestal upon its affrighted worshippers ; in the clouds is
seen the Virgin, leaning on a globe and holding a chalice in her
hand; before her are angels bearing a cross, and other angels
floating in a stream of celestial light, which descends and illu-
mines the temple — a beautiful allusion to the doctrines of
Christianity dispersing the darkness of ignorance and idolatry.
The composition of this magnificient picture, although vast
and varied, is united and disposed with such consummate skill,
and every part so admirably governed by due proportions of
RUBENS. 1 9
light and shade, and aided by a rich diversity of colour, that
its general e£fect is indescribably powerful and splendid, and
may not inaptly be compared to the glorious brilliancy of the
setting sun after rain, where intervening and surrounding
clouds present an innumerable variety of tints. To these
fascinating charms are united what may justly be considered
its highest excellence — the grand and energetic manner in
which the artist has exhibited the operation of the miracle,
and the effects produced on the surrounding spectators. To
the movement and general excitation produced, is opposed
the calm and dignified attitude of the saint, whose gesture
and expression denotes him to be uttering the emphatic
sentence, " non meo rnemtas, in excdcis gloria dtor
17 A by 12 /f. 6 in.— C. Worth 5000 qb.
Engraved by Marinus, and anonymous, and in the Vienna Gallery.
69. St. Ignatius Loyola healing the sick and the possessed.
The august miracle is displayed in the interior of a magnificent
temple, on the left side of which., and on the summit of the
steps of an altar, stands the saint, attired in a gorgeous
chasuble ; his right hand is extended towards the people, and
at his side are several monks wearing the dress of the order ;
around the base of the altar appear the assembled crowd,
several holding a raving female, and others assisting a maniac
who lies prostrate in front ; to the left, and at the foot of the
altar, are two women ; one, elegantly dressed in a purple silk
vest (her back to the spectator), is presenting her afflicted
infant for relief ; the other, clad in a blue robe, is kneeling
with two children by her side. Anxiety and agitation prevail
throughout the throng ; some are pressing forward to partici-
pate in the healing power manifested, while others are sedu-
lously tending the afflicted. A group of admiring angels soar
aloft, and the demons of evil are seen escaping from the
presence of the saint.
This noble production, though abounding in strength of
character and expression, is greatly eclipsed by its companion
20 RUBENS.
in the attractions of colour and effect ; the subject is also less
agreeable to the eye. This picture was originally painted for
the church of St. Ambrose, at Genoa, but being found too
large for the altar, was taken by the artist to Antwerp, and
another one, representing the same subject, painted in its stead.
n ft, by 12/<. 6tn.— C.
Engraved by Marinus, and anon3mious, and in the Vienna Gallery.
These pictures adorned the Jesuits' church at Antwerp, until its
destruction by Ughtning, after which it is probable they were sold
to the Emperor of Germany, together with the original sketches,
and are now in the Belvidere Palace at Vienna.
17/{. by IZft.—Q.
Drawings of the above pictures, carefully executed in black
chalk heightened with white, evidently the work of a scholar, and
retouched by Rubens for the engraver, are in the Mus^e at Paris.
20^ in. by 16^ in.
70. The Assumption. The Virgin, clothed in light blue
garments of various tints, has the right hand raised, the left
extended, and her countenance directed upwarcus ; a company
of twelve angels are floating among the clouds beneath her, and
numerous cherubim are paying her homage above. In the
lower part are represented the apostles and holy women visit-
ing the deserted tomb ; one of the former, habited in a gray
vest and a light-coloured mantle, is kneeling in front, and
before him is a second, in a green vesture, raising up the
stone covering of the tomb, in which he is assisted by another
apostle and a young woman ; two other females are by the
side of the sepulchre, one of them holds a sheet while her
companion gathers up the fresh flowers that are on it ; behind
them are three apostles, the one nearest the front extends his
right arm and is looking up. This splendid composition is
not equally excellent in the execution, and the hand of the
scholar is evident in many of the subordinate parts.
lift, 2 in, by \0 ft, 11 in,—G.
. Engraved by Bolswert, and in small by Leomaus,
tlUBENS. 21
Painted for the high altar of the cathedral of Notre Dame, hut
heing found too small, it was purchased by the Jesuits for their
church. The French transported it to the Louvre during the war,
at the conclusion of which it was restored, and is now in the
Musee at Brussels.
The finished study of the preceding, of great excellence, is in the
collection of his Majesty.
71. The Virgin and St. Joseph leading the child Jesus by
the hand, on their return from Egypt. The First and Third
Persons of the Trinity are represented above.
Engraved by Bolswert.
There is another print by the same, in which a company of angels
attend the Deity. The same subject, with variations, is engraved
by Vosterman and S. Voet, and in mezzotinto by Mac Ardell. —
See Marlborough Collection,
Painted for the Jesuits' church at Antwerp.
Sold in the collection of Mons. Danoot,
Brussels, 1829. . S200 Jlo. 738/.
This is merely the nominal price at which it was put up at the
sale, and no advance was made.
It is now in the possession of Mr. Buchanan, an eminent dealer in
pictures, to whom the country is indebted for many capital works of
art, and also an interesting and useful work, in 2 vols. 8vo, entitled
Memoirs of Painting, ^c. ^c. Published by K. Ackerman, 1824.
72. The Annunciation. The celestial messenger is on the
left of the picture, bending on one knee before the Virgin,
who is kneeling on the step of a small altar, with her left
hand on a book, near which stands a lamp burning ; a com-
pany of five angels, and a dove descending in a glory of light,
are above.
Engraved by Bolswert.
There is also a print of this composition, with variations, by
Drevet, in which there are six angels.
22 RUBBNS.
This picture was painted immediately after the artist's return
from Italy, for the chapel of married men, in the Jesuits' church.
Now in the Marlborough collection at Blenheim.
73. A Portrait of the Artist, admirably drawn in pen and
ink, in 1630 ; formerly in the rich library of the Jesuits.
It is finely engraved, of the same size, by P. Pontius.
The plans for the church and chapels, and sketches for the altar
and choir, and various decorations by the hand of Rubens, were
also in the same library.
74. The dead body of the Saviour (in a fore-shortened posi-
tion), lying on the knees of the Father ; two angels, bearing
the instruments of the Saviour's sufferings, stand on each side.
6 ft. 1 in, by 4. /if. 8 tw.— P.
£ngraved by Bolswert.
Painted for the church of the Great Carmelites at Antwerp;
taken to the Louvre during the war, and restored in 1815, and is
now in the hall of the Academy at Antwerp.
A picture representing the same subject was sold in the collection
ofM. Robyn Brussele, 1758. . 1000^. 90Z.
75. Christ appearing to St. Theresa, who is on her knees
interceding for the delivery of souls from purgatory ; many
are seen writhing in that imaginary region of misery. A
slight and freely-painted picture.
Qft.2 in, by i ft. 6 in.— C.
- Engraved by Bolswert.
Painted for the church of the Minor Carmelites at Antwerp ;
taken to the Louvre during the war, and restored in 1815. Now
in the Academy at Antwerp.
76. The finished Study for the preceding, of exquisite
beauty and perfection, is in the collection of M. Van Sasseghen.
2 ft. 2 in. hy I fi. 7 in,— P.
A duplicate Sketch is in the Stafford Gallery.
RUBENS. 28
77. St.. Ann instructing the Virgin to read. The saint is
seated by the side of a balustrade, on the terrace of a house,
with one hand placed on the child's shoulder, who has a book
in her hand ; St. Joachim stands behind, observing them ; and
two angels, with a chaplet, are above.
7 /f. 4 in. by 4 //. 6 tn.— P.
Engraved by Bolswert, Caukerken, and anonymous. Vanden
Enden ex. There is a print of St. Ann and the Virgin, engraved by
Aubert, which is evidently taken from the same, with omissions and
alterations.
Painted for the church of the Minor Carmelites at Antwerp ;
taken to the Louvre during the war, restored to the city in 1815,
and now in the hall of the Academy at Antwerp.
78. The body of the Saviour, supported by the Virgin,
St. John, and the Magdalen, after its descent from the cross.
A small picture.
This production, which is highly commended by the author of the
Life of Rubensy was formerly in the church of the Minor Carmelites
at Antwerp.
79. The Crucifixion of the Saviour between the two Thieves.
The Saviour is represented in a front view, with His head
bowed on His breast ; and the two malefactors are seen in a
profile view ; the unbelieving one is on His left.
Engraved by Bolswert.
Painted for the church of the Capuchins at Antwerp.
80. St. Peter and St. Paul. The former holds a key in each
hand ; and the latter lias both hands placed on the hilt of a
sword, the point of which rests on the ground. The figures
are full length and above the size of nature.
Engraved in one plate by Eynhouedts.
These two pictures formed the doors of a little chapel in the
church of the Capuchins at Antwerp.
24 RUBENS.
A picture of the preceding Apostles, in similar positions, attended
by an angel and a boy, is in the Munich Gallery.
81. The Virgin with the infant Saviour in her arms, appear-
ing on a cloud to St. Francis, who is bending on one knee to
take the Child.
Engraved by Soutnian, and the head of the saint by Visscher.
This excellent production was painted for the church of the
Capuchins, at Antwerp.
82. The Marriage of St. Catherine, in the presence of
numerous saints. The composition of this magnificent altar-
piece exhibits the Virgin seated ou a throne, holding the infant
Saviour, who is bending forward to place a ring on the finger
of gt. Catherine; St. Joseph stands behind the Virgin; St. Peter
and St. Paul are on her right ; and St. John and two infants
with a lamb on her left ; upon the steps, in front of the throne,
are a large assemblage of saints, among whom may be dis-
tinguished St. Sebastian, St. Lawrence, St. Augustin, and St.
George.
15/f. by ll/L—G.
Engraved by Snyers and Eynhouedts.
Painted for and now in the church of the Augustins, at Antwerp.
Sir Joshua Reynolds, in his Tour through Flanders, observes of
this picture, that he was ** so overpowered with the splendour of the
colouring, that he thought he« had never seen such great powers
exerted in art." This picture is, however, far from being wholly by
the hand of Rubens.
The original Sketch for the above is in the collection of Earl
Mulgrave.
25 »«. by 18 in.— P.
83. The Virgin with the infant Saviour and St. Joseph,
The Virgin, clothed in a scarlet vest and a blue mantle, is
seated, with the Child (who is naked) standing and resting
one leg on His parent's knee ; he has an apple in His left
RUBENS. 25
hand, and the right hand is placed on the back of his mother's
hand, a cradle is placed near him ; St Joseph is behind the
Virgin reclining his head on his hand, contemplating the
scene before him; and a parrot, perched on the base of a
column, is pecking a vine-branch.
bft.2 in, by 6/^. 1 tfi.— P. Worth 700 gs.
Engraved by Bobwert
This picture was presented by the artist, in 1631, to the Academy
at Antwerp, he being that year one of the directors, on which occasion
(as was usual) he also gave a chair covered with red leather, on the
back of which is inscribed his name and date. This curious relict is
now carefully preserved in a glass case.
There is a print of the Virgin and Child of the preceding picture,
omitting the rest^ engraved by Lasne ; the same plate was afterwards
altered, and the name of £. Quilenus ex, appears on the print.
84. A Cook-maid, occupied at a large table, on which is an
abundance of dead game, fruit, and vegetables. The woman
only was painted by Rubens ; the accessories are the work of
Snydera
Now in the hall of the Academy.
85. Christ expiring on the Cross. The countenance of the
Saviour is directed upwards, and the expression denotes Him to
be uttering His dying words ; the city of Jerusalem is faintly
seen through the prevailing gloom.
6fi, 11 tn. by4/f. 1 m.— C.
Engraved by Snyers and Bolswert.
This picture was presented by Cornelius de Winter to the church
of the RecoUets.
Now in the Academy at Antwerp.
86. A repetition of the preceding, of a smaller size, and
most admirably painted, is in the possession of M. Steenkruys,
of Antwerp, who asks 400/. for it.
3//. 5i in, by 2 ft. 3^ tn.— P.
26 RUBENS.
87. A third picture, with slight deviations from the pre-
ceding, is in the collection of M. Schamps.
3/f. 10 in. by 2 ft. 6^ »».—?.
In the house of M. Moretus, a descendant of the celebrated
printer of that name, are a suite of fourteen Portraits, attri-
buted to Rubens by the connoisseurs of Antwerp, and
affirmed as such by tradition ; they are, however, so inferior
to his usual works, that the writer thinks a detailed descrip-
tion of them unnecessary. Among them are —
Justus Lepsius.
Pic Mirandola, a copy from an Italian picture.
The Wife of Moretus.
25 in, by 20 m.— P.
The following Pictures formed the principal deco-
rations OF various triumphal arches erected at
Antwerp, in honour of the entry of Prince Fer-
dinand, IN THE YEAR 1635, AFTER THE BATTLE OF
NORTLINGEN, GAINED IN 1634. ThE DESIGNS AND
SKETCHES FOR THESE WORKS WERE MADE BY EUBENS,
AND THE FINISHED PICTURES WERE PAINTED BY HIS
SCHOLARS, UNDER HIS DIRECTIONS, AND, IN SOME IN-
STANCES, RE-TOUGHED BY HIS HAND.
>
88. A Portrait of Prince Ferdinand (seen in a three-
quarter view), wearing a turned-up hat and feathers, a broad
pendant frill with lace edge round the neck, and a scarf over
the tef t shoulder ; the right band poises a baton on the edge of
the frame, and the left hand is placed on the hip. '
89. The frontispiece exhibits a grand architectural elevation,
with four termini of Mars, Mercury, Peace, and Plenty, sup-
porting a tympanum, on the entablature of which is represented
Philip IV. presenting to Prince Ferdinand the. baton, as
commander-in-chief ; behind the latter is a figure indicating
RUBBNS. 27
Fortitude and Prudence. A medallion of the king, seen in
profile, surmounts the top, supported at the side by Cybele
and Neptune.
Engraved by Neefs.
90. Ferdinand on horseback, conducted by Prudence, re-
ceiving the homage of Belgium, represented by a female
wearing a mural crown and having a lion couching at her
feet ; the nymph Hygeia stands behind the latter ; and two
soldiers follow the prince, under whose horse's feet lie the
bodies of slain enemies.
91. An allegorical composition, allusive to the prosperous
voyage of the Cardinal Ferdinand of Austria. Neptune,
mounted on a car drawn by sea-horses and attended by
Nereides and Tritons, commanding his ministers of storms
and tempests to depart. This picture is entitled Quos Ego.
Now in the Dresden Gallery.
92. The meeting of the Three Ferdinands, and the union
of their armies, previous to the battle of Nortlingen. In the
fore-ground are three allegorical figures.
This picture is now in the Vienna Gallery.
The original sketch is in the collection of Sir Abraham Hume,
Bart.
93. Philip IV. of Spain, seated on his throne, investing
his brother Ferdinand with the command of the army des-
tined against Sweden and Germany.
94. The Alliance of the Archduke Maximilian with the
Princess Maria of Burgundy, whose marriage-portion was the
Low Countries. A composition of seven figures.
This picture is now in the possession of Mr. No^ a , dealer in
pictures.
2d t^UB£NS.
95. The Archduke Ferdinand on horseback, followed in
his train by Victory, Mercy, and Eeligion, and received by a
female, the emblem of Belgium, who is bending in submission
before him, while the hai*pies of war are escaping from his
presence.
96. The Union of the Houses of Austria and Spain, by the
marriage of the Archduke Philip with Jean, Infanta of
Austria. The distinguished couple stand with their hands
united before Juno, who is presenting them a globe (the
symbol of government), and Time, with an inverted scythe,
appears to promise them a long and happy reign.
This picture is now in the possession of Mr. No^, and the
original Sketch is in the Academy at Antwerp.
97. The Apotheosis of the Infanta Isabella. The prin-
cess, descending on a cloud, is pointing to a young prince (the
Infant of Spain), who is descending the steps of a temple,
and turning to take leave of the king his brother. Several
allegorical figures are also introduced.
98. The Archduke Ferdinand of Austria and Infant of
Spain, accompanied by the King of Hungary, mounted on
spirited chargers, commanding their forces in the battle of
Nortlingen in 1634.
8/f. 6 in. by 11 /f. 6 in. {about.)-^G.
This picture is now in His Mcgesty's collection at Windsor, and
was exhibited in the British Grallery in 1822. The original Sketch
is in the Academy of Antwerp.
99. The triumphal entry of Ferdinand into Antwerp.
The prince, mounted in a superb car, drawn by four horses,
is accompanied by several soldiers bearing trophies of war.
Victory flies behind him, holding a wreath over his head.
RUBENS. 29
100. The Temple of Janus. The harpies of Discord are
represented forcing open the gate of the temple, from whence
is issuing the demon of Destruction with a sword in one
hand and a flaming torch in the other ; on the opposite side
are three females, personifying Commerce, Piety, and the
Infanta Isabella, two of them are endeavouring to close the
gate of the temple. Ferdinand, in the character of Hercules
is conducted by Minerva up the difficult ascent to the temple
of Fame, from the pursuit of which Love and Wine are
endeavouring to seduce him.
101. The Combat of Bellerophon with the Chimoera.
The original Sketch of this is in the collection of William
fieckford, Esq.
Besides the preceding compositions, the arches were adorned
with numerous portraits of Kings and Princes of the Houses of
Spain, Austria, and Hungary. Several of these pictures are now
in galleries, and are noticed in this work.
The following three Sketches were designs for portions of
the preceding arches : —
102. A magnificent Car, guided by a double-faced female
(Prudence), on which is a pedestal surmounted by genii,
bearing a wreath and a medallion, and above them is a large
trophy of military weapons, &c. ; three captives are at the
base of the pedestal, and several allegorical figures are suit-
ably introduced. A number of detached sketches are also on
the panel.
Sfi. bin. by 2fi. 2^ in.
103. A rusticated Portico, surmounted by Hercules slaying
the Hydra, while a female, personating Antwerp, gathers the
golden fruit of the Hesperides ; in niches above the arch are
seated females representing Justice and Prosperity (or Abun-
dance). Other emblems are also introduced.
3/t.b in. by 2 ft. 2 J in.—F.
80 RUBBNS.
104. A similar erection, surmouDted by a figure of Jason
stealing the golden fleece ; and a female with the emblem of
commerce. Seven other allegorical figures are in the com-
position.
3 fL 5 in, by 2 ft, 2^ »«.— P.
The preceding three Sketches are in the Academy at Antwerp,
as are also two others for the same work, done by Van Thulden,
which show how nearly he approached his master, and how capable
he WM of conducting the work in question.
The whole of this splendid suite are engraved in a set of forty-
three plates, by Van Thulden, and the portrait of Ferdinand, which
forms the frontispiece, is engraved by J. Neefs. The work is
entitled Pompa Introttus Fernandi^ in folio, of 189 pages.
The following Pictures by Rubens are inserted in the
Catalogue of his Effects taken after his decease,
IN 1640, AND sold by PRIVATE HAND IN DETAIL. THB
descriptions ARE IN GENERAL TOO BRIEF TO IDENTIFY
THEM WITH CORRECTNESS,
LOT
81 Cupids fighting. A subject said to be taken from Philo-
stratus.
There is a print in which a cupid and a satyr are wrestling ;
two cupids are looking on ; and two others are in the
opposite side, one of them blowing a trumpet, the other
holding wreaths to reward the victor.
Engraved, anonymous.
82 Shepherds and Shepherdesses travelling.
83 Nymphs and Satyrs.
84 The Holy Family, with St. (Jeorge and other Saints, in a
Landscape.
This picture the artist's widow presented to the church of
St. Jacques, to adorn the chapel of the tomb of her
husband,
RUBENS. 31
Catalogue of the Artist's Effects continued.
85 Andromeda chained to a rock ; the figures are of the size
of life.
Now in the Marlhorough collection.
86 The Magdalen ; the size of life.
87 Bathsheba at a fountain.
88 Three Nymphs with Satyrs.
89 A Man and a Woman, accompanied by Satyrs ; an un-
finished picture, painted on panel.
90 A troop of Banditti pillaging Peasants.
91 Bacchus, with a goblet in his hand.
92 The Three Graces.
Sold privately to an agent from the King of England.
93 Saint Cecilia.
94 A Shepherd and Shepherdess.
95 A Portrait of Philip, Duke of Burgundy.
96 A Ditto of Charles the Bold, Duke of Burgundy.
. 97 A Ditto of Lord Arundel.
98 A Ditto of the M$,rquis Spinola.
99 Susanna and the Elders ; painted on panel.
100 A Portrait of Doctor Maiema.
101 A Ditto of a Prince Cardinal.
102 A Ditto of a young Female, with flowers in her hand and
a black bonnet on her head.
103 A dance of Italian Peasants.
104 A Tournament in a Landscape.
Now in the Louvpe.
J.05 An Italian Landscape, with the ruins of a temple; painted
on canvas glued on panel.
106 A Landscape ; canvas on panel.
107 A Portrait of Charles the Bold.
108 A woody I^andscape, represented under the efiect of day-
break, with huntsmen and dogs passing through it.
Engraved by Bolswert.
109 A Portrait of Lionardo da Vinci.
110 A Ditto of a French Lady.
32 RUBENS.
Catalogue of the Artist's Effects continued.
111 A Landscape; painted on canvas glued on paneL
112 A Ditto with a flock of sheep.
113 A Portrait of the Cardinal Infanta of Spain.
114 A Ditto of the Empress of
115 A Ditto of the Queen of Spain.
116 A Ditto of the King of Spain.
117 A Ditto of the Duke de Neubourg.
118 Mercury lulling Argus with the sounds of a pipe ; on panel
119 A Sacrifice ; done after Elshiemer.
120 A Portrait of the Qiieen, consort of Louis XIIL
121 Angelica and Erminia.
122 A Portrait of a young Lady, with her hands crossed in
front
This picture has since acquired great celebrity, and is
known by the appellation of **Le Ghapeau de Paille,"
Imported by the writer.
Now in the collection of the Bight Honoiunble Robert Peel.
(See Description in this Work,)
123 A Portrait of PhUip IV. of Spain.
124 A Portrait of an English Lady.
125 An old Woman and a Boy ; a candle-light piece.
126 A Portrait of a Lady.
127 A Ditto of the Duke of Buckingham.
128 A Portrait of an old Man.
129 A Warrior, clad in armour, and wearing a red scarf.
130 A Portrait of a Lady with a hat.
131 A Landscape, with an extensive forest, in which is in*
troduced the subject of Atalanta and Meleager pur-
suing the boar.
132. A View of the Escurial and the surrounding country.
133 A Landscape.
134 A Ditto.
136 A large Landscape, enlivened with a variety of figures.
136 A Ditto, represented under a cloudy sky and the effect
of rain.
» . . ' '' . ' >
.1 r •
.3JjiA^ aai o^AarlAHfe '^i»^ii'
•%•
'•.»•! Lands crossed in
•ji't-at coieiirity, and is
I >f
Vi Il'Hioiirahle R«'b«*rt Peel.
i Lt.M'-lle-liidit piece.
'• • klOL;}l:im.
» >
't: I'.'.ir, au(i wii.irinci a red sc^rf.
•i\ with a ]ia»
. an e\t- !orest, in which is in-
• * \.Hhuit,i and Melea^er pur-
iial and the suvnuinding country.
.,»•;, onlivt'»»it:d with a variorv of fi^^ures.
i "li .iu<lei a cloudy sky and the eil'oct
• ••
• •
kU&ENS.
30
137
.38
39
.40
.41
42
.43
.44
.45
.46
.47
.48
.49
50
51
.52
.53
54
55
56
.57
.58
.59
60
.61
.62
VOL.
Catalogiie of the Artist's Effecti continued.
A grand mountainous View, with a devastating deluge
rushing through the country. This subject alludes to
the story of Baucis and Philemon, who are seen on the
declivity of a hiU in the right, under the protection of
Jupiter and Mercury.
Christ discovering Himself to His Disciples at Emmaus.
Bomulus and Bemus ; a Sketch.
Afterwards in the collection of M. Danoot, and mentioned
by Sir Joshua Reynolds in his Tour.
A Portrait of a Gentleman, in a Turkish dress.
Roman Charity.
Peasants fighting ; done from a drawing by old Breughel.
Engraved by Vosterman,
Bacchus, Venus, and Geres, disposed round a fire.
Christ upon the Cross.
A Portrait of a young Lady, habited in the German
costume, and holding a little dog in her arms.
A Portrait of the Archduke Maximilian.
A drunken Bacchus.
j- Two Portraits of the King of Tunis, after Antonio More.
A large Landscape ; painted on canvas glued on panel.
> Portraits of the Archduke Albert and Isabella.
A Man and Woman, with a quantity of dead game ; the
latter is introduced by De Vos.
A Stag Hunt.
St. George on horseback. Engraved by Panneels.
Victory crowning a Warrior. Munich.
Hercules,
St. Peter and St. Paul.
The Maid of Orleans.
The four Penitents.
Susanna and the Elders
Ditto Ditto.
II.
D
34 KUBENS.
Catalogue of the Artist's Effects continv£d.
163 Atalanta and Meleager ; a hunting subject.
164 Three Nymphs with a Cornucopia.
165 The Adoration of the MagL
166 A Portrait of Marie de Medicis.
167 A Portrait of the Queen, consort of Louis XIII.
168 Pythagoras, with a great abundance of fruit. The latter is
the work of Snyders.
This is probably the picture noticed in this Catalogue as
Numa Pompilius, with other figures.
169 The Interior of a Stable and Cow-house, with the subject
of the Prodigal Son.
Engraved by Bolswert.
Now in the collection of William Wilkins, Esq. — See de-
scription in this Work,
170 A drunken Silenus, accompanied by nymphs, satyrs,
and boys.
This is probably the picture now in the collection of the
Right Honourable Robert Peel. — See description,
171 A Landscape ; painted on panel.
172 A Ditto.
173 A Ditto, representing moonlight.
174 A Satyr and a Nymph ; the former is seen in a front view,
carrying a basket of grapes and other fruit before him,
and the latter is by his side, with one arm round his
neck and the other raised to take some of the fruit.
Engraved by Alexander Voet.
175 The Death of Dido.
248 The Marriage of St. Catherine, in the presence of numerous
saints ; a sketch for the picture in the church of
St. Augustin. — See p, 24.
249 The Virgin, encompassed by a wreath of flowers. The
latter are by another hand.
269 Diana and Nymphs hunting. The figures by Rubens,
and the landscape by Breughel.
UtJfeENS. 36
Catalogue of the Artist's Effects continried.
294 A Landscape, with cattle and figures. The landscape is
by another hand.
295 A Peasant's Cottage, with figures. The latter only are
by Rubens.
296 A Peasant with Cattle.
297 A Landscape, in which are introduced a couple courting ;
the man has a bagpipe attached to his girdle. The
figures only are by Rubens.
This subject is engraved by Ami, Boel, and in mezzotinto
by Smith.
298 A Landscape, with a woman on a hill.
299 A Peasant feeding his Dog. The figure only by Rubens.
300 A Landscape.
301 A Ditto.
315 A Triumphal Procession of Julius Caesar, painted from
the designs of Andrea Mantegna ; done on three pieces
of canvas glued on panel.
This beautiful production is now in the collection of
Samuel Rogers, Esq. — See description,
316 Six large unfinished Pictures, containing various Studies
of sieges of towns, battles, and triumphs of Henry IV. ;
designs for a second series of pictures for Queen Marie
de Medicis.
317 A great number of Sketches and unfinished Pictures of
Heads, both on canvas and panel, done by Rubens
and Van Dyck.
318 A large quantity of Drawings and Sketches ; studies for
many of the distinguished pictures by Rubens.
319 A great number of Copies done by Rubens, after pictures
by celebrated masters.
The author of The Life of Rubens observes that, although the
number of pictures inscribed in the preceding catalogue may appear
very considerable, that there were also a great many which- the
painter's widow had previously selected from the collection, some of
36 BUBENS.
them for her own pleasure, and others which, with a becoming
delicacy of mind, she considered improper compositions, on account
of their display of nudity. Amongst the latter were Diana and her
nymphs at the bath (the figures half the size of nature) ; and a
picture of the Three Graces. The former painting was afterwards
purchased by the Duke of Richelieu for 3000^.; its size is stated
to he 4: ft, high by 6 ft, wide. The same writer speaks of this
picture in terms of the highest commendation.
A second picture of the Three Graces is also mentioned, the
figures being of the size of life : this is stated to have been
subsequently sold to the King of JB)ngland.
A note at the conclusion of the catalogue states, that the total
amount of the sale of Rubens's collection of pictures was 280,000
flCy about 25,000Z.
' 105. St. Bavon distributing Alms to the Poor. The saint
(represented as standing at the side of a flight of steps) is
attended by two servants with bowls of money ; before him
are two females (one of whom has two infants in her arms),
kneeling upon some steps, supplicating for relief, and behind
them is a mendicant, reaching over their heads for the same
purpose ; on the opposite side of the picture are three ladies
looking on. In the second distance the same saint, followed
by a page and another person, is seen ascending a flight of
steps to the entrance of a church, at the door of which are
two bishops and several monks attending his arrival. This
once superb picture has been so infamously injured by
cleaning, that its beauties are irreparably lost.
le/t. by 9 fi. (about.)
Engraved by F. Pilsen.
Sir Joshua Reynolds, in his Tour through Flanders, highly com-
mends this picture.
Now in the cathedral of St. Bavon, at Ghent.
106. A very capital finished Study, representing the same
subject, but of a more extended composition, is in the
collection of the Rev. H. Carr. — See desci^iption.
RUBENS. 37
107. The Martyrdom of St. Lieven. The saint, who appears
to have been waylaid on a journey by a company of armed
men, is on his knees in front, surrounded by three assassins,
one of whom has pulled out his tongue, which he holds with
pincers to a dog ; a second is pulling his beard ; and a third
has the knife of execution between his lips. The rest of the
party, with their horses, are thrown into confusion by the
appearance of two angels, who are descending, armed with
thunder and lightning, to avenge the martyred saint; two
other angels, bearing a chaplet and a palm, hover over his
head. In conveying the representation of this painful event,
the artist has doubtless rather consulted the taste of his em-
ployer than his own sound judgment, and has most injudi-
ciously exercised his ingenuity to render it ghastly and
horrible. The action and expression of the figures are also
in unison with this appalling sentiment — ^they are violent
and <mtr4; the handling is remarkably broad and free, and
the colour rich and glowing.
U/f. 8 in. by 11 /if. 3 m.— C.
Engraved by Caukerken, 1657.
Painted for the Jesuits' church at Ghent, and now in the Mus6e
at Brussels.
108. Christ descending in wrath, armed with thunder to
destroy the worlds restrained by the Virgin, who is kneeling on
a cloud, showing Him her breast ; beneath them is St. Francis,
raising one hand in supplication towards the Saviour, and
with the other throwing the skirt of the mantle of his Order
over a globe.
Uft. hy9ft. 6 w.— C.
Engraved by Panderen.
This absurd allegory was painted (no doubt to gratify some
religious enthusiast) for the church of the Recollets at Ghent, and
is now in the Mus^e at Brussels.
109. The Magdalen expiring in the arms of an angel
38 RUBENS.
another angel stands by her side, holding her hand. They
are represented near a hovel in a desert.
£ngraved by Baillu.
Painted for the church of the RecoUets at Ghent.
110. St. Francis d'Assise receiving the Stigmates. The
saint, habited in the dress of his Order, is kneeling on a bank at
the entrance to his cell, his arms extended, and his countenance
directed to the apparition of the Saviour upon a cross in the
heavens, the dazzling brightness from which has overpowered
another monk, who has fallen backward, and is holding his
hand to shade his eyes.
Engraved by Vosterman.
Painted for the church of the RecoUets at Ghent ; now in the
Academy of that city.
There is a print of the preceding subject, in which the saint is
seen in a front view, and the second figure is on the farther side of
the bank on which the former kneels, engraved by Pilsens.
A Drawing of the preceding picture, commenced by a scholar
and perfected by Rubens for the engraver (in chalks), is in the
Mus^e at Paris.
20f in. by 14 in.
111. Purgatory. The Virgin is represented interceding with
the Holy Trinity for the deliverance of souls from purgatory ;
in the lower part of the picture are angels raising unhappy
beings from this imaginary limbo.
112. The Martyrdom of the Maccabees.
This and the preceding picture were painted for the cathedral
church at Tournay. Michel, in his Life of Rufjens, observes, that
both these altar-pieces are destroyed, they having undergone two
ordeals by ignorant picture cleaners, and lastly repainted ; thereby
making bad worse.
RUBENS. 39
113. The Adoration of the Magi. The composition of this
splendid altar-piece is formed of about twenty-four figures.
The Virgin stands near the centre, in the left, with St. Joseph
behind her ; she is seen in nearly a profile view, holding the
infant Saviour erect on a crib, while He receives the homage of
one of the wise men, who is kneeling and embracing His feet ;
the Infant at the same time places His hand on the worshipper's
bald head ; the offering, consisting of a cup of gold, is on the
crib. An Eastern king, wearing a turban and a gorgeous
robe (the train of which is held by a page), stands in front, and
two youths, one of whom carries a gift of money, are on his
left ; behind these are an Ethopian king (standing in a front
view), attended by a negro slave bearing a casket, and a
mulatto boy with an incense pot ; beyond these are a number
of persons pressing forward towards the Infant. On the op-
posite side, and in front, is a dog, only part of which is seen ;
and in a remote part of the stable are an ox and an ass feeding
at a manger.
Engraved by L. Yosterman.
This capital picture was painted for the church of the Capuchins
at Toumay, and during the seige of that city was severely injured
by a cannon ball.
A highly-finished Drawing of the preceding, done in India ink,
tinted with bistre, terminated with the pen, and heightened with
white, is now in the Mus^e at Paris. It is the work of a scholar,
but perfected by Rubens for the engraver.
22 in. by 28f in.
114. St. Joseph presenting the infant Saviour to the Deity.
This picture is highly commended by the same writer for
grandeur of character and beauty of execution. The infant
Jesus is particularly noticed for striking expression, and for
the freshness of the carnations.
This picture was painted for the Hermitage near Namur, and
was the gift, together with the building, of the Archduke Albert
and Isabella.
40 RUBENS.
115. The Martyrdom of St. Catherine. The subject is re-
presented as passing on the summit of a flight of steps, in front
of a heathen temple ; and the saint, with her hands boimd, is
kneeling preparatory to her execution. She is attended by
four females and a priest ; the latter, standing on the steps in
front, is apparently urging her to recant and worship an image,
to which he points his left hand ; at the same time, two of the
women are binding up her long hair, and the two others are
addressing the executioner, who stands on the farther side of
the saint, with his back to the spectator. A company of angels
are seen descending, bearing the rewards of martyrdom. A
sacrificial ram, a censor, and the Boman fasces, lie on the
ground in front.
Engraved by W. Leeuw ; and again by G. Huberti ex.
Painted for the church of St. Catherine at Lille.
116. The Descent from the Cross. In the composition of
this picture, St. John is represented standing with one foot
on a ladder, receiving the body of the Saviour in his arms,
which is lowered by three men, who are above ; two women
are at the foot of the cross, ready to assist.
Engraved by Meyssens.
Painted for the church of the Capuchins at LiUe.
117. The Adoration of the Shepherds. This picture is
composed of eleven figures ; the infant Saviour is represented
recumbent in a manger on the right, with the Virgin standing
by His side, uncovering the face of the sleeping Babe to the
view of the worshipping shepherds, among whom are a man and
a woman kneeling ; behind them are a woman, with a basket
on her head, another pouring out milk from a can, and two
shepherds, one having a poultry basket under his arm. These
figures are brilliantly illumined by a light, supposed to emanate
from the Divine Infant. Close to the left side are a man and
RUBENS. 41
a woman approaching, the former bears a lighted candle ; an
ox and an ass are in front, of the manger.
Ungraved by Bokwert.
Painted for the chiirch of the Capuchins at Lille.
118. St. Francis receiving the infant Saviour in his arms
from the Virgin.
This is either a duplicate picture or an error in the entry, as the
same subject occurs on page 24, the churches having the same
appellation : this at lille and the other at Antwerp. No picture
of the kind is in either at the present day.
119. The Adoration of the Magi. The Virgin, with the
infant Saviour in her lap, is seated on the right, and St. Joseph
stands behind her, leaning on a stick, and observing with
emotion one of the magi, who is on his knees, presenting the
Child a bowl of money ; behind the latter stands a Moorish
king with a gold vase in his hand (his head is turned from
the spectator), the train of his splendid robe is supported by a
negro boy : near these is one with an incense pot, and another
extending his arms towards the holy persons ; nine figures,
chiefly soldiers, are beyond the two latter magi. The place
exhibits the exterior of a stable, with the broken shaft of a
column lying in front.
9 ft 6 in, hy 7 ft, 6 tn.— C.
Engraved by Ryckman.
This capital production formerly adonied the church of Berg-
Saint- Vinox, from whence it was sold to defray the expenses of
repairs, and was purchased by M. Randon de Boisset, in 1766, for
the sum of 60,000 /u., 2400/. — a most extraordinary price for that
period ; but as this statement is made by Le Brun, in a catalogue
of 1791, when the picture was put up for sale, some doubt of its
correctness may justly be entertained.
42 RUBENS.
CoUection of M. Randon de Boisset 1777. . 10,000 /«. 400Z.
(bought in.)
LeBnin .... 1791. . 9,500 /«. 380Z.
M:. Robit . . . . 1801. . 7,950/*. 320Z.
120. A Sketch for the preceding picture, with slight
variations and omissions.
14 in. by 18 in, — P.
CoUection of M. Le Brun . . . 1791. . . 800A 32^.
121. St. Soch interceding with the Saviour for a cessation
of the Plague. The saint is represented bending on one knee
upon the top of a large arch, turning his face towards the
Saviour, who, in answer to his prayer, has descended upon a
cloud of glory, and is pointing to an inscription on a tablet,
{Ef^ pesti patronus), held by an angel, who stands behind
the saint The lower part of the picture, and in front of the
arch, is occupied by groups of the afflicted, who are looking
upwards for succour.
12/f. 6 in. by 8//. 6 tn. (ahout.)—V. (arched top.)
£ngrayed by Paul Pontius and Audran.
And also in the Mus^e Fran^ais. Worth 3000 gs.
This splendid altar-piece merits the highest commendation for its
several beauties in expression, colour, and chiaro-scuro. It is stated
by Michel to be the result of eight days' labour, at the usual charge
of 800/O., 72Z., which the deputies of the confrSrie of St. Roch
paid the artist shortly after, without an attempt at diminution, which
so pleased the liberal painter that he presented their church with
three small pictxures ; namely, —
122. Christ on the Cross.
123. An Angel healing St. Roch of the Plague.
124. St. Roch in Prison.
This grand picture attracted the admiration of the French, who
transferred it to the Louvre. It was restored in 1815, and replaced
in the church of St. Roch, at Alost.
RUBENS. 43
125. The Last Supper. In the interior of a lofty hall are
assembled the Saviour with His twelve disciples ; the former
(seen in a front view), seated on the farther side of a large table,
with the bread in one hand and the cup of wine standing before
Him, raising His eyes upwards, appears to be in the act of
blessing these elements ; St. John is seated on His right and
St. Peter on the left, and the rest of the disciples are disposed
round the table. The subject is illumined by two candles,
placed on pedestals at the side, between which is an open book.
Engraved by B. Bolswert.
The history of this large altar-piece explains clearly the means
which Rubens pursued to produce the numerous pictures, for
churches and other public buildings, which are ascribed to his
pencil. The deacons of the cathedral church of St. Kombout,
desirous of an altar-piece to decorate their church, bespoke one of
the artist, of the above subject ; and, for the convenience of the
painter, they offered him the use of a large room adjoining the
church to work in. Rubens, as usual, having made a iiuished
sketch, sent his pupil, Justice Van Egmont, to commence and
proceed with the pictiure as far as he was able. This excellent
scholar had nearly completed the dead colouring, when their rev-
erences intimated to him that they had agreed for the picture to
be painted by the master and not by his scholar. They accordingly
ordered him to desist, and wrote to Rubens to express their dis-
pleasure, who, in reply, assured them that he constantly employed
his pupils to commence bis pictures, and that he afterwards cor-
rected and finished them himself, adding a request that his pupil
might.be allowed to continue the work, and that he would, on his
first visit to his country seat at Steen, call and perfect the picture
to their entire satisfaction.
This large altar-piece has disappeared, and all the endeavours of
the writer to ascertain where it now is have been unsuccessful.
126. The Adoration of the Magi. The subject is composed
of about twenty figures, and represents the Virgin, clothed in a
light blue robe and a dark blue mantle, standing on the right,
44 RUBENS.
holding forward the infant Saviour on a pillow to one of the
worshippers, who is on his knees oflTering a bowl of money,
which the Virgin guides the Infant's hand to take; he is attired
in a splendid mantle of yellow silk, embroidered in gold, and
an ermine cape; at his side, but nearer the front, stands
another, clad in an ample robe of a scarlet colour, who holds
an incense vase in his hands ; behind them are two pages
bearing their train ; on the right of the one kneeling stands a
Moorish king with a casket in his hands ; beyond this group
are a man in armour and a negro, looking anxiously at the
Babe ; and behind these are eleven other persons, two of whom,
descending some steps, bear torches. St. Joseph stands
behind the Vii^in.
12 /f. by 10/if.— C.
Engraved by L. Vosterman, 1620, and again by Nolpe.
This splendid picture may be considered the chef-d^oeuvre of the
many representing the same subject which have proceeded from the
painter's studio ; an opinion entertained by the artist himself, who
was accustomed to refer those who complimented him on the excel-
lence of his works to the church of St. John, at Malines. In addi-
tion to the usual beauty of colour, it exhibits more elaborate finish-
ing than is usual in his larger works.
The interiors of the covers of the above picture were
decorated with the following subjects, in allusion to the
church being dedicated to St. John : —
St. John the Evangelist being plunged into a cauldron of
boiling oil. The composition consists of four figures, and two
angels descending with the palm of martyrdom.
The Decollation of John the Baptist. The body of the
saint, seen in a fore-shortened position, lies on the fore-
ground, and the executioner is putting the head on a charger,
held by Herodias and her daughter.
These are indifferently etched by Spruyt. There is also a small
print) of an oval form, of the decollation of St. John, by P. de Jode.
The outside of the covers exhibits : —
John baptizing the Sa/iour. The Baptist stands on a bank,
— ■*• Illl
1
i
RUBENS. 45
pouring water from a shell on the head of the Saviour, who
stands in the stream.
St John the Evangelist in the Island of Patmos. He is
clothed in a pink vest and scarlet mantle, and is seated on a
bank, with a pen and un open book in his hands ; his attention
is directed upwards, where a dragon with seven heads appears
in the heavens, and an eagle is above his head.
12 ft. hjSft. 9 in.— P.
Three small pictures were placed above the altar table,
these represented : —
127. The Adoration of the Shepherds.
128. The Crucifixion of the Saviour.
129. The Besurrection.
These three have disappeared from the church.
The whole of the preceding eight pictures (several of which are
finished with unusual care and neatness), were painted iu eighteen
days, for the sum of 1800 Jlo.y 162Z., according to a receipt in
Rubens's own hand, dated 1624, preserved in the records of the
church ; a foe-simile of which is inserted in this work.
The above pictures (with the exception of the three last) are
now in the church for which they were painted.
The original Sketch for the Adoration of the Magi is now in the
collection of the Marquess of Bute, at Luton.
20 in. by 14J in.—F.
An excellent Drawing, in black and red chalks, washed iu India
ink, heightened with white, the work of a scholar, finished by
Rubens for the engraver, is in the Musde at Paris.
22 J in. by IGj^ in.
130. The Miraculous Draught of Pishes. The view ex-
hibits a wide expanse of sea ; close to the beach (in front)
are two boats, and in the one nearest the spectator stands the
Saviour, clothed in a scarlet mantle, addressing Simon Peter,
who, deeply affected by the miracle, is bending before Him, and
apparently exclaiming, " Depart from me, for I am a sinful
man, 0 Lord ; " two other men are in the boat, one of whom
holds the nets, and the other is turned round, apparently calling
46 EITBENS.
to his companions in the second boat to come and help them ;
one of the fishermen, wearing a red jacket and gray hose, stands
on the margin of the sea ; and two others are in the water
exerting their united efforts to pull the laden nets to shore.
\2ft, by 10 /^— P. {about)
It is finely engraved, in three plates, by Bolswert.
This excellent altar-piece is remarkable for the luminous day-
light effect which pervades it, and the force and bold reUef of the
figiures.
On the interior of the covers of the above are painted : —
St. Peter finding the tribute-money in a fish. This picture is
composed of five men and a woman ; among them is the saint,
holding the fish in one hand and in the other the money,
which the whole of them are examining with emotions of
surprise.
Engraved, anonymous.
Tobit and the Angel. The latter holds a staff in his left
hand, and is pointing with the right to the fish which the
youth has in his hands, and apparently directing him what
to do.
On the exterior of the covers are painted : —
St. Peter, with the keys in his hand ; and
St. Andrew leaning on a cross, holding a fish in his left
hand.
The Louvre possessed the above pictures until 1815, when they
were restored to the church.
Three small pictures formerly adorned the altar, namely : —
131. Christ walking on the Sea.
132. Jonas cast into the Sea.
Engraved by Tassaert
133. Christ on the Cross.
The three last have long since disappeared.
The preceding eight pictures were painted to adorn the chapel of
the Fishmongers' Company, in the church of Notre Dame, at
Maliues, and were done by the artist at his ch&teau of Steen, near
Malines, in the short space of ten days, at his usual charge of
lOO^o. per diem, according to the receipt deposited in the archives
RUBENS. 47
of the Company. This statement can only be rendered credible by
supposing that the artist's scholars had forwarded them to his hand.
134 The Marriage of St. Catherine. The Virgin is repre-
sented placing a ring on the finger of St. Catherine, who is
prostrate at her feet ; St. Agnes, St Christina, St. Margaret,
and other female saints, are in the composition ; and a company
of angels are descending, bearing crowns and palms in their
hands.
9//. hy i ft. (about.)
Engraved by P. de Jode.
This picture was sold by the masters of the Order of St.
Augustines, at Malines, in 1766, to the Chevalier Verhulst, for the
sum of 9500^., about 855Z. ; it having been bought in at a previous
sale for 12,100^. In the sale of the Chevalier's collection it was
sold for 12,705/0., 1143Z.
Now in the possession of the Duke of Rutland, at Belvoir
Castle.
A Drawing, the study for the preceding, was sold in the collection
of R. D. Boisset, 1776 481 /«. 19Z.
135. The Martyrdom of St. Geoi^. The martyr is re-
presented on his knees, his bosom bared to the executioner, and
his countenance, which is seen in profile, directed upwards.
Engraved by Panneels.
6 /J. 6 in. by 5 ft.— P. {about.)
Although the artist employed but a few days in painting this
picture, its merit for composition, expression, and colour, entitle
it to a place among his best productions.
In the account-book of the brotherhood of the church of St.
Gommaire, at liere, is a memorandum, that only 75 flo. were
charged for the above picture ; with which the Order were so weU
satisfied, that they gave a good supper on the occasion.
The distinguished amateur, the Chevalier Verhulst, desirous of
possessing this picture, agreed with the chief of the Order for its
purchase, in 1768, for the* sum of 500^., but the burgomaster of
the city interposed, and prevented it.
48 RUBENS.
On the covers of the above were painted : —
St. George, with the vanquished dragon under his teet ; and
St. Agnes, with a palm branch in her hand and a lamb by
her side.
6/^ 6 in, by 2 ft, 4 in,—F. (about,)
There is an etching of this Saint, with a lamb, by Panneels, and an
engraving by Voet
These latter pictures were in the collection of Edward Gray, Esq.
136. The Virgin, with the infant Saviour in her arms,
accompanied by two angels, appearing, on a cloud, to St.
Francis d'Assise.
Engraved by Lasne.
Upon the doors of the above picture were painted : —
St. Francis receiving the stigmates ; a single figure, looking
upwards at a winged figure on a cross.
Engraved by Galle.
St. Clara. This is highly recommended by Michel for
its grace, and is every way superior to the other pictures ; the
centre one was probably a duplicate, or perhaps a copy. The
same subject occurs twice before in this Catalogue.
Painted for the Church of St. Gommaire, at liere.
The sale of the above pictures was prevented by the chapter of
the college ; and the priests, after having sold them for 4000^. to
four picture dealers from Brussels (in 1727), were compelled to pay
all expenses and secure them to the church.
Now in the Mus4e at Brussels.
There is a print of St. Clara engraved, anonymous.
137. A Drawing of the first picture, done in bistre, for the
engraver to work from.
12 in, by 8 in.
In the collection of Sir Thomas Lawrence, P.R.A.
138. The Descent from the Cross. The figures in this
composition, being too large for the panel on which they are
painted, have the appearance of being crowded together, and
RUBENS. 49
although the colour is veiy brilliant, the general effect is far
from agreeable.
Engraved by Lauwers.
Painted for the church of the Capuchins at Liere.
139. The Entombment. This composition represents the
body of the Saviour placed in a recumbent position on a stone »
the forepart supported by the Vii-gin, whose sorrowful counte-
nance is directed upwards ; St. Francis, with his hands clasped,
stands on one side of her, and two angels on the other ; one of
the latter has a spear in his hand, the other is removing the
linen and pointing to the wound in the Saviour's side ; the
affectionate Magdalen is prostrate at the feet of her Lord,,
weeping over the instruments of his sufferings. St. John and
two of the Maries are behind the Virgin.
12//. 11 in. by 10 ft 7 tn.— C.
Engraved by Bolswert and P. Pontius.
This picture was presented by the Due d'Aremberg to the church
of the Capuchins at Brussels, in 1616. It was among the rich
spoils which adorned the Louvre until 1815, when it was restored^
and is now in the Mus^e at Brussels.
The distinguished beauties which this piece once possessed have
been sadly blighted by the ii\judicious cleanings that it has
undergone.
A beautiful Drawing in chalks, tinted in colour, a study for the
preceding picture, is in the !Musee at Paris.
18| tw. by 14 J in.
140. The Adoration of the Magi. In the arrangement of this
picture the Virgin stands on the left, habited in a red vest with
white sleeves, a light scarf, and a blue mantle ; she is holding
the infant Saviour in a recumbent position on a pillow ; two of
the wise men are on their knees ; the nearest to the spectator
holds his body upright, and is dressed in a scarlet robe, with an
ermine cape and border ; the other is bowing in adoration, and
presenting a bowl full of gold to the child ; a Moorish king,
with a casket in his hands, stands on^the farther side of the
VOL. II. K *^
50 RUBENS.
group ; an armed soldier and three other men are entering at
a door behind the Moorish king. The composition is formed
of ten figures; the gorgeous colour of Paul Veronese was
evidently in the artist's view when he painted this glorious
picture.
8/f. 6 in. by 6 ft 8 t«.— C.
Engraved by Bolswertand Panneels in 1630, and also anonymous.
This picture was the gift of the Archduchess Isabella, about the
year 1612, to the church of the Annunciation at Brussels.
Valued by the Experts du Mus^e, in 1816, at 150,000 /r., 6000/.
Now in the Mus^e at Paris.
141. The Assumption of the Virgin. The composition of
this picture is distinguished from others of the same subject
by the introduction of the Saviour, who is seen above the head
of the Virgin, descending with open arms to receive her into
glory ; and among the host of angels who attend the Virgin,
is one approaching to place a chaplet on her head. The
twelve apostles surround the tomb below, and the three
Maries are on the farther side of it.
IZft 6 in. by 10//.— C. (abouf.)
Engraved by Pontius, and in reverse by C. Jegher, and again by
Masson.
This altar-piece was the gift of the Archduke and Duchess
{Albert and Isabella) to the Notre Dame de la Ghapelle, Brussels,
in the year 1614. A picture, corresponding with the preceding
description, is now in the public gallery at Augsburg, and another
at Munich.
142. The Apparition of the Saviour to St. Theresa, in her
€ell; two angels are behind the saint, one of which has a
flaming arrow in his hand.
Engraved by Bolswert.
There is also a print of this subject, by Deroy, in which the
angel is piercing the heart of the saint with an arrow.
This picture was the gift of the Due de Boumonville, and his wife
the Princess d'Aremberg, to decorate an altar (constructed at their
expense) in the church of the Barefooted Carmelites at Brussels.
RUBENS. 51
The preceding picture was sold in the collection of Mr. Delahante,
in 1814, for 290 g».
143. Saint Ignatius Loyola, habited in a splendid cope,
standing before an altar, with his hand placed on a book.
Engraved by Bolswert.
144. Saint Francis Xavier, clad in a white surplice, stand-
ing at an altar, on which is a crucifix ; his hands are crossed
on his breast. The figures are full length, and above the
size of nature.
Engraved by Bolswert ; they are also engraved by Marinus, and
repeated in small, anonymous.
These formerly decorated the Jesuits' church at Brussels.
145. Christ's charge to Peter. The Saviour, in the presence
of three of His disciples, is represented delivering the keys to
St. Peter, to whom He appears to be addressing the charge,
" Feed my sheep," in allusion to which are introduced two
of those animals (the heads only are seen) near the Saviour.
The figures are what is termed half-lengths of the size of life.
4 fL 7 in. by 3 ft— P.
Engraved by Kraaft, Van Eisen, and Winstanley. The last
engraved his print from a picture then in the possession of the
Earl of Derby, at Knowsley.
The above picture was painted to adorn the chapel of the tomb
of M. d'Amant, a viscount and chancellor of Brabant, and merits
the highest commendation for the dignity which characterises the
figures, and the divine expression of the Saviour. The drawing of
the figures, and the casting of the draperies, are models of ex-
cellence. It is painted in a smooth and highly-finished manner.
Several writers concur in expressing regret, that this fine work of
art has been robbed of its pristine beauty by injudicious cleaning.
It was probably owing to this, that Sir Joshua Reynolds speaks
slightingly of it in his Tour through Flanders. It was imported
to England some years back, by an eminent dealer, and passed
through several hands, at the price of 3500/. ; the last possessor,
Mr. Champion, is said to have paid the liberal sum of 5000?. for it ;
(
52 RUBENS.
and after remaining on sale for many months, it was ultimately
disposed of by Mr. Pinny, in 1824, for 2500 ^8., and was bought
by an agent for the present possessor, the Prince of Orange.
146. Christ delivering the keys to Peter, in the presence of
four other Disciples. The composition of this picture differs
very materially from the preceding; the Saviour is here
represented with His left hand raised above His head, and
Peter, while receiving the keys, looks up in his Master's face.
The position of the figures is also reversed.
6/i^. 11 in. by 5^. 3 m.— C.
Engraved by P. de Jode.
This picture was painted for the chapel of the tomb of John
Breughel and his family, in the Chartreux at Brussels, from whence
it was sold in 1765, to defray the expenses of repairing the church,
to M. Braamcamp, for 5000 flo., 450Z. ; at the sale of his splendid
collection, at Amsterdam, in 1771, it sold for . 4000 /o. . 360Z.
Deschamps, in noticing the above work, observes, "il est lourd
de coideuVf et parait fatigrie et peinS; " the writer regrets to say, that
this is the fact, and has probably been occasioned by injudicious
cleaning and bad restoration. There can be little doubt but this
picture would greatly improve in skilful hands.
Now in the collection of M. Van Lankeren, at Antwerp.
147. The Martyrdom of St. Thomas the Apostle. The
venerable saint is represented embracing a cross with one
arm, while the other is extended upward ; from whence are
seen descending a company of angels bearing the emblems
of immortal life. The saint is surrounded by seven of his
malicious persecutors ; one of them is stabbing him with a
spear, a second holds a dagger to his neck ; and the rest have
large stones in their hands to cast at him. In the back-
ground is a handsome heathen temple, near which is placed
an idol upon the summit of a spiral column. Painted in the
artist's broad and sketchy manner.
IS ft by 10 ft. (about.)-^C.
Engraved by Neefs.
RUBKNS. 53
148. The Assumption of the Virgin. The difference of
this composition from others of the same subject are, that
the ascending Virgin kneels upon a cloud, and is looking
upwards, with her arms extended; her clothing consists of
a white robe and a purple mantle ; seven angels attend her,
and two cherubim are at her feet. In the lower part of
the picture are the twelve apostles and two females ; two of
the former, St. Peter and St. John, and one of the latter, are
kneeling in front of the tomb.
15 /L 10 in. by II fL—C. (arched.)
Engraved by Witdouc.
This picture is painted in a free and hasty manner, possessing the
usual richness of colour ; but the principal figure is sadly deficient in
grace and dignity of character.
Painted for the church of the Chartreux at Brussels.
Now in the Lichtenstein Gallery at Vienna.
149. A free Sketch, a study for the preceding picture.
22 in. by 16^ in.—T.
In the collection of Peter Eanier, Esq.
150. The Martyrdom of St. Lawrence. This aflTecting
subject is composed of thirteen figures and an angel, who is seen
descending with the palm and crown, the reward of martyrdom.
Engraved by Vosterman.
The disastrous bombardment of Brussels in 1695, by the French
army under the command of the Due de Villeroy, was so destruc-
tive to the city that, in less than forty-eight hours, six thousand
houses and fourteen churches were ruined ; with these many fine
pictures by Rubens, Van Dyke, and other painters, were either
seriously injured or destroyed. In the general devastation was
included the parish church of the Chartreux of Notre Dame de la
Chapelle, for which the two preceding pictures were painted ; and
in order to defray part of the expenses of its repairs, the curates
and masters of the church were induced to sell them to the Elector
Palatine,, for the smn of 4000 crowns.
Now in the Munich Gallery. •
54 RUBENS.
151. Job, in the extremity of his sufferings, seated upon a
dung heap, teased by the importunity of his wife, and
tormented by demons.
Engraved by Vosterman.
Tliis picture was destroyed in the church of St. Nicholas, by the
bombardment before noticed.
152. A finished Study for the above subject.
In the Munich Gallery.
153. A fine Drawing, in black chalks heightened with white,
done by a scholar, and perfected by the master for the engraver.
16 in. by 11} in.
In the Mus^e at Paris.
] 54. The Adoration of the Magi. This superb altar-piece
exhibits a splendid display of colour, skilful grouping, and the
most masterly freedom of handling. The composition consist.s
of twenty figures ; near the centre stands the Virgin, seen in
a front view, holding the infant Saviour erect on a crib, with a
pillow under His feet ; while one of the sages, clothed in a
gorgeous yellow robe, is bowing before Him and embracing His
foot; a second of the number, wearing a scarlet mantle, stands
on the farther side ; and on his right is an Ethiopian king
paying homage, by uniting his hands together ; behind these
is a page, bearing a vase full of money, another youth, in
a white robe, bearing a similar offering, is on the opposite side,
bending on one knee ; and beyond him are a negro and a boy,
bearing candelabra and lights; St. Joseph is close to the
Virgin. In the left of the picture is an armed soldier, pre-
venting with his shield the entrance of a number of persons,
who are on the stairs of the building.
10 ft. 5tn. by 9 /i.-^C.
Engraved by Lauwers.
This is probably the picture which was painted for the church of
the Capuchins at Toumay, and not for that of the White Sisters at
Louvain, as stated by Michel.
Now in the Mus^e at Brussels.
RUBENS. 55
155. St. Ivon, habited in a scarlet robe and bonnet, giving
some papers to a female, who is kneeling before him with a
child in her arms, and another by her side ; an angel with a
chaplet of laurels flies over the saint's head.
Painted for the Jesuits' church at Louvain.
156. The Adoration of the Magi. The fertility of the
painter's invention enabled him to repeat successfully the same
subjects with increased variety. In the present picture the
Virgin (who is placed on the left) has risen from her seat, and,
assisted by St. Joseph, is holding the infant Saviour towards
two of the wise men, who are rendering homage ; one of them^
the nearest to the spectator, is on his knees, and has an incense
vase in his hand ; the other presents an offering of a bowl of
money ; behind the latter is a page bearing his train, and
beyond this group stands a Moorish king with a casket in his
hands. Eleven figures, and two angels above, compose the
picture.
10 ft. 9 in. by Sft 1 tn.— C.
Engraved by Witdouc.
Painted for the church of the White Sisters at Louvain, at the
usual price of 100 florins ^69* tftm SOOflo. 12L
Sold at the suppression of convents,
Brussels, 1786. . 8400 /o. 756/.
Collection of M. Horion . . . .1788 . 8000 /o. 720Z.
Marquis of Lansdowne 1806 840Z.
Now in the collection of Earl Grosvenor.
157. An original Sketch for the preceding picture.
19 J in. by 14 in.— P.
In the collection of M. Van Sasseghen.
158. St. Peter and St. Paul Heads.
Both Descamps and Michel state, that these were of the greatest
beauty and excellence, and so highly prized that they were only
56 RUBENS.
exposed on extraordinary occasions. They were painted for the
church of St. Donat, at Bruges.
Of these heads, so much prized, Sir Joshua Reynolds observes,
*^ They appear to have nothing to recommend them but clearness of
colour and lightness of pencil."
159. The Procession to Calvary. This magnificent altar-
piece is composed of about twenty figures. The Saviour,
clothed in a dark grey vest and a scarlet mantle, is represented
in the centre, bowed to the ground by the weight of His cross,
which a powerful man, assisted by Cymon, the Cyrenian, is
removing from His back, and the affectionate Magdalen, on her
knees, is wiping His brow with a napkin ; behind her is the
wife of Cleophas, with two children ; at whose side stands the
afflicted Virgin, supported by St. John ; and in the left of the
picture is another female with an infant in her arms. In the
lower part of the picture are the two thieves, with their hands
bound (their backs towards the spectator), guarded by two
soldiers in armour, who are seen to the middle only. This
group is omitted in the print, and two children playing on the
ground are substituted. The procession is led by three horse-
soldiers, who are mounting with difficulty the steep ascent of
Calvary, accompanied by others, indicated by the appearance
of spears and banners. This superb production is one of the
grandest and most successful works of the master. The
composition is remarkably bold and imposing, and the figures
abound with strong and energetic expression.
15 //. 8 in. by 11 //. 3 in.—C.
Engraved by P. Pontius.
This once glorious work has lost much of its original beauty, and
presents, comparatively, but gleams of its former splendour. It has
recently been repaired, and its appearance much improved from
what it was a few years back.
The rapidity with which the artist painted the above picture
{being the work of only sixteen days), induced the provost and
masters of the college of the abbey church of Affleghem, to hesitate
RUBENS. 57
at paying the usual sum of 100 florins ^er diem. In answer to their
objections, Kubens replied, '* That if the picture did not suit them,
it was of no consequence, as he had every day applications for
pictures from those who would feel themselves obliged in having it."
This answer produced a ready payment of the sum required,
UOOflo,, about U4Z. Now worth iOOOl.
Now in the Mus^e at Brussels.
160. A Sketch for the preceding.
3 A 1 in. by 2 ft 2 in,— P.
Sold in collection of M. Horion, Brmsthj 1788. . 165^0. 14Z.
Now in the Mus^e at Amsterdam.
161. The Miracles of St Benedict in the presence of Totila,
King of the Goths. The subject is exhibited near a convent, a
noble edifice, placed on the right, and entered by a long flight
of steps from the opposite side. At the portal of the monastery
is seen the reverend saint in the habit of the Franciscan order,
and attended by two monks; he appears to be advancing
towards an attendant of the king, who is on the summit of the
steps in the disguise of his sovereign, but the imposter is
instantly detected by the saint, and, struck with awe, is retro-
grading before him ; his page also, and armed followers, who
are on the steps behind him, are equally affected with terror ;
several persons of distinction, habited in various coloured robes,
are at the foot and side of the steps. In the centre, and near
the front, is a large group of persons, several of whom have
brought their sick and diseased for cure ; in the midst of them
is one lying nearly naked on a couch ; three others of the
afflicted are sitting on the ground ; and a fourth, in a state of
frenzy, is held by two men ; to the right of this group is King
TotUa, mounted on a bay horse, holding a sceptre in his hand ;
and nearer the side are two horses, one of which (a gray) is held
by a servant, while the rider, who is clad in a red mantle,
ascends some steps, accompanied by another person and two
58 RUBENS.
children ; these are met at the summit by several monks.
The Saviour, accompanied by St. Peter, St. Paul, the Virgin,
and angels, is seen in the clouds.
5 /f. 4 in. hjSfi.e in.—C,
This splendid picture, although only a finished sketch, is a noble
display of the genius of the artist. It was done by order of the
prebends of the abbey of Affieghem, as a design for a second
picture to adorn their church, but by some accident was never
executed ; the sketch remained in the refectory of the abbey until
its dissolution.
Now in the collection of M. Schamps, at Ghent.
162. The Adoration of the Shepherds. This picture is
composed of nine figures, and exhibits the Virgin seated at the
he^d of the Infant, lifting up its covering with the left hand ;
and St. Joseph standing by, viewing with emotion the approach
of a group of three shepherds and three women to worship and
offer their gifts to the Child ; one of the females is kneeling in
front, holding an egg in her hand, a portion of her humble
offering, which consists also of a can of milk and a couple of
fowls. An ass and an ox are near the crib, and three angels
hover above.
Engraved by Vosterman, Jeaurat, and anonymous.
Painted for the chiux^h of the Capuchins at Aix-la-Chapelle.
163. A Drawing of the preceding, done by a scholar (per-
fected by Eubens for ihe engraver) in chalk, washed in India
ink, and heightened in white.
22 in. by IGJtw.
In the Mus^e at Paris.
165. The Entombment. The body of the Saviour is borne
to the tomb by Joseph of Arimathea and Nicodemus, ac-
companied by St. John and three females, who are on the
right, and two others in the opposite side ; one of these is
Mary Magdalen, kneeling and weeping by the tomb, into
which the other is putting straw.
RUBENS. 59
Engi-aved by Witdouc. Another of the same subject, in which
the Virgin holds a napkin, is engraved by Ryckman, and also by
Pontius, Bolswert, Galle, and Landry. The same subject, in which
the Virgin is closing the eyes of the Saviour, composed of nine
figures, is engraved by Soutman. A similar composition, with the
omission of two figures, is engraved by Prenner.
Painted for the church of the Capuchins at Cambray. The
original sketch for this picture is in the possession of Mr. Norton.
14 in by 32^ tn.— P.
165. The Martyrdom of St. Stephen. The saint, habited
in bis de€kcon's robes, is kneeling, with his hands bound behind
him, and his inspired countenance directed upwards ; among
the executioners who surround him is one raising a large stone
and striking him with his foot ; three angels are descending
bearing the emblems of martyrdom ; and the First and Second
Persons of the Trinity are seen above in glory.
Painted for the abbey church of St. Amand, in Flanders.
This picture was subsequently in the possession of the Count de
Cobenzt, when it was engraved by T. T. Tassaert.
Exhibited in the British Gallery, 1823.
Now in the collection of Prince Leopold of Saxe-Coburg.
166. The Four Elements. The figures in these pictures are
ascribed to the pencil of Subens ; and the game, fish, fruit,
and vegetables are by the masterly hand of Snyders. These
pictures were painted for the Bishop of Trieste ; they after-
wards decorated the Goldsmiths' Hall at Brussels, and were
subsequently sold to a picture dealer from London.
These are probably the pictures engraved by Earlom, when in
the Houghton collection, and are now in the Hermitage at St.
Petersburg.
60 RUBKNS.
THE MUNICH GALLERY.
The Munich Gallery possesses the following Pic-
tures, THE GREATER PART OF WHICH WERE FORMERLY IN
THE Gallery at Dusseldorf, and are engraved in
THE Catalogue of that Collection.
167. The Last Judgment. In this vast composition the
Saviour is represented sitting on clouds, pointing upwards to
the First and Third Persons of the Trinity, who are seen above
enthroned in light. The Virgin, with the patriarchs, prophets,
and apostles, form a large company on the right and left of the
Saviour, beneath whose feet are angels sounding trumpets — the
call to judgment; and Michael, armed with thunder, driving
down the condemned to perdition, while the just are ascending
under the guidance of angels to beatitude. The figures are
above the size of life.
18 ft. 5 in. by 13//. 10 tn.— C.
Engraved by Visscher and C. E. Hess.
In the painting of this immense picture, the artist has been
considerably assisted by his pupils.
Schleishem Gallery, near Munich.
168. Diogenes, with a lantern in his hand, looking amidst a
multitude in search of an honest man.
5 ft, 10 in. hylff.S in.—C.
169. A duplicate of this subject, but of very inferior merit,
is in the Louvre.
170. The Adoration of the Shepherds. The Virgin stands
on the right, with her back to the shepherds, lifting the
covering from the Infant, who lies upon some straw on a crib;
one of the shepherds is kneeling in front, his hands united in
adoration ; another, expressing the same feeling, stands by his
side with bagpipes stuck in his girdle ; and a third, who has a
RUBBNS. 6 1
Munich Gallery.
lamb under his arm, is lifting off his hat ; two women are with
them, one of whom carries a can on her head. A company
of nine angels are above, two of them bearing a scroll, on
which is written, Gloria in excelsis Deo, &c. &c,
%ft,1 in, by Uft, 9 in.— C.
Engraved by P. Pontius.
171. Peace procured between the Romans and Sabines, by
the interposition of the Sabine women.
6 ft 8 in, by 8 ft, 9 in,—G,
Engraved by H. Sentzenick.
172. The Assumption of the Virgin. The Saviour, with
open arms, is seen above welcoming the ascending Virgin,
and numerous angels attend around her; the apostles and
holy women surround the forsaken tomb below. — Seep, 50.
13/^ 1 in, by 8//. 9 in,—C,
Engraved by P. Pontius and Masson.
Formerly in the church of Notre Dame de la Chapelle, at
Brussels.
173. Michael, armed with thunder, and aided by four
Angels, driving down Lucifer and his horrid crew to " bottom-
less perdition." The composition, consisting of eleven figures
and an enormous single-headed dragon, exhibits a single
group of prodigious power and imposing effect ; and the forms
of the fallen angels are distinguished by their bold and
gigantic proportions.
Uft, 1 in, by 9/^— C.
Engraved by Vosterman, 1621 ; and in reverse by Eagot.
174. A Wild Boar Hunt. A party of seven men on foot
and two gentlemen on horseback, with numerous dogs, attack-
62 RUBENS.
Munich Gallery,
ing a furious boar near the trunk of a fallen tree. The
enraged animal has knocked down one of the huntsmen and
wounded several of the dogs.
6 ft, 4 in. by 9 ft 4 in. — C.
Engraved by Soutman.
This is the joint production of Rubens and Snyders.
175. The Descent of the Holy Ghost upon the Apostles on
the Day of Pentecost. "And there appeared unto them
cloven tongues, like as of fire, and it sat upon each of them."
The composition consists of sixteen figures of the size of life.
14/^. 10 in. by 8 ft. 7 in.—C.
Engraved by P. Pontius, and by Galle, with variations.
176. A very admirable Drawing, en grisaille, the original
study for the preceding picture.
23 in. by 16 in.
Now in the collection of Sir Thomas Lawrence, P.R.A.
177. Fame crowning a Warrior. The hero is represented
clad in armour and holding a spear in his hand, while Fame,
personified by a female, stands by his side placing a chaplet
on his head. The powerful influence of ambition is strikingly
illustrated by the God of Wine lying prostrate under the
warrior's feet, and the Goddess of Love with Cupid placed
Delected at the side. A splendidly-coloured picture.
6 ft. 9 in. hy eft. 3 in.—G.
The same subject occurs in the Dresden Gallery, and is en-
graved by Tanjd.
178. Beauty rewarding Valour. Venus standing by the
side of an armed warrior, placing a chaplet on his head, while
Cupid is gathering a branch of palm to present to him. A
quantity of armour and warlike weapons lie on the ground
7 ft. 9 in, by 10 ft. 11 in.—C.
A similar picture occurs in the Dresden Grallery.
RUBENS. 63
Munich Gallery.
179. A Bacchanalian Subject, representing a drunken
Silenus supported on the left by a satyr, and followed by a
negro, who is pinching his thigh. Close to the front is a
female satyr reclining forward on the ground, suckling two
young ones. Twelve figures, two goats, and a tiger, compose
the picture.
6 ft 6 in. by 6 //. 6 in.— C.
Engraved by Bolswert, Panneels, and Van Orley.
180. Castor and Pollux carrying off by violence Hilaria and
Phoebe, the daughters of Leucippus. One of the youths,
mounted on a noble steed, the reins of which is held by Cupid ,
is lifting up one of the females, who appears to have exhausted
her strength by resistance, and is appealing to the gods for
help ; his efforts are seconded by his brother, who, while sup-
porting her on his shoulders, is holding the other female on
his knee with his hand under her arm. During the violence
of their struggles, their raiment has fallen off and left them
exposed. It would be difficult to adduce a more complete and
beautiful composition than this picture presents, or for art to
express with more animation and truth the accidental positions
and movements of the individuals which such an event must
naturally produce. The spirited action of the terrified horses,
and the ineffectual efforts of feminine strength against the
muscular powers of men, are depicted with incomparable skill
and force. The purity and the brilliancy of the colouring,
and the careful finishing observable in every part, are indu-
bitable proofs of the studious attention bestowed on this
excellent work.
7 ft 4 in. hy 6 ft. 10 in. Worth 1500 gs.
Engraved by Yal Green.
181. Rubens and his Wife, Elizabeth Brant. The lady is
about twenty-three years of age, of fair complexion and small
64 RUBENS.
Munich Gallery,
features ; her elegant dress consists of a straw hat turned up
at the side, a pale yellow silk vest embroidered with silver, a
black striped silk robe, a white satin bodice, also richly
embroidered, and a broad lace ruff; she is seated in a bower
of honeysuckle, with a fan in her left hand and her right
placed on that of her husband, who is seated by her side,
richly habited in the costume of the period, composed of
satins and figured velvets, and has on a taper-crowned hat.
The elaborate care bestowed in the finishing of the picture
renders it very unlike the usual works of the master at that
period.
6 ft 6 in. by 4/f. 3 in, — C.
Engraved by Hess.
182. A Portrait of Doctor Van Thulden, dressed in black,
seated in an arm-chair with a book in his hand.
Engraved by Coelmans.
183. The Virgin, seated, holding the infant Saviour naked
in an erect position on a table, which is partly covered with
some drapery.
Sfi.3 in, by 2 ft. 6 in.—F,
Engraved by Spruyt.
A duplicate of the preceding picture is in the Marlborough
collection.
184. The Bier of the Soman Greneral Decius, adorned with
military trophies, composed of banners and weapons of war.
A finished sketch.
2fi.S in. by Sft. 10 tn.— P.
185. Diana and Nymphs reposing after the Chase. The
goddess and three nymphs are represented naked, recumbent
upon a bank under the shade of a thick wood, from whence
RUBENS 6d
Munich Oailery.
three satyrs are issuing and cautiously observing the sleeping
beauties. The landscape is by the pencil of Breughel, and
the dogs and dead game by Van KesseL
2 ft 1 in. by 3 ft. 5 t».— P.
Engraved by Soutman.
Bought from the collection of Van Loo, 1713. 1875^. 172/.
186. Samson and Delilah. A composition of nine figures,
representing the moment when the Philistines rush in and seize
Samson, whose arms they are binding behind him; the
atmggling Nazarite has one knee upon the couch on which his
artful betrayer reclines.
3 ft 5 in. by 4 /f. 1 tn.— C.
Done in lithography by Piloti.
A very similar composition to the preceding, painted by Van
Dyck, is in the Vienna Gallery.
187. A group of seven beautiful Children, naked, and dis-
posed in various graceful attitudes, playing with a large festoon
of fruit. The latter painted by Snyders. A highly-finished
and very beautiful production.
3 //. 9 in. by 6 /f. 4 in.—C. Worth 700 g$.
Drawn in lithography by Piloti.
188. The Fall of the Damned. Michael, armed with flaming
thunder and accompanied by a number of angels, driving down
to perdition multitudes of the condemned, who are falling in
^* horrible confusion," and in their frightful rout are dragged
by ministers of vengeance to regions of woe, where " doleful
shades " and fiery gulfs surround them.
8/^. 8 in. by 4 /f. 10 in.—V. Worth 4000 gs.
Engraved by Suyderhoef, 1642.
This, like other pictures of the same subject contained in tliis
overpowering collection of Rubens, teems with awful sublimity and
terrific grandeur.
VOL. II. F
66 RUBENS
Mv/nich Gallery,
189. St. Christopher carrying the infant Saviour upon his
shoulders through a river. A sketch for one of the pictures
on the doors of the " Elevation of the Cross."
2/i.b in, by 2 /f. 2 in,—P,
Engraved by Eynhouedts.
190. Christ appearing to the four Penitents. The Magdalen
is in front, her hands crossed on her bosom, and bowing in
adoration before the Saviour; St. Peter and the other two
penitents are on the farther side of the Saviour.
4c ft, 7 in. by 4 /f. 1 in. —P. Worth 2000 ga.
Engraved by Natalis ; and in mezzotinto by Val. Green.
This is a beautiful and interesting picture, finished with extra-
ordinary care, and very brilliant in colour.
191. Silenus accompanied by a negro, a satyr, an old woman^
and a faun ; the last is drinking.
ift, i in. by 4 ft.—T,
Engraved by Soutman.
192. The Conversion of Saul. The Saviour, surrounded
by light, and attended by cherubim, appears to Saul on his
journey to Damascus. This supematuralapparition has terrified
the horses, and thrown the whole of the armed band into con-
fusion ; the persecutor is prostrate on the ground in front, and
his fieiy steed, which is seen in a hinder view, has fallen back
on his haunches; the rest of the horses and figures are similarly
disposed to the large picture described in the collection of
P. Miles, Esq.
3 j^. by 3 ft. 10 tw.— P. Worth 800 gs.
Done in lithography by Piloti.
193. The Overthrow of Sennacherib and his Host. ** And
it came to pass that night, that the angel of the Lord went out
and smote in the camp of the Assyrians one hundred and
RUBENS. 67
Munich Gallery .
eighty-five thousand " men. — II. Kings, chap, xix., v, 35. A
group of four angels, armed with thunder, are seen in the
heavens, descending in a stream of light, the efiFect of which
illumines the camp of the Assyrians, and excites terror and
confusion throughout the host. Among a mass of cavalry
thronged together in front is a fine mottled war-horse rearing
up, and from which the rider is falling backwards ; several
horses are kicking and plunging ; numbers of men lie dead^
and others are fleeing in all directions.
3 /f. by 3 ft, 10 tn.— P. Worth 800 gs.
Soutman has engraved a print after the principal group in the
centre, and the whole is drawn in lithography by Piloti.
194. A Drawing in bistre and India ink, tinted with
colours, of the above picture.
Sold in the collection of M. Mariette, 1775. 150 /<j. 6Z. 10«.
195. The Battle of the Amazons and Greeks. The com*
batants, mounted on spirited horses, are hotly engaged in a
sanguinary conflict on a bridge which extends across the
picture ; and amongst them is a Greek seizing a banner from
an Amazon, who, in struggling to retain it, is nearly pulled
backwards from her horse ; at each end of the bridge is a
confused miUe of horses and their riders rolling down a steep
bank into the rapid stream, on whose agitated waters are
several of the vanquished Amazons drowning and dead ; two
of them lie naked on the bank.
3 /f. 9 in, hybft.2 in,—F. Worth 1000 gs.
Engraved by L. Yosterman, 1623. Size of the plate 2 ft, 9 in,
by 3 /f. 11 in, ; also by Duchange, and in small by Depuis.
This and the two precediug pictiu*es are most perfect examples
of the extraordinary power of Rubens in invention, execution, and
all the other elements of art. They are wholly by his own hand.
€8 RUBENS.
Munich Gallery.
196. Portrait of Elizabeth Brant, the first wife of Rubens,
tastefully dressed as a shepherdess ; her right hand is placed on
her naked bosom, and a crook reclines against the left shoulder.
2 ft. 5 in. by 2 ft—C. Worth 500 gs.
There is a print by Elliot, which closely resembles this picture.
197. Portrait of Helena Forman, the second wife of the
artist, attired in black silk, and wearing a black velvet cap
surmounted with a ball and tassel ; the face is seen in nearly
a front view, with light bushy hair, and the bosom is exposed.
3 y5f. by 2 ft 1 in.—?. Worth 500 gs.
Drawn in lithography by Piloti.
198. Latona and her Children refused water by the Carian
peasants, for which cruelty the latter are being metamorphosed
into frogs.
3/<. 10 in. hy 2 fi. 7 in.—C.
199. Soldiers attacking and pillaging Peasants. Painted
in a loose hasty manner.
I ft. 11 in.hj2fi. 9in.—F.
200. A Shepherd and Shepherdess, in a Landscape. The
rustic is represented with his arm round the neck of the shep-
herdess, who is struggling to free herself from his embraces.
5 ft. 4 in. hy 4 ft. e in.—C.
201. The Meeting of Jacob and Esau. Esau, clad in armour
and wearing a mantle over his shoulder, has dismounted from
his horse, and is approaching his brother with open arms,
while Jacob, habited in a shepherd's garb, has taken his hand
and is bending meekly before him. Esau is attended by two
armed followers, and a page holding his horse ; and Jacob is
accompanied by his wives, childi'en, servants, and cattle.
10 ft. 4 in. by Sft. 7 in.—C. Worth 2000 gs.
Engraved by L. Vostermauj Balliu, and Giffart.
BUBENSL 69
Munich Gallery,
202. Venus dissuading Adonis from the Chase. This is &
broad and slight production.
8^. 6 in. by 6 /if. 6 in, — C.
Engraved by Panneels.
203. Christ on the Cross. The Saviour has bowed His head
on His breast, and yielded up the ghost ; the sky is darkened to
obscurity.
ift, 5 in. by 2 ft, 10 in.
Engraved by Bolswert.
204. Portrait of a Lady Abbess.
3/f. 2 m. by 4//.
205. The Virgin and Child. The infant Saviour is standing
naked upon a table, supported by His mother, and surrounded
by eleven angels, disposed in the most graceful positions, encir-
cling them with flowers. The latter are by the hand of Breughel.
5 ft, 9 in, hjQft,1 in.—P, Worth 600 gs.
206. The Sesurrection of the Just. In this sublime pro-
duction, thousands of the blessed are seen rising from the
earth, soaring under the guidance of angels and approaching
their Saviour and Judge, who is seated on high upon a
luminous bow ; above appears the Godhead enthroned in
light ; the Virgin and a company of saints are beneath the
Saviour's feet. In the lower part of the picture is seen a
vast space covered with multitudes of resuscitated beings,
and the deputed angels separating the ''just from the unjust."
The figures in this transcendent work of art are small
(probably about six inches), but are painted with admirable
delicacy, attractive grace, and beautiful colour.
3 ft, 9 in, hy 2 ft. 11 in,—V, Worth 4000 gs.
207. Portrait of Don Ferdinand, Cardinal Infant of Spain,
habited in his canonical dress, and holding a book in his hand.
Sft, 8 in, hy2ft, 7 in.
Engraved by Galle.
70 RUBENS.
Munich OaUery.
208. A Sketch for the above picture.
209. Portrait of St. Ignatius. The face is seen in nearly a
front view, and a glory surrounds the head.
\ft.n in. hy I ft. 6tn.— P.
210. Portraits of Lord and Lady Arundel and Son. The
lady, attired in black satin, lace ruff, gold bracelets, and pearls,
is represented sitting on the left, her right hand placed on the
head of a large dog, and his lordship stands behind her chair ;
he is dressed in an olive-colour vest, a brown mantle lined
with crimson, and a white ruff; the youth, also standing, is
more in front, holding a hawk on his hand ; a favourite dwarf,
the usual accompaniment of nobility at that period, is intro-
•duced on the farther side of the dog ; a beautiful portico,
adorned with a curtain, forms the background.
8 ft. by 8 ft. 4 in.— C. Worth 1500 gs.
This capital picture was painted in 1627, for the Earl of Arundel.
Previous to the confiscation of the Earl's property, in 1649, it was
43ent to Antwerp, and bought by the Elector of Bavaria.
211. A Priest blessing Decius previous to the battle in
which he devoted his life to accomplish the prediction of the
soothsayers. A composition of seven figures. A finished
sketch for a large picture.
2 ft-. 4 in. hy2ft. 10 in.— V.
Engraved by Schmuzer, and anonymous.
212. Portrait of a Monk holding a skull in one hand and a
l)ook in the other.
3 ft. 3 in. by 2 ft. 8 in.— C.
213. Portrait of a Gentleman, habited in the Spanish
•costume, represented in nearly a front view, with his left
hand placed on his hip, and the right on the head of a dog.
3ft. Sin. hy 2 ft. 7 in.— C.
RUBENS. 71
Munich Gallery.
214. Portrait of a Lady, seen in a front view, with light
curly hair, dressed in a black robe and white kerchief.
1 /f. 6 in. by 1 /f. 4 in, — P.
215. Diana, accompanied by her nymphs and dogs, de-
parting for the chase.
2 ft. hy 3 ft. 4 in.—V
The landscape is the work of Breughel.
216. The Fall of the Great Dragon, and the Punishment
of the Seven Mortal Transgressions. Description, however
detailed, can convey but a fednt idea of this terrific and as-
tounding scene, in the contemplation of which the mind shrinks
aghast, and the eye turns from it with horror. A space, as far
as "angels ken," in height and depth, appeeurs filled with
countless numbers of the condemned, " hurled headlong in the
wasteful deep," pursued by the archangel Michael, armed with
thunder ; the ministers of wrath and an enormous dragon with
seven heads torment them falling. Below is seen a '' dungeon
horrible, on all sides round as one great furnace flaming,"
where frightful demons are dragging the wretched to misery
and woe, and where multitudes are writhing in agonising pain.
In this wonderful production the vast powers of Eubens are
displayed in overpowering splendour, and in such bold and
daring imagery as almost equals the poetic fervour of Milton
in the exhibition of such " hideous ruin and combustion ; " for
nothing short of the most consummate skill in art, joined to the
highest poetic feeling, could have conceived and executed, with
such matchless grandeur and sublimity, a subject so vast, so
truly awful and appalling, as the fall and punishment of
millions of wretched beings.
5 ft. 9 J in. by 3 ft. 9 J in.— P. Worth 5000 gs.
Engraved by Van Orley. Soutman has also engraved one of
the principal groups, 1642.
72 RUBENS.
Munich Gallery.
Four Studies of the principal groups in the preceding picture^
done in chalks, are in the collection of Sir Thomas Lawrence, P.R. A.
2 ft 6 in by 1 //. 6^ in,
A fifth Study, for a group representing Gluttony, done in crayons
and washed in India ink, was sold in the collection of the Duke de
Tallard in 1756, for 85 /a. This, together with a valuable collec-
tion of drawings, was bequeathed to the British Museum by
R Payne Knight, Esq.
2 17. A View in the gardens at the back of the artist's house,
in which are introduced, in small whole-length figures, portraits
of himself, Helena Forman, and their son, habited in the
tasteful Spanish costume of the period ; on the right is an old
female domestic feeding some peacocks.
3 /f. 6 in, by 4 ft, OJ in,—?. Worth 600 g9.
This interesting production is painted in a free and sketchy
manner.
218. The Murder of the Innocents. In viewing this afiect*
ing scene, the writer is led to observe, that although every
department of the art was subservient to the genius of Bubens,
yet his powers never appear so conspicuous as in those subjects
where the passions are most strongly actuated, and where
corresponding energy and impetuosity are the result of the
excitation of those passions. Many artists of the highest
celebrity have painted this and other subjects of cruelty ; but
when placed in comparison with similar works by Rubens, there
is an evident artificial and studied expression of the passions,
giving an academic stiffness and theatrical air to the figures.
Not so with this picture : every part appears to have been
struck off at once, active and vigorous from his creative ima-
gination, and in strict accordance with nature. The appalUng
scene exhibits the passions excited to the greatest degree ; the
cruelty of the soldiers appears to be increased by the natural
resistance of the bereaved mother's, whose agonized feelings
RUBBNSL 7^
Munich Gallery,
are strongly marked by revenge, grief, and despair ; and the
efforts to protect their beloved offspring are strikingly
depicted in the contorted positions into which their violent but
unavailing struggles have thrown them. This very excellent
picture is painted in the artist's free or bravura manner.
4 /if. 3 in, by 9 ft. 3 m.— P. Worth 1500 gs.
Engraved by P. Pontius and Depuis.
219. Helena Forman, when about 25 years of age. Her
fair countenance is seen in a front view, and her light frizzled
hair is decked with an orange flower ; she is elegantly attired
in a yellow silk skirt and bodice beautifully embroidered, a
black silk robe, and a rich lace rufif, which stands up round
the shoulders, leaving the bosom exposed ; the neck is adorned
with pearls, and a splendid chain of jewels is suspended in
front, one end of which is attached to a costly cluster of
diamonds on the bosom ; she is seated, leaning gracefully on
her right arm, and holding a plume of feathers in her left
hand. This portrait is of the most splendid description.
6 ft, by 4 ft, 3 in, {ah(mt,)^C.
220. Susanna and the Elders. Susanna has her back to
the elders, and is concealing her bosom with both her hands ;
the old men are removing her covering, and one of them is
extending his hand to touch her back. A fountain, sculptured
with a boy pouring water from a vase, is at the side.
2 ft. 5 in, by 3 //. 6^ in,—F.
Engraved by P. Pontius ; and with slight variations, but evidently
from another picture, by Querinus Marc. This subject is also
engraved by Vosterman, Laane, Jegher, Spruyt, and Simon ; in the
print engraved by the latter, one of the elders is pulling off her
drapery with both hands.
An excellent drawing of the preceding, done in chalks, washed in
bistre, and terminated in oils, is in the Mus^e at Paris ; this, like
74 BUBENS.
Munich OcUlery,
many others, is the work of a scholar, but perfected by the master
for the engraver.
14 J in, by 9|- in.
221. An Ex Vote, representing St. John introducing the
donor to the Saviour, who is seated near a table with six of
His disciples.
6 /if. 3i in, by 4 /if. 6 J in,— P.
222. St. George slaying the Dragon. A finished sketch.
2 /f. by 1 ft, 6i w.— P.
Etched by Panneels.
223. St Peter and St. Paul ; whole-length figures, above the
size of nature. The former, with the keys in his hand, stands
in a front view, and has an angel bearing a mitre close to his
head ; the latter stands by his side with both his hands placed
on the hilt of a sword, the point of which rests on the ground ;
a boy, with a book, is behind him ; and the dove hovers over
them. Painted in the grand style of the Italian school.
1ft, 7 in, by 6 /if. lOJ in,—P,
Eynhouedts has engraved the above apostles in nearly the same
positions, after two pictures which formed the doors of an altai^
piece. {Seep, 23.) Drawn in lithography by Piloti.
224. The Portrait of an elderly Woman, said to represent
the painter's mother.
1 ft, 6 in, by 1 ft,—V,
Michel has engraved a print of an old woman at a window,
entitled the Mother of Rubens.
225. Portrait of a Youth.
1 //. 4 in, by 1 ft, 1 in, — P.
226. The Trinity. This mysterious subject is personified
by two majestic figures representing the First and Second
RUBENS. 75
Munich Gallery.
Persons of the Trinity ; the former, of venerable aspect, is clad
in ample drapery, and holds a sceptre in His right hand ; the
other sustains a cross ; they are both seated on clouds with
their feet placed on a globe, which is borne up by three
angels ; a dove, completing the triune, hovers above in a
flood of light. An excellent production, grand in design, and
resplendent in colour.
9 ft. 3 in. by 8 ft. 3 tw.— C.
Engraved by Yosterman, and repeated anonymous. Drawn in
lithography by Piloti.
The same subject (and unquestionably by the master), with
additional figures, occurs in this Work.
227. Portrait of a Gentleman with a book in his hand.
3//. 5 in. by 2/if. 11 t«.— P.
228. Soldiers carousing in front of a country inn. Thirteen
figures, in the centre of which is seated a soldier with a sword
in one hand and a goblet in the other ; he appears to be giving
the health of a stout female, who is seated on the ground near
him ; on the opposite side are a man in armour and a couple
courting. Every figure is actively engaged, and the whole
presents a scene of jollity, done in imitation of old Breughel
2 Al6 in. by Sft. 6 in.— P. {about)
Engraved by Wyngaerde.
229. Portrait of Philip IV., King of Spain. The face
is presented in a three-quarter view, with light hair turned
up in front ; the dress consists of black silk, a velvet mantle,
and a plain white stiff collar round the neck ; a broad belt,
formed of jewels, is suspended over the right shoulder, and
crosses the body in front, and the order of the Golden Fleece
is attached to a massive gold chain round the neck ; the left
hand rests on the hilt of his sword, and the right holds up
the skirt of the cloak.
76 RUBENS.
Munich Gallery.
230. Portrait of Elizabeth de Bourbon, consort of Philip
IV. The face is seen in a similar position to the preceding ;
the hair full and curling, with a knot behind, decked with
pearls. The dress is composed of black silk, attached by gold
buttons, a broad full white ruff surrounds the neck, and the
bodice is adorned with a double row of pearls, to which is
suspended a large diamond. The right hand, in which is
held a fan, rests upon a covered table ; and the left, holding
a handkerchief, falls negligently at the side.
3 /if. 7 in, by 2 ft 8 in.— C. Worth 1000 gs.
The above portraits are engraved without the hands, by P.
Pontius and Ix)uys ; and in small, by Viennot.
Duplicates of the above, purchased of Lord Bentinck, at his
Chateau of Varrell, in Oldenburg, were imported by Mr. Murch, in
1827.
231. Portrait of Sigismond, King of Poland, represented
sitting on his throne, habited in royal robes, with a crown on
his head, a sceptre in his right hand, and a ball in his left.
232. Constantia, queen consort of the preceding, who is
also seated, splendidly attired in silk robes, adorned with
jewels, wearing a royal crown on her head, and the symbols
of sovereignty in her hands. The figures are entire.
6/f. 10 in, by 4/f. 1 tw.— C. Worth 1000 ga.
Engraved by P. Pontius.
233. Portrait of Don Ferdinand, Infant of Spain, and
brother of Philip IV., mounted on a bay charger, clad in
armour, and wearing a Spanish hat turned up ; his right hand
holds a baton poised upon the saddle, and his left the reins of
his steed. A skirmish of cavalry is depicted in the back-
ground.
Sft.4: in, by 6 ft, 9 in,—C, Worth 1500 gs.
HUBENS. 77
Munich Gallery.
Engraved by P. Pontius.
There is a duplicate of the above in the Royal Museum at
Madrid, which is ascribed to Van Dyck, and is probably a copy
from the above.
There is a print of this prince, represented without his hat,
mounted on a noble charger, galloping over the bodies of the slain,
and a figure of Fame flying behind him holding a wreath over his
head, engraved by Vander Does.
234. A Satyr, with a bunch of grapes in his hand, and his
brows bound with ivy. Behind him is a faun wearing a
lion's skin on his head, drinking with avidity out of a shell.
Half-length figures.
4/f. 6 in, by 2fL 8 tn.--P. (about,)
Drawn in lithography by Piloti.
235. A Boar Hunt. The composition consists of five
huntsmen on foot, and seven dc^, attacking an infuriated
boar in his lair. Among the former is one on the right, who
has pierced the animal in the throat with such violence that
the shaft of the weapon is broken, and the huntsman falling
forwards on a wounded dog. The animals are by the hand
of Snyders.
Sft,6 in, by 1 1 /L 6 in,—C, (about.) 600 gs.
Drawn in lithography by Piloti.
236. The Adoration of the Shepherds. A study for a large
picture.
12 J in, by 9| in.^P.
237. Cupid shaping his Bow. A copy by Rubens after
Coreggio. Signed, and dated 1614.
4 ft, 4 J in, by 3 ft, 3^ in,-^C.
78 RUBENS.
Munich Gallery,
238: A Hunt of the Crocodile and Hippopotamus. Three
huntsmen, mounted on spirited horses, and aimed with a
spear, a javelin, and a sword, assisted by several dogs,
attacking a furious hippopotamus and a crocodile ; under the
latter lie two men, one of whom appears to be severely
wounded. The animals are by Snyders.
10//. hj IS fi. 6 tn.— C. (aboui.) Worth 600 gs.
Engraved by Soutman, Yander Leeuw, and in small by Le Bas.
Now in the Palace of Schleishems, near Munich.
239. The D^th of Seneca. The philosopher is represented
in a front view, sitting naked, with his feet in a bath ; on
his left is seated a young man recording his last sayings ;
and on the opposite side stands a doctor watching the effect
of his operation. Two soldiers are behind, waiting the ter-
mination of the sentence.
5 ft 4 in. by 4 /f. 9 tn.— P.
Engraved by Alexander Yoet, jun. G. Galle has also engraved
a single figure of Seneca in the bath.
240. A Forest illumined by the rays of the sun. A slight
study,
9 in. by 11 J in. — P.
241. A series of eighteen Studies, the original sketches for
the pictures illustrative of the life of Mary de Medicis.
These are executed in a slight and sketchy manner, in brown
and white. The compositions of several of them differ materi-
ally from the finished pictures. — Far description, see Louvre.
2fL by Ifi. 6^ tn.— P.
242. A Sketch illustrative of a Bomish legend.
2 ft. by 1 /f. 6 in.— P.
243. Portrait of a Gentleman. A head only.
1 //. S\ in. by 1 ft. 6 J tn.— P.
RUBENS. 79
Munich Gallery.
244. Job, in the extremity of his sufferings, seated on &
dung-heap, importuned hj his wife, and tormented by demons.
A finished sketch for the large picture, which was burnt
during the bombardment of Brussels. — Seep, 54.
\ft,\ in. by ^ in.— P.
Engraved by Yosterman and Erafft.
245. Saint Ambrose refusing the Emperor Theodosiua
admittance into the Church. A study for the finished picture
at Vienna.
Engraved by Schmuzer.
246. Christ discovering Himself to the two Disciples at
Emmaus. The Saviour (seen in a profile view) is seated at the-
end of the table, blessing the bread ; one of the disciples sits
opposite to Him, and is also represented in profile ; the other
has risen from his seat, and is taking off his hat to his Lord ;.
the fat host stands behind them. — See p, 33.
Engraved by Witdouc. This subject is also engraved by
Swanenberg and Sompelin.
247. A lion Hunt The subject consists of seven hunts-
men, four of whom are mounted on spirited horses. The-
group is thrown into confusion by an enraged lion, which has
fastened on the abdomen of one of the hunters, who is falling
head foremost from his rearing horse, while the rest (their
terrified animals kicking and plunging in all directions) are-
attacking the lion with spears and swords ; close to the front is^
a man lying on the ground, defending himself with a sword
against a young lion that has sprung upon him ; at the same-
moment one of his companions, armed with a sword and
shield, is cautiously advancing to his assistance ; on the oppo-
site jside lies a dead man. This capital production appears to
be wholly by the pencil of Eubens ; his powerful handling.
80 RUBENS.
Munich Gallery.
and energetic expression are conspicuous in every part. In
the composition, he has evidently borrowed largely from the
fine group of the Battle of the Standard, by Lionardo
da Vinci.
8 ft 8 in, by 1 1 ft 8 J t».— C. Worth 3000 gs.
Engraved by Bolswert and Le Tellier.
A drawing of the preceding, done in India ink and bistre,
terminated with the pen and heightened with white, is in the
Mus^e at Paris.
15| in, by 23f in.
248. A View in Flanders, exhibiting the usual scenery of
woodlands intersected by meadows and corn-fields. The fore-
ground is diversified by a herd of fourteen cows, one of which
a woman is milking, while a man and another woman are occu-
pied with the milk cans. This is an excellent production.
2 ft, 6 in, by Sft, 3J */i.— P. Worth 800 ga.
249. A Landscape, representing a beautiful and fertile
•country, diversified with clusters of trees, and intersected by a
high road ; sunshine and shade vary the pleasing scene, and
the freshness of a recent shower (indicated by a bright rainbow
in the heavens) pervades the vegetation ; in the foreground are
two women and a man with a herd of nine cows ; on the right
is a wagoner riding on the fore-horse of a team (part only
of these appear), and in the opposite side are a number of ducks
basking on the bank of a pond. This admirable picture is of
first-rate excellence.
3 ft. by 3 ft. 10 m.— P. Worth 1200 ga.
Neither this nor the preceding is engraved.
The catalogue of this magnificent collection contains eighty-eight
pictures, but those by the hands of scholars are omitted.
RUBENS. 81
DRESDEN GALLERY.
250. A Lion Hunt. This powerful and energetic production
exhibits a group of four men mounted on spirited horses,
which a sudden and impetuous attack of lions has thrown into
confusion ; one of the hunters, wearing a Turkish dress and
riding a tall mottled gray horse, is seized on the shoulder by a
furious lion, which has sprung on the back of his steed;
another enraged lion has fixed his talons in the back of a
huntsman who lies prostrate on the ground, while a Moor,
wearing a scarlet mantle and mounted on a plunging horse, is
turning round to attack the animal with a javelin. On the
opposite side are a lioness with a cub in her mouth, and a dead
tiger. This admirable preformance is only surpassed by one
representing the same subject, at Munich.
7 /f. 8 in. by 10 ft. 3 *«.— C. Worth 2500 gs.
Engraved by Synderhoef and Le Tellier.
251. A very excellent Sketch, the original study for the
preceding, done en grimUle.
2fi.5in. by 3 ft. 5 J in.— P.
Sold by the writer, 1826, to the Right Hon. Robert Peel,
for 100 gs.
252. Diana, accompanied by three Nymphs, returning from
the Chase. The goddess is lightly covered with a red mantle,
in which she carries a quantity of game, and has a spear in her
right hand ; behind her are three females, one of whom has a
hare slung over her shoulder ; before these are three satyrs,
one of them has a variety of fruit in his hands, another is by
his side with his hand on his companion's shoulder, and the
third has a basket of fruit on his head, some of which he is
presenting to Diana. Whole-length figures. The game and
dogs are by the hand of Synders.
7 ft. 10 in. by Sft. 4J »w.— C.
Engraved by Bolswert.
VOL. n. o
82 RUBENS.
Dresden Ocdlery.
This is a picture of great excellence and beauty, and worth
1500 gs.
A repetition of this picture, with the figures seen to the knees,
the work of a scholar assisted by Rubens, is in this collection.
4/f. 11 in. by ^ ft. 5 in.— C.
Engraved by Bolswert.
A picture similar to the preceding was sold in the collection of
M. d'Angelis, Bruseds, 1763. . 1000 ;to. 90/.
253. A View of the Escurial, situate on the side of a lofty
mountain, looking over an extensive valley enclosed by rugged
hills. In the foreground is a gentleman on horseback, pre-
ceded by a servant with dogs.
4 /if. by 6 /iJ. 1 1 itL—C, Worth 500 gs.
This subject occurs several times in this Catalogue.
254. A Wild Boar Hunt, in a woody landscape. A beau-
tiful sketch for a picture in the collection of His Highness the
Prince of Orange. — See description.
ift. 10 in. by 5 ft. 10 in.— P.
255. Portrait of a Lady, about twenty-five years of age,
seen in a three-quarter vie.w ; light hair; the dress composed of
black figured silk with light gray sleeves, a white kerchief, and
a full ruff round the neck; the right hand holds a gray
mantle, and the left some roses.
2 ft. 9i in by 2 ft.— P.
256. Portrait of Helena Forman when about twenty-six
years of age, seen in a three-quarter view, the head inclining
to the right, attired in black silk, with a scarf of the same
over her head, which is held on the shoulder by the left hand
and on the bosom with the right.
2 ft. 2 in hj I ft. 9 in—F. Worth 500 gs.
RUBENS. 83
Dresden Gallery,
257. The Day of Judgment. A beautiful sketch for the
magoificent picture in the Munich Gallery. — See p, 60.
^ft. 4 in. by 3//. 4 J tn.— P.
258. The Judgment of Paris. This very admirable little
picture is a repetition (with slight variations) of a large one
which was formerly in the Orleans Gallery.
1 /f. by 1 ft, 4 in,—'?. Worth 500 g$.
The subject is engraved by Lommelin, Dambrun, Moitte, and
Couche.
259. Whole-length Portraits of two Youths, sons of the
artist by his first wife ; the younger is amusing himself with
a bird attached to a string, and the eldest stands leaning on his
brother's shoulder with a book in his hand.
5/f. 7 in, by 3/f. 3 in,—?.
Engraved by Tanj^ and Daull^.
A duplicate of this picture, of very superior quality, occurs in
the Lichtenstein Collection.
260. Ambition personified by a Warrior (apparently intended
for Charles Y.) ; he is clad in armour, holding a spear in his
hand, and treading under foot the God of Wine ; a naked figure
of Fame stands by his side placing a wreath of laurel on his
head ; and Venus, with Cupid weeping by her side, and the
demon of Envy are behind him. This is a remarkably bril-
liant and very masterly production.
1 ft,2 in, by 1ft, 10 tn.— C. Worth 600 .g^*.
Engraved by Tanj^.
261. Portrait of a young Lady, dressed in black silk and
wearing a black veil on her head.
2 ft, 2 in, by 1 /f. 9 in,—?.
262. An old Woman and two Boys; one of the latter is
blowing some embers in a chafing dish held by the woman, the
»
84 RUBENS.
Dresden Gallery.
light from which illumines the subject ; the other youth has a
faggot in his hands.
4/f. li in, by 3//. If in.— P. Worth 300 gs.
Engraved by Boece, and also by Basan.
263. Portrait of a Lady, said to represent Helena Forman.
She is seen in a front view, with her hair falling in tresses on
her shoulders.
2 ft. 3 tn. by 1 ft. 9 tn.— P.
Engraved by Zucchi.
264. Meleager presenting the Head of the Calydonian Boar
to Atalanta. The nymph is seated on the right, having a
scarlet mantle cast over her knees, her left hand placed on her
bosom, and the right extended to take the present from the
youth, who stands by her side with his right arm round her
neck ; a Cupid is between them, and the body of the boar lies
at his feet. On the opposite side is a dog jumping up on the
knee of the nymph ; the harpy of Envy is seen in the back-
ground. A brilliant and freely-painted picture.
6 ft. by 4 /f. 4 tn.—G. Worth 600 gs.
Engraved by Bartsch, and in reverse by Meyssens.
265. An Apostle, represented in a profile view, with his
hands on the edge of a book. A bust.
2 ft. 3 in. by 1 ft. 8 tn.— P.
266. St. Peter, with the keys in his hand. A bust.
2 /f. 3 in. by 1 ft. 8 tn.— P.
267. A Satyr, squeezing the juice of a bunch of grapes into
a vase held by a young satyr; behind whom is an infant
Bacchus holding a bunch of grapes to his mouth ; and in front
lies a tigress suckling her cubs.
7 ft. 6 tn. by 5 ft. 1 tn.— C. WorthiSOO gs.
RUBBNS. 85
Dresden Ocdlery,
268. Neptune standing erect in his car, drawn by sea-horses
and attended by Nereides ; the deity grasps a trident in one
hand, and extends the other in the act of commanding the
harpies of storms and tempests to quit the elements. This
allegory alludes to the prosperous voyage of the Cardinal Fer-
dinand of Austria from Belgium to Spain, in 1633, and is
entitled Qws ego. It formed part of the embellishment of one
of the triumphal arches so frequently alluded to in this Work.
11 ft 7 in. by Uft 8 in.— C.
Engraved by Van Thulden.
The original study for the preceding picture is in the collection
of the Duke of Grafton.
1 fL^ in. by 2 ft 0^ m.— P.
269. The Glorification of a Saint. A masterly sketch.
2 ft 2 in. by 2 ft 6 tw.— P.
270. Mercury lulling Argus to sleep with the music of
his pipe.
2 ft 2i in. by 2 ft 10^ tn.— P.
A picture of this subject occurs in the catalogue of the artist's
effects, p. 32.
271. Portrait of an elderly Lady, wearing a cap, and a
broad ruff round her neck.
2 ft 4 in. by 1 //. 9 in.—?.
Engraved by Tanje.
272. Portrait of a Spanish Gentleman, represented in a front
view, having short hair, a bushy beard, and wearing a full ruff
round his neck.
Engraved by Daull^.
273. A Landscape, with a tigress lying in the foreground
suckling three cubs, and a lion standing near her. In the dis-
tance are seen huntsmen with dogs, in pursuit of a lion.
1 ft. 4 in. by 13/f. 5 in.— C.
86 RUBENS.
Dresden Oallery.
Engraved by Ridenger.
This picture ia chiefly by Mompers.
274. The Garden of Love.
Sfi.3 in. by 4 /f. 2 in,— P.
The composition of this celebrated subject is described in a sub-
sequent page of this Work ; and although the present picture differs
in many of the subordinate parts from either of those (particularly
in the background), and possesses beauties worthy the pencil of
Rubens ; yet, after a careful examination, the writer considers it to
be the work of a scholar, retouched by the master's hand. The
arrangement of the figures corresponds with the print engraved by
Lempereur.
275. A Larder well stored with provisions, consisting of
game, peacocks, a wild boar, swans, &c. &c. At the side of
a dresser (on the left) is a fine woman, dressed in a black
kerchief over a scarlet bodice, and a blue apron ; her attention
appears to be attracted by the entrance of a man, who has
caught hold of her arm, and appears to be saying something
gallant. A bitch and puppies are in front. The game and
animals are by Snyders.
7 ft 2 in. by 11 /f. 7 in.—C. Worth 400 gs.
276. Hercules overcome by Wine, supported by a nymph
and a satyr ; his left arm is round the neck of the latter, in the
hand of which he holds a gold vase ; he is followed by a dancing
nymph, and accompanied by a satyr wearing his lion's skin,
and a cupid playing with his club.
7 ft 2 in. by 7 ft. 10 tn.— C.
277. Portrait of a Gentleman about forty years of age ; his
face is seen in nearly a front view, with mustachios and a small
tuft of beard ; he is dressed in black striped silk, and a full
white ru£f. His hands are engaged pulling on gloves.
Sft 9 in, hj2/t,S in.—?. Worth 260 gs.
RUBENS. 87
Dresden Gallery.
278. Portrait of a Lady of a fair complexion and small
features, seen in a three-quarter view, habited in a black
striped silk dress, with the bodice richly embroidered with
gold lace ; a gold chain is suspended from ber neck, and held
by the right hand.
3 //. 2 in, by 2 /f. 7 in.— P. Worth 250 gs.
279. Portrait of a Gentleman about forty years of age,,
seen in nearly a front view, habited in black figured silk and
a large full ruJQT; his right hand placed on a table, which i&
covered with a Tui?key carpet.
3 ft. 8 in. hy 2 ft. 1 in.— P.
280. Portraits of a Lady and her infant Child. The lady
appears to be thirty-two years of age, and is seen in a three-
quarter view ; the child is seated on her knee, looking towards
the spectator ; his parent holds his arms with her right hand,
and the left is placed on the skirt of his dress.
S ft. 10 in. by 2 ft. 9 in.— P. Worth 400 gs.
Several pictures in this gallery, being erroneously ascribed to
Kubens, are omitted.
VIENNA GALLERY.
281. Saint Ignatius Loyola healing the Sick and exercising
the Possessed. — For description, see p. 19.
Engraved by Marinus. Worth 6000 gs.
282. Saint Francis Xavier healing the Diseased and raising
the Dead. — For description, see p. 18.
17 /if. by 12 /f. 6 in. Worth 8000 gs.
Engraved by Marinus.
These were formerly in the Jesuits' church at Antwerp.
283. The original Sketches for the above pictures.
Zft.i in. by 2 ft. 3 tn.— P. Worth 450 gs.
88 RUBENS.
Vienna Oallery.
284 The Assumption of the Virgin. The reduplication of
this subject, each varying in composition from the others, is an
unequivocal proof of the artist's fertile genius. In the present
picture the Virgin is clothed in white raiment ; her right hand
is raised and the left extended ; her countenance, beaming with
beatitude, is directed upwards ; and a vast company of angels
gracefully float around her. In the lower part are the twelve
apostles surrounding the tomb ; at the side of which are three
females, two of them are showing the flowers taken off the
winding sheet, while the third, intended for Mary Magdalen,
is leaning on the shoulder of one of the former, looking at one
of the astonished apostles, who is seen in a profile view clad in
^ scarlet robe ; on his left is another, in a yellow vest and a
white mantle, kneeling and looking upwards. Close to the left
is a third apostle, seen in a hinder view, wearing a green vest ;
near to him is one in a bluish gray robe, removing the stone
from the sepulchre ; and on the farther side of the females are
an elderly female and a man bearing a torch.
Uft. 6 in, by ^ ft 8 in,—V.
This capital altar-piece was bought with another picture at
Antwerp in 1774, for the sum of 18,000 /o. 1620/.
285. St. Andrew with a Cross. A sketch.
1 ft. 9 in. by 1 ft. 10 in.—?.
286. Atalanta and Meleager attacking the Calydonian Boar.
The enraged animal is at bay by the side of a fallen tree, and
"beset in front by a group of hunters, amongst whom jure the
nymph Atalanta (who has just let fly an arrow and wounded
him in the head) and Meleager by her side armed with a spear ;
two horsemen with javelins are galloping up to their assistance.
On the opposite side and in front are two men, one of them
blowing a horn, the other preparing to throw a javelin ; several
dogs are wounded, and a man lies dead at the feet of the beast.
10/if. 4 tn. by 13 /if.
RUBENS. 89
Vienna Gallery,
This picture is remarkably clear and brilliant, and the females
unusually graceful. The animals are by Synders, and the land-
scape by Wildens.
Etched by Prenner. A similar composition is engraved by Van
Kessel.
Pictures representing the above subject occur several times in this
Catalogue. — See pp. 32 and 34.
287. St. Ambrose refusing the Emperor Theodosius admis*
sion into the Church after the Massacre at Thessalonica. The
bishop, dressed in a splendid pontifical robe and wearing a
mitre on his head, stands at the door of the Church opposing
the entrance of the emperor, who is bending before him in the
attitude of entreaty; three Soman soldiers are behind the
latter, and six persons attend St. Ambrose ; among them is a
youth, in a white surplice, with a torch in his hand, and a man
resembling the known portrait of St. Charles Borromeo.
11 /if. 5 in. by 7 /^. 10 *».— C. Worth 1500 ge.
Engraved by Schmuzer and Prenner.
The study for the above picture was formerly in the Munich
Gallery.
Van Dyck has also painted a similar composition, in which he
has borrowed freely from the preceding picture.
288. The Meeting between Ferdinand II. King of Hungary
and Ferdinand, Infant of Spain and Governor of Belgium,
previous to the Battle of Nortlingen, in 1634. In the fore-
ground is a river god reclining upon a vase (emblem of the
Danube), and two females, one of whom, habited in black and
bending in grief over the imperial arms, personifies (Jermany.
This picture formed part of the first triumphal arch erected in
1635.
lift. 5 in. by 12//. 2 tn.— C.
Engraved by Van Thulden ; by whom it was probably painted
after a sketch by Rubens.
90 RUBENS.
Vienna Gallery.
The original sketch for the preceding is in the collection of Sir
Abraham Hume, Bart. ; and a fine study in chalk, for one of the
females, is in the collection of Sir Thomaa Lawrence, P.R.A.
289. Pepin, Duke of Brabant, with his Daughter St. Begue,
the founder of the Beguine Nuns. She is attired in a scarlet
dress, with full sleeves lined with fur, and a white linen cover-
ing on her head ; her right hand is raised to her bodice, holding
her pearl necklace. The duke is on the farther side of his
daughter, and wears a fur cap. The figures are shown to the
middle. An excellent and highly-finished picture.
3 /f. by 2 ft. 3 tn.— P. Worth 600 gs.
Engraved by Vanden Stein and Prenner.
290. A repentant Magdalen renouncing the vanities of the
world. She is seated on the left of the picture ; her counte-
nance and streaming eyes are directed upwards, and her clasped
hands express the agony of her mind. Her long flaxen hair
falls negligently on her shoulders, the white satin robe and
blue vest in which she is attired seem to have lost their charms,
and her casket of jewels she is trampling under feet. The
peace and tranquility of a religious life is allegorically repre-
sented by a female habited in black, composedly seated in the
background. A brilliantly-coloured and highly-finished pro-
duction.
6 ft. 3 in. by 4 //. 7 in.—C. AYorth 1000 gs.
Engraved by Vosterman.
291. A Bust Portrait of the Archduchess Anne of Austria,
consort of Louis XIII.
I ft. 6 in hy I ft. 3 in.—F.
There is a print by Louys, in an embellished oval, of this lady ;
and another of an octagon shape, anonymous.
RUBENS. 91
Vienna Gallery,
292. A Bust Portrait of Elizabeth de Bourbon, consort of
Philip IV. of Spain. A duplicate, apparently by a scholar,
of the Munich picture.
1 ft, 6 in. by 1 ft. 3 tw.— P.
293. The Entombment. The Virgin and St. John, with the
body of the Saviour ; the Virgin, clothed in a blue mantle, is
seen in a profile view, standing on the right of the body, the
arm of which she supports with her right hand, and her left is
raised to remove a thorn from the brow of her dead son.
St. John is on the opposite side, holding the arm near the wrist.
Half figures. Painted in the artist's smooth and finished
manner.
3 /f. 4 in. hj3fi.7 tn.—F.
Etched by Prenner.
294. The Four Quarters of the Globe, represented by four
river deities, and the same number of females. In the fore-
groimd are a tiger suckling her cubs, and a crocodile with which
cupids are sporting. A broad and slightly-painted picture.
eft. 7 in. by 9 ft.—C,
Etched by Prenner,
293. The Virgin, seated on a splendid throne, clothed in
scarlet and blue,* investing St. Ildefonso with the chasuble of
his Order ; the saint receives the gift on his knees, and is
bowing his head to embrace it ; four female saints are present,
two on each side of the throne, and three angels hover above
in celestial light. This is a work of great excellence and beauty.
U ft. hy 7 ft. 6 in.— P.
Engraved by Witdouc. Watelet has engraved a print from a
drawing, being a study by Kubens for the group on the left of the
Virgin.
The interiors of the covers are decorated with : —
The portraits of the Archduchess Infanta Isabella and the
92 RUBENS.
Vienna- Gallery.
Archdake Albert. The former represented on her knees in
prayer, accompanied by her patroness St. Clara, whp is offering
her, on a book, a crown entwined with roses. The latter is also
on his knees, in the presence of his patron St. Albert.
II ft. hy3ft. 6 m.— P.
Engraved by Harrewyns.
The exteriors of the covers were adorned with : —
A Beposo of the Holy Family. The composition exhibits
the Virgin, clothed in a scarlet vest and blue mantle, sitting at
the foot of a tree, with the infant Saviour in her arms, before
whom is the child St. John, held by his mother Elizabeth, at
whose left stands Zachariah, offering the Saviour a branch
with fruit on it A thinly-painted picture.
1 1 /L hylft. 4: in.— P.
Engraved by De Roy. Earlom has engraved a print of the above
composition from a picture then in Lord Chesterfield's collection.
This altar-piece was painted for the chapel of the confrSrie of
the Order of St. Ildefonso, in the parish church of St. Jaques de
Caudenbergh, near Brussels ; and when completed gave such uni-
versal satisfaction, that the Archduke Albert and the Archduchess
Isabella, in concurrence with the chiefs of the Order, sent the artist
a present of a purseful of Spanish pistoles, which he politely
declined to accept, observing that he was deeply sensible of the
kindness and liberality of the lords of the confrSrie, but that he
considered himself highly recompensed by the honour of being ini-
tiated one of the members of so illustrious an Order, and that he
should never desire other gratification than the opportimity of
contributing to its service.
A Drawing of the 'preceding picture of St. Udefonso, done in
India ink, heightened with white, was sold in the collection of
M. Marriette 1776 . 251/*. lOl.
And a Study in oils for the same was sold in the collection of the
Elector of Cologne 1764 . 392 /*. W.
296. A Landscape, with a large castle surrounded by water
RUBENS. 93
Vienna GroJlery.
standing in the middle distance. On the right are clusters of
trees upon an abrupt hill, round the base of which flows a stream
crossed in front by a rustic bridge ; the pleasing eflTect of a
summer's evening pervades the scene. A company of thirteen
ladies and gentlemen have assembled on a fine grassy fore-
ground to partake of the beauties of the season. This group
appears to have been engaged in a concert, and now sporting ;
one of the gentlemen is endeavouring to throw a lady down,
another holds the skirts of the dress of his female companion,
and has a handful of flowers to cast at her, while a third is
pursuing three ladies who are running away. A slightly-
painted production.
1 ft. 9 in, by 3 //.—P. Worth 550 r/^.
Engraved by Bolswert.
297. A grand mountainous Landscape, the greater part of
which is overwhelmed by a cataract of water, spreading deso-
lation through the country ; intended to represent the fabled
inundation of Phrygia. Upon the declivity of a hill, on the left,
are Jupiter and Mercury taking the hospitable Baucis and
Philemon under their protection, while the elements of
destruction (thunder, lightning, and rain) are discharged upon
the devoted inhabitants for their ingratitude and disobedience.
A splendid production.
4 A 7 in. by 6/f. 6 in.—?. Worth 1500 gs.
Engraved by Bolswert.
A duplicate of the above is in the collection of Sir Thomas
Baring, Bart.
298. Philip, Duke of Burgundy, surnamed the Good. His
strong-featured countenance is seen in a thtee-quarter view,
looking to the left, with short dark hair ; he is clad in armour
over a buff coat, and wears a rich yellow silk mantle em-
broidered with gold and jewels, to which is attached an ermine
cape ; these cover the left side and are fastened by a clasp of
jewels on the right shoulder; the right hand grasps a baton, and
94 RUBENS.
Vienna Gallery,
the left is placed behind the hip. A vigorously-painted por-
trait, possessing a dignified and military air.
3 ^. 8 in, by 3 ft. 2 J »n.— P. Worth 400 ga.
Engraved. In the Vienna Gallery.
299. Two Portraits of Old Men.
1 ft. 7 in. by 1 ft: 3 tw.— P.
300. A full - length Portrait of Helena Forman, repre-
sented in an erect position, prepared to enter the bath. A
brown fur mantle is wrapped negligently round her waist,
and held by her left hand; the right arm crosses the bosom and
holds the mantle on her shoulder ; the upper part of the body
and the legs are exposed ; a scarlet carpet is under feet. This
picture is painted with extraordinary care, and possesses such
dazzling brilliancy of colour that every picture near it is
eclipsed by its superior splendour.
bft. 8 in. by 3//. 1 in.—?. Worth 1200 gs.
Engraved by Prenner.
301. A youthful Faun or Bacchanalian Boy. His brows
are crowned with ivy, and he holds a pipe with both hands,
which he appears to have just ceased playing.
1 ft. 9 in. by 1 ft. 3 in.— P.
Engraved by Prenner.
302. St. Peter and St. Paul, in one picture. One of them is
seen in a profile view, the other in a three-quarter position ;
both their countenances are directed upwards. A finished
study.
1 //. 10 in. by 1 A 6 tw.— P
RUBBNS. 95
Vienna Onllery.
303. A venerable Priest (probably intended for St. Augus-
tin), with a gray beard, and habited in a rich chasuble. A
finished study.
1 ft. 10 in. by 1 ft. 6 in.— P.
304 The Bust of a venerable old Man, with a bald head
and a gray beard. The face is seen in profile. A study for
a head of Joseph of Arimathea.
2 ft. 1 in. by 1 ft. 9 in.— P.
305. St. Jerome, in the habit of a cardinal, with a scarlet
cap on his head. His venerable appearance is increased by a
long gray beard.
2 ft. 1 in. by 1 ft. 9 in.— P.
306. A Bust Portrait of a Man of middle age, represented
in a profile view, with a bald head, a plain black dress, and a
broad full ruff round his neck.
Engraved by Prenner.
307. The Companion. A Portrait of a Gtentleman. The
face shown in a three-quarter view; mustachios and short hair;
a broad full ruff adorns the neck, and a fur mantle covers the
shoulders.
1 ft. 7 in. hjlfi.3 in.— P.
Engraved by Prenner.
308. A whole-length Portrait of Charles Ferdinand, Gover-
nor of Belgium, clad in armour, with a scarf over his shoulder,
and wearing a cap decked with feathers.
Etched by Prenner. There is also a print very like this portrait
engraved by Jegher.
309. The Companion. A Portrait of Ferdinand, King of
Hungary, richly habited ; wearing a cap on his head, and a
96 RUBENS.
Vienna Gallery,
mantle with a fur cape ; his right hand holds a baton, and the
left is placed on the hilt of his sword.
Sft.2 in. by 3 ft. 6 in.—C.
Etched by Prenner.
These portraits formed part of the decorations of the triumphal
arches erected at Antwerp, in 1635, in honour of Ferdinand.
310. Maximilian I., when about fifty years of age, with
the face seen in a three-quarter view. He is clad in bril-
liant armour, richly embossed with ornaments in gold, and
wears a morion set with pearls and other costly gems, and a
turban, surmounted by a crown adorned with rubies, is placed
on the top of the helmet ; the left hand holds a massive sword
in its scabbard, and the right rests on a war-club ; the bases of
his jerkin are splendidly emblazoned with heraldic designs.
A highly 'finished and energetic work of art.
4tfi.4: in. by 3 //. 2 in.— P. Worth 500 gs.
Engraved in the Vienna Gallery.
311. A Portrait of the Artist, when near sixty years of age,
with the face turned above three-quarters from the spectator.
He wears a large hat turned up in front, and is dressed in a
black coat and mantle, with a full pendant ruff; the left hand
is placed on the sword hilt, and the right leans on a staff.
3 //. 6 in. by 2 //. 8 ♦».— C.
Etched by Prenner. Engraved — in the Vienna Gallery.
312. A Group of four naked Infants playing with a Lamb.
The centre one is seated with his back to the spectator ; the one
on his right has wings, and is stooping to lift up the animal ;
the opposite infant is also seated on the ground ; behind him
lies a quantity of fruit.
2 ft. 5 in. hyS ft. 10 in.— P.
RUBENS. 9 7
Vienna OcUlery.
Etched by Prenner, and engraved in mezzotinto by John Dean,
after a picture in the Pembroke collection.
Walpole speaks in high terms of praise of the one now at Wilton,
and describes it as " representing Christy St. John, an angel, an«i a
girl, personifying the church."
313. An old Man approaching with caution a bed on which
a naked female is lying asleep.
1 ft. 4 in, by 2 ft. 2 in.—F. Worth 60/.
314. A Warrior clad in armour, grasping a sword in his
right hand and bearing a shield on his arm, seated on the
bodies of slain enemies and broken weapons of war ; he is
supported by the goddess Bellona, and crowned by Victory.
1 ft. 7 in. hy 2 ft. I in.— P.
Drawn in lithography.
315. The Entbmbment. The body of the Saviour, pre-
sented in a fore-shortened position, is extended on the ground,
the head resting on the knees of the Virgin, who is closing
the eyes, while Mary Magdalen, kneeling by her side, supports
His right arm. On the opposite side are St. John and three
females ; one of the latter, clothed in black, is on her knees
weeping.
I ft. S in. hyl ft. 3 tn.— P.
Etched by Premier. A picture of a very similar composition is
engraved by Soutman.
316. Portrait of a young Lady, habited in a Spanish dress,
holding her gloves in her right hand and her handkerchief in
the other.
2ft.1 in. by 1 ft. 10 m.— P.
317. A F§te in honour of Venus, in the Island of Cythera.
The statue of the goddess is elevated in the centre near a
VOL. II. H
98 RUBENS.
Vienna Gallery.
grove of trees, and several votaries are paying homage and pre-
senting their offerings, while numerous cupids are sportively
dancing around it, and others are playing wantonly among
the trees, or floating through the air with clusters of fruit ;
two beautiful females are advancing from the left with their
offerings, and on the opposite side is a company of nymphs
and satyrs dancing in lascivious movements. The temple of
the goddess stands on a hill in the distance, from whence
flows a cascade of water, in which cupids are slaking their
thirst. Painted with a hasty freedom of handling, a brilliant
glow of colour, and a rich redundancy of expression.
7 A by 1 1 A— C. Worth 1 200 gs.
Engraved by Prenner.
318. Portrait of a Lady known under the appellation of
Titian's mistress. She is dressed in white satin worked with
flowers and embroidered with gold, holding in her hand a fan
in the shape of a small flag.
3 /f. by 2 //. 3 m.— C.
This is a copy by Kubens after Titian.
319. ^neas escaping (with his father Anchises on his
shoulders, and accompanied by his son Ascanius and his wife
Greusa) from the Destruction of Troy. A sketch.
Engraved by Prenner.
320. Christ with His Cross. This represents the Saviour,
after His resurrection, embracing His crosa
Engraved by N. Ryckman and Prenner.
321. Three Nymphs reposing on a bank after the Chase.
The scene is a landscape, with a fountain and a grove of trees
on the right, near to which lie three beautiful nymphs asleep ;
and under the shadow of a tree beyond them stands a shepherd
RUBENS. 99
Vienna Oallery.
leaning on a staff, gazing in admiration at their charms; while
a youth, who should have guarded their sleeping hours, stands
bj the side of the fountain asleep, with his head reclining on
his hand; a monkej and a quantity of fruit are on the ground
in front, and a pheasant is drinking at the fountain. This
elegant production is distinguished by the graceful forms of
the females, and the purity and freshness of the colouring.
The landscape appears to be the work of Mompert and the
animals and fruit are by Snyders.
7 ^. by 9 A— C. Worth 1 200 gs.
Etched by Prenner.
322. The Annunciation. The Virgin, seen in a profile
view, clothed in a white vest and a large blue mantle, is
kneeling by the side of a small table in the c^tre ; one hand
is placed on an open book, and the other raised towards her
face. Her attention is directed towards the celestial
messenger, who is bending on one knee before her, his hands
extended, and his head slightly bending forward (his face is
also seen in profile); he is clothed in a gray vest, and a
yellow and red mantle floats behind him. The Holy Spirit,
in the form of a dove, is descending in a stream of light,
attended by five angels (three of them casting flowers from
their hands) and four cherubim.
5/f. 6 in. by 4 /if. 6 in, — C. (alxntt,)
Engraved by Diepenbeke.
The greater part of this picture appears more like the work of
Diepenbeke than Rubens.
LICHTENSTEIN COLLECTION.
323. Saint Ann arranging the Virgin's Hair. St. Joachim
is present, and several angels are flying above. A sketch.
2 ft. by l/C 6 in.— P.
100 RUBENS.
Licktenstein Collection.
324. The Assumption of the Virgin. A slight and hasty
production. — For description, see p, 53.
15//. 10 in, by II ft. (arched top.)
Engraved by Witdouc.
Painted for the church of the Ghartreux at Brussels.
325. The Daughters of Cecrops (Aglauros, Herse, and
Pandrosos) opening the fatal basket which enclosed the infant
Erichthonius. One of the females has a purple mantle round
her loins, and kneels on the left by the side of a balustrade ;
another bends inquisitively over the basket, and is merely
covered with a blue robe over her knees ; at her side stands
an infant looking up at the third daughter, who has only a
crimson scarf over her right arm, and in her hand she holds
a piece of drapery ; her left arm is over the shoulder of an
elderly female.
e/t. 10 in. by 10 ft. 1 m.— C. Worth 1500 gs.
Engraved by Van Sompel.
This picture was painted about the year 1614, a period when the
artist finished his works with studious care and attention.
326. Venus arranging her Hair at her Toilet, attended by a
Negress, and a Cupid holding her looking-glass. A copy after
Titian, with variations : an indififerent work.
3 //. 1 1 in. by 3 ft. 1 in.— P.
327. Whole-length Portraits of two Youths, the Sons of
Bubens. They are habited in the el^ant Spanish costume of
the period ; the youngest, who wears a blue vest with slashed
sleeves and gold buttons, is amusing himself with a bird ; the
elder is habited in black silk, and stands with his left arm
over his brother's shoulder, and holds a book under his right
arm. This is a picture of the highest excellence and beauty,
and well deserves the admiration and praise so constantly
bestowed upon it by every beholder.
5 /f. 6 in. by 3 ft.—V. Worth 1500 gs.
RUBENS 101
Licktenstein Collection.
Engraved by Pichler, of a large size, in mezzotinto.
A duplicate of the above is in the Dresden Gallery. — Seep, 83.
Engraved by Daull^ and Danzel.
The following six Pictures illustrate the life and noble
actions of Decius : —
328. Decius consulting the Priests, previous to the Battle
with the Gauls and Samnites. The general, clad in armour,
over which is cast the scarlet paludamentum, stands before the
priests awaiting the result of their divinations ; one of the
latter, habited in splendid sacerdotal robes, is by the altar ;
and the second priest stands on his right, holding a silver salver
containing the entrails of the victim ; a stag lies on the ground
in front ; on the left are two men bringing forward a white
heifer
8/f. 4 in, by 13 /f. 1 t«.— C.
Engraved by Schmuzer.
329. Decius haranguing his Soldiers previous to the Battle.
The noble warrior is on an elevation on the right, in the atti-
tude of addressing his troops, five of whom, chiefly officers,
bearing the Roman banners and ensigns, stand before him
with profound attention. The time appears to be indicated
by the sun breaking forth in the east.
9 A 3 in, hyS ft. 10 tn.— C.
Engraved by Schmuzer.
A Study for the preceding picture was sold in the collection of
Randon de Boisset 1777 . 1200 /». 48/.
330. Decius receiving the Benediction of the Priests, when
swearing to devote himself for the Success of his Army.
The hero, completely enveloped in his scarlet paludamentum,
is bending humbly before the priests, one of whom has laid his
hand on the head of the consul ; the second priest, of an aged
and venerable aspect, is a little behind the former, clothed in
102 RUBENS.
Lichtenstein Collection.
an ample mantle of a gray colour; on the left are three
soldiers, witnessing with deep emotion the solemn ceremony.
9//. 4 in, by 10//. 7 in.— C.
Engraved by Schmuzer. There is also a print in aquatinto, done
from a sketch formerly in Mr. Cosway's collection.
The Sketch for this picture is in the Munich Gallery.
331. Decius sending the Lictors away previous to the
Battle. He is represented caparisoned for the battle, standing
by the side of a spirited gray charger, which he is about to
mount ; his attention is directed to three lictors, who are in
the opposite side, with the fasces on their shoulders.
9yif. 3 m. by XOft.W t«.— C.
Engraved by G. A. Muller.
332. The Death of Decius. In the midst of the battle and
confusion of an obstinate and sanguinary conflict between horse
and foot soldiers, is seen the noble Decius falling backwards
from his plunging charger, pierced by a spear in the neck ;
while one of his valiant troops, mounted on a spirited piebald
horse, is avenging his death. Among the dead and dying,
with which the field is covered, is one lying prostrate on his
back in the foreground, with a spear broken in his breast.
9//. 3 in. by 16/f. 4 tn.— C.
Engraved by G. A. Muller.
333. The Obsequies of Decius. The dead soldier is ex-
tended on a couch, on each side of which are several of his
companions in arms ; among these, on the left, is a subaltern
rudely holding a female by the skirt of her dress with one hand,
and a captive by the hair of the head with the other ; the
former has an infant in her arms and another infant by her
side ; near these is a second soldier dragging forward a young
woman by the hair of the head ; three prisoners lie bound
in front, and the rich spoils of victory, consisting of gold and
RUBENS. 103
LicfUenstein Collection,
silver vases, &c, are distributed on the right. The head of the
couch is decorated with trophies composed of arms, banners,
and the heads of enemies.
9 ft. 3 in, by 15 /P. 11 tn,— C.
The set is'worth 6000 gs.
This splendid set of pictures does honour to the name of the
author; and although it is evident that the auxiUary hands of the
artist's scholars have contributed largely to their completion, yet the
creative mind of Eubens reigns throughout in the grandeur and
simplicity of the compositions. The conception and designs are his
alone; the life and expression of the whole owe their existence
to his master spirit.
The original Sketch of the last picture is in the Mimich Gallery ;
and a finished Study for the captives, who lie bound in front, was
exhibited in the British Gkillery, in 1829, and is now in the col-
lection of Sir Abraham Hume, Bart.
12 in. by 20 in.— P.
334. A Head of St. Paul The face is seen in a front view,
with black hair and beard.
1 ft. 8 in. hylft.4. in.— P.
335. A Female, seated on the ground, weeping over the
bodies of slain warriors, two of whom lie prostrate near her ;
implements of war are scattered about, and a battle of cavalry
is seen in the distance. A spirited sketch.
U in. by 19 in,— P. Worth 50 g$.
336. An All^orical Subject, representing a warrior extend-
ing his arm towards a female, who stands in the centre with a
cupid at her side, bearing a cornucopia, and on whose right is
Time bringing forward a female. In the lower part of the
picture is seated a youth, with an eagle by his side. A sketch.
2 ft' by 1 ft. 7 in. —P.
104 RUBENS.
lAchtenstein Collection,
337. Jupiter and other Deities. The Three Graces are on
the right, and on the opposite side is Mercury clasping] a
goddess round the waist. A sketch for a ceiling.
2 ft, hy I fi.e in.— P. Worth 50 fjs.
338. The Fall of Phaeton. A sketch.
3 ft, hylfi.9 in.—V.
There is an etching hy Panneels of this subject.
339. The Entombment. Joseph of Arimathea and St. John
bearing the body of the Saviour to the tomb, attended by the
three Maries. A finished study.
2 ft, 9 in. by 2/?. 1 tn.— P. Worth 70 >.
340. Portrait of a Grentleman about twenty-eight years of
age, seen in a three-quarter view, with dark hair, a tuft of
beard, and mustaches. His dress is composed of a black striped
silk vest and hose, a dark cloak and a full white ruff; his right
hand holds his bonnet, and the left his gloves ; dated 1615. A
well-finished and powerful picture.
4 /f. 4 in, by 3 /f. 2 in,—?. Worth 350 gs.
341. Apollo, attended by numerous cupids, advancing from
the east in his chariot drawn by fiery coursers ; and Night
retiring with her weary steeds within a veil of clouds. An
unfinished study.
1 ft: 10 in, by 3 ft,—?. Worth 60 g9.
342. An Allegorical Subject. The composition exhibits a
youth (probably intended for Augustus) whose brows are
bound with laurel ; he is seated on the right, holding a wand
in one hand and a cornucopia in the other ; and on the opposite
side is Minerva, in a similar position, with her foot on a lion.
RUBENS. 105
Fotsdavi GcUlery.
A decorated oval is in the centre above them, encompassing an
armed warrior, under whose feet are slain enemies ; two angels
are above. An unfinished sketch, probably intended for a
frontispiece to a book.
2 fL by 1 ft, 7 in.— P. Worth 60 gs.
343. Ajax offering Violence to Cassandm before the Altar of
Minerva. A very indifferent picture, and probably the work
of a scholar.
7 ft. 2 in. hj9fi.2 iru—C.
The following Pictures are in the Sans Souci at
POTSDAM.
344. Susanna and the Elders. Susanna is represented with
one leg over a high stool, and concealing her bosom with both
hands; the elders are behind, removing her covering, and
one of them is touching her back with his hand. This is
a repetition, by a scholar, of the Munich picture.
6 ft 7 in, by 6 //. 11 tn.— C.
Engraved by P. Pontius. The same in reverse, with slight
variations, is engraved by Querinus Marc. The subject is also
engraved by Yosterman, Simon, and Jegher.
345. The Virgin with the infant Saviour in her arms,
encircled by a multitude of angels, two of whom are placing a
chaplet on her head.
4 ft. 9 in. by 3 ^ft. 6 tn.— C.
Engraved by Yisscher. There is also a spirited etching of this,
with some slight variations in the figures, anonymous.
This IB a duplicate of the one in the Louvre, painted by a scholar.
346. Abraham about to sacrifice his Son Isaac. The youth,
with his hands bound behind him, is on his knees at the side
106 RUBENS.
«
Potsdam Gallery.
of the altar ; and bis father stands by with a knife in his hand,
which be is restrained from using by an angel holding his arm.
7 /f. 9 in. by 5 //.— C.
Engraved by Stock. The same subject, differently composed,
is engraved by Galle, and also by an anonymous engraver.
347. The Adoration of the Magi.
9 ft. 6 in. by 7 ft.—C.
348. Christ triumphant over Sin, Death, and the Grave.
6 A hy ^ft. 6*n.— C.
Engraved by Bolswert.
349. The Holy Family. The Virgin is seated, holding the
infant Saviour erect in her lap ; St John stands before her,
and St. Joseph is at her side. The divinity of the Infant is
indicated by a dove hovering over His head ; on the left of the
Virgin is placed a cradle.
bft.bin.hyift. 1 tn.— P.
350. St. Cecilia singing and playing on the harpsichord. The
Saint is attended by four angels, two of whom stand at her
side, and the third is seated on the back of a sphynx.
5/1?. 7 in. by 4//. 3 in. ; or b ft. 10 in. by ^ft. 6 m.— C.
Engraved by Witdouc. The same subject, with only two angels,
is engraved by Panneels \ and again by Lommelin.
This picture was formerly in the collection of Prince Carignan,
and was sold in that of the Due de Tallard, in 1756, 20,050/«. 802Z.
351. St. Barbara. The saint is standing in front of a prison,
holding a branch of palm in her hand, and a sword lies at her
feet ; two angels are descending, with a chaplet and a sprig of
lily in their hands.
^ ft. ^ in. by Zft. 10 in.
Engraved by Bolswert, omitting the angels.
RUBKNS. 107
Potsdam Oallery,
352. The Exaltation or Ascension of the Virgin. The
Virgin, with the infant Saviour in her arms, is ascending upon
a cloud ; and a company of saints are in adoration beneath.
Sfi.5 in, by 5 ft 10 in.— C.
353. The Elevation of the Brazen Serpent in the Wilderness.
5 /{. 9 in. by 7 //.— C.
This is a duplicate (chiefly by a scholar of Rubens) of the
magnificent picture in the collection of J. B. Owen, Esq., and
described in this Work.
354. An Allegorical Subject, allusive to the Grovernment
of Marie de Medicis.
5 ft, 1 in, by 6 ft. 8 in.—C.
355. Flora, Ceres, and Pomona, holding a cornucopia erect
full of fruit ; the nearest of them is seen in a profile view,
seated in front, giving a monkey some fruit ; a parrot is
perched on the top of the cornucopia, and another parrot is
flying towards it.
7 ft. hj 4 ft. 5 in.—C.
Engraved by Van Kessel.
356. The Birth of Venus. The goddess, buoyant upon the
waves, is arranging her beautiful hair, while the Nereides
and Tritons attend upon her with pearls and other gems of the
ocean ; the Loves sport in air around her ; and near the side, a
little retired from the front, are Neptune and Amphitrite
observing her.
8/f. 10 in. by 9 ft. 8 in.—G.
\ Engraved by Soutman. The same subject^ with three cupids
! bearing festoons of shells, is engraved by P. de Jode. Schmuzer
has also engraved a print of a similar composition, from a picture
then in the possession of the Count of Schoenborn.
108 RUBENS.
Potsdam Gailery,
357. Christ raising Lazarus from the dead. The composition
of this splendid production consists of seventeen figures ; in
the centre stands the Saviour, with extended arms, apparently
addressing the resuscitated man, who is quitting the tomb,
assisted by a female and a man, who are removing the grave-
clothes from him.
8 ft. 6 in. by 6 //. 6 in, — C.
Engraved by Bolswert. This picture was exhibited in the
Louvre in 1814, and restored in 1815.
358. The Apotheosis of Psyche.
4: ft, 4: in, by 5 ft. 7 in. — C.
859. The Assumption of the Virgin. A sketch.
2 ft, 5 in, by 1 ft, 10 »n.— P.
360. Perseus and Andromeda.
Sft, 11 in, by 4 ft, 11 in.— P.
There is a print of this subject, in which the hero has dismounted
from Pegasus, and is taking Andromeda by the hand to release her,
engraved by Tardieu.
361. Hercules strangling the Nemaean Lion. The hero has
seized the animal by the head, and is compressing it with both
arms round the neck ; the gasping beast in his struggles has
fixed his talons in the arm and leg of Hercules. A dead
tiger lies extended on the ground in the front.
Engraved by F. F. Freidhof in 1801, from a picture in the
collection of the King of Prussia.
A Drawing in red chalk, a study for the preceding, was sold in
the collection of M. Mariette, in 1775, for SOfs,
362. The Virgin, seated on a throne, with the infant Saviour
in her arms; before whom a great number of saints are
assembled.
3 ft, 1 in, by 2 ft.—F,
This is a masterly Sketch for an altar-piece.
RUBECNS. 109
Potadum Oallery.
863. The marriage of St. Catherine.
1/t,l in. by 8 ft, 3 m.— C.
364. Portraits of a Lady aud Gentleman; the former is
seated on the left, with a large dog by her side, resting its
head upon her knee.
4 ft, 4 in. by 3 ft. 8 m.— C.
365. The Holy Family. The Virgin is seated, holding the
infant Saviour in her lap, while the Child bends forward to
embrace St. John; St. Joseph is a little retii-ed from the
group, leaning on both arms, observing them.
5 ft. 3 in. by 4 ft. 9 in.— P.
366. Tiie infant Saviour and St. John playing with a Lamb,
in a landscape ; the former has His hand on the head of the
lamb, and the latter is embracing its neck.
3 ft. 7 in. by 5 ft.—C.
Engraved by Galle ; and on wood by Jegher.
367. Bomulus and Bemus, suckled by a wolf. A sketch.
2 ft. 3 in. by Sft. 1 in.— P.
Engraved, anonymous.
Formerly in the collection of M. Pasquier, at Houen.
368. Four Infants playing with a Lamb, in a landscape.
4tft. 4 in. by 4 ft. 2 m.— P.
A duplicate "of the picture in the Vienna Gallery. — See p. 26.
369. A Portrait of a Youth, dressed in the Spanish costume.
2 ft. 8 in. by 2 ft.—V.
370. A Portrait of a young Lady.
2 ft. 8 in. by 2 ft.— P.
110 RUBENS.
Potsdam Oallery.
371. A Choir of Angels.
2 /if. 3 in. by 2 ft, 8 in.— P.
This beautiful production was formerly in the collection of M".
Lormier of the Hague.
372. A young Man and Woman sitting t(^ether, in a
landscape.
2 >Tf. 6 in, by 3 ft, 8 in.—V.
373. Two Children playing with a Lamb. A sketch.
1 /f. 6 in. by Ift.U in,—V.
374. Charity. A beautiful woman crouching down to
suckle three infants.
2ft.Z in, by 1 ft. 8 in. — Cop.
Engraved by Galle and Surugue.
375. Orpheus and Eurydice. A sketch.
1 ft. 10 in, by 2 ft. 6 in,—?.
This subject is engraved by Dickenson and Desplaces.
Formerly in the collection of M. Pasquier, at Rouen.
376. Melchizedeck, King of Salem, supplying Abraham with
Bread and Wine. The kingly priest, habited in full robes
and wearing a cope over his head, encompassed by a wreath,
is receiving Abraham with open arms ; the latter, clad in
armour and a helmet on his head, stands erect before him,
holding a staff in one hand and the other hand placed on his
breast ; on his left are three soldiers taking bread from the
hands of attendants ; and behind him is a youth holding his
horse ; only parts of these are seen. A man with a basket
full of bread on his back, and another bending down with a
vase of water, are close to Melchizedeck. The background
is composed of a stone building with an archway.
Engraved by Witdouc. This subject is also engraved by Neefs.
Now in the gallery at Hesse-Cassel.
RUBENS. Ill
377. The Martyrdom of St. Peter. The saint is fastened
to a cross with his head downwards, and one of the execu-
tioners is on the left side, bending on one knee, exerting him-
self to fix the cross in the ground ; another, on the opposite
side, holds one of the martyr's hands, and three other men
are engaged in tying and nailing the saint's feet ; an angel is
seen descending with a palm and a wreath.
12/f. by 8^. 6 in,— {about)
There is a very indifferent print of this by Ernst Thelott.
This capital altar-piece is painted with imusual care and studious
attention. The body of the saint is admirably drawn and coloured,
and may be cited as a model of excellence. The whole possesses a
breadth and power of expression which entitle it to the admiration
of every connoisseur. Michel, in his Life of Rubens, says, that
this picture was painted on commission, for an inhabitant of the
city of Cologne, and that it was bespoke by M. Geldorp, in 1636,
a painter, at that time residing in London. To this order it appears
that little attention was paid, and the year following the artist
received a letter from the agent, requesting to know if the picture
was finished ; and to this application Kubens repUed by letter in
the following terms : —
"Sir, — I cannot conceive by what accident an altar-piece is
required at London ; if it is for Cologne, why have you not sent
me the measure, without which I cannot commence ? And when I
am in possession of this, let me have the honour of repeating, that
the stipulated time for its completion must be extended to eighteen
months, in order that I may be able to do justice to the person for
whom it is destined." After some observations upon the suitability
of the subject, the arrangement of the composition, &c. &c., he
goes on to say, "I have a particular affection for the city of
Cologne, it being the place of my birth and residence until my
tenth year, and I have often wished to revisit it ; but I fear that,
what with the difficulty of travelling and my constant engagements,
there is little hope of my being able to fulfil this inclination."
This letter is signed, and dated July 25, 1637.
A second letter, dated April 1638, addressed to the same
person, commences by saying, — " I have just learnt from M. Limens
(the gentleman for whom the picture was ordered) that you wish
112 RUBENS.
to be informed in what state of progress the picture is in which I
have in hand for your friend at Cologne; to which I have the
honour to reply, that it is already considerably advanced, and I
hope to make it one of the best pictures that ever came from my
hands, of which intention you may freely assure your friend. But
I must not be pressed to finish it ; and 1 request you to leave its
completion to my discretion and convenience, that it may be done
with due taste and care ; for although 1 am inundated with orders,
yet this subject pleases and invites my attention more than any
other I have in hand.''
By whatever accident it occurred, this picture remained in the
artist's possession until his decease, in 1640, when it was valued at
1200 Jio, (108/.), and purchased by a gentleman of the name of
Jabach, of Cologne, who is said to have presented it to the church
of St. Peter, in that city.* Report, however, gives the painter
the honour of having presented it to the church in which he was
baptized; but the preceding statements completely nullify this
account.
Travellers should be informed, that this picture is not visible to
the public but upon extraordinary occasions, the guardians of the
church's property having caused a copy to })e attached to the back
of the original, which turns on a pivot. The object of this is, to
obtain a trifling fee for the sight of it.
The preceding picture was exhibited in the Louvre in 1814, and
restored to the church at Cologne in 1815.
378. Venus endeavouring to detain Adonis from the Chase,
and Cupid seconding her endeavours by holding the spear of
the huntsman and embi*acing his thigh; the car of the
goddess, and her milk-white swans in playful action are
behind her. Three sporting dogs on the- opposite side
complete the composition.
2 ft 6 in. by I ft 9 in.—?. Worth 550 gs.
Engraved by Tassaert, and also in the Mus^e Fran^ais.
Taken from the Louvre in 1815, and restored to the Hague
Gallery.
* This opinion is in some measare confirmed by an inscription on the altar,
which states that it (the altar) was erected and endowed by M. Jabach.
RUBENS. lis
379. Adam and Eve in the Garden of Eden.
2 //. 6 in. by 3 ft—V,
This and the preceding are beautiful examples of exquisite
finishing, with brilliancy and purity of colour truly enchanting.
The landscapes are by the hand of Breughel, who in this picture
appears to have exerted his best talents to exhibit in the most
splendid and glowing colours the riches of the garden of Eden, by
the almost infinite variety of animal and vegetable productions;
yet, notwithstanding such an accumulation of objects, the figures
by Eubens stand forth pre-eminent.
This matchless production of the two masters was sold in the col-
lection of Madam Backer, at Leyden, 1766, for 7350 /o. 661/.
Now worth 1200 g^.
Now in the Hague Gallery.
380. Portrait of Elizabeth Brant, first wife of Rubens.
3/^. by 2 ft 4 in,—?, {about.)
Now in the Hague Gallery.
381. Portrait of Helena Forman, the artist's second wife.
Zft. by 2 ft. 4 in.—V. (about)
Now in the Hague Gallery.
382. Roman Charity. The venerable prisoner, whom age
and abstinence have rendered feeble, is represented crouching
down with his legs under him and his hands chained behind
his back; his affectionate daughter (who is seated on the
ground) is endeavouring to sustain his life by nourishment
from her own breasts, and whilst engaged in the pious act
looks round with watchful anxiety.
4 ft. 8^ in. by 5 /f. 9 in.— C.
Engraved by A. Voet.
Collection of M. Stiers d'Aertselaer 1822 . 5300 /o. 477Z.
Now in the Hague Gallery.
383. A Portrait of R. P. Michael Ophovius, a Dominican
Monk, habited in the costume of his Order. The face, which is
that of a robust man, is seen in a front view, and the action of
VOL. 11. I
114 RUBENS.
the hands indicates that he is speaking to some one. This
priest was the friend and confessor of Rubens, through whose
interest he was promoted to the bishoprick of Bois-le-Duc.
This excellent production in portraiture is distinguished for
«
its powerful effect and energetic expression.
3/?. 6 in. by 2 ft 7 in.— C.
Engraved hy Vanden Bergh. There is also a bust portrait of this
person engraved, oval, anonymous.
Collection of M. de Vinck de Wesel, Antwerp, 1814, SSOOflo, 342Z.
M. Stiers d'Aertselaer, Antwerp, 1822, 4650 ^o. 410?.
Now in the Hague Gallery.
384. Christ bearing His Cross to Mount Calvary.
2 ft. 2 in. by 1 /f. 6 m.— P. {about.)
An excellent Sketch for the altar picture formerly in the abbey-
church of Affleghem, and now in the Mus^e at Brussels. — See
jp. 56.
Now in the Muscle at Amsterdam.
385. The Annunciation.
Now in the Mus^e at Amsterdam.
The following pictures are in the
LOUVRE.
386. Elijah fed by an Angel in the Desert. The prophet,
clad in a vesture of the skin of animals and a large mantle
wrapt loosely round him, stands before the angel, from whom
he is taking a loaf of bread and a cup of drink. The figures
are of a colossal size. Painted by Bubens and scholars, for
the convent of Loeches, near Madrid.
14//. 6 in. by 12 /if. 8 in.—G. (about.)
Engraved by Lauwers, and etched by Panneels.
Valued by the Experts du Mus^e, in 1816, at 30,000 fs. 1200/.
387. The Triumph of the Christian Law ; allegorically repre-
sented by a female standing in a splendid car, holding up a
RUBENS. 115
Louvre.
chalice in her hand, with an angel at her side supporting a
cross ; near them is placed a globe, and many other figures.
— For description^ see- series in the convent of Loeches, p. 139.
14/^. 9 in, by 18/f. 3 t».— C.
Engraved by N. Lauwers.
Valued by the Experts du Musee, in 1816, at 160,000 /«. 6400Z.
388. The Adoration of the Magi ; a composition of eleven
figures. Painted in the artist's early manner.
8 ft 6 in. by 5 ^. 8 in.— C.
Engraved by Bolswert and Panneels. — For deseriptiony see p. 49.
Valued by the Experts du Mus^e, in 1816, at 150,000 fs. 6000Z.
A duplicate of the preceding is in the Marlborough Collection.
389. The Flight into Egypt by Night. The Virgin, clothed
in a scarlet vest and a greenish mantle, is mounted on an ass,
and holds the infant Saviour in her arms ; they are attended
by two angels, one of whom leads the beast, and the other is
flying over them with a torch ; St. Joseph, in a yellow mantle,
follows them. The view exhibits a woody landscape, with a
lai^e stream of water on the left, in which the moon is
brightly reflected ; and at some distance in the opposite side
are seen some figures round a fire, but the light of both these
objects is eclipsed by the radiance from the divine Infant.
2 ft, 4 in, by 3 ft, 4 tw.— C.
Valued by the Experts du Mus^e, in 1816, at . 12,000/«. 480/.
A picture of a very similar composition to the preceding -was
exhibited in the Louvre in 1814, and claimed and restored in 1815.
390. The Virgin, with the infant Saviour in her arms,
surrounded by a wreath of flowers. The latter are the work
of Breughel.
15 in, by 12 in, — P.
Valued by the Experts du Mus(5e, in 1816, at . SOOOfs, 120Z.
116 RUBENS.
Louvre.
391. The Virgin, with the infant Saviour in her arms, borne
upon clouds, and surrounded by numerous naked infants.
4 ft. 1 in. by 3 ft 2 tn.— P.
Engraved by Yisscher.
Pictures representing the same subject occur in pages 69 and 105.
Valued by the Experts du Mus^e, in 1816, at 75,000 /«. 3000Z.
A duplicate of the preceding, of larger dimensions, done by one
of the artist's scholars, occurs in the gallery at Potsdam.
392. The Tribute-Money. This is chiefly the work of a
scholar.
Valued by the Experts du Mus^e, in 1816, at 50,000/*. 2000/.
The original Picture is described in a subsequent page of the Work.
393. Christ on the Cross. The Saviour has yielded up the
ghost, and the multitude have departed ; the Virgin, with St.
John and the Magdalen, alone remain. The first, suffering
intense grief, stands on the right, her hands clasped and her
countenance directed towards the Saviour. On the opposite
side stands St. John, clad in an ample scarlet vest, also
looking at his crucified Lord ; and at the foot of the cross is
Mary Magdalen, embracing his feet. Painted chiefly by the
artist's scholars.
1 1 //. 3 in. by 8 ft. 8 m.— C.
Valued by the Experts du Mus^e, in 1816, . 8000 >. 320/.
394. Queen Thomyris commanding the Head of Cyrus to be
immersed in Blood. The queen, richly attired in a light satin
robe, embroidered in gold, and a mantle lined with ermine, is
seated on a throne on the right, with the royal sceptre in her
hand. On her left stand two female attendants, one of whom
is dressed in a satin vest of lemon colour and a light blue scarf ;
behind them is an elderly female ; their attention is directed to
the executioner, who is on the opposite side, holding the head
of Cyrus over a brazen vase filled with blood. Close to the
.aiAi aHT
f
, t - _ I
.N' I ■«■«••", ill • .*^ ' *•. i*
..! •-!. uiil llu- :. '.'
Kil at the 1 •
• _; liis feet. V'U'A
I 1/V. :'i iff by >'/■/. ?< i'.' - • .
;i:een Th'>mvii>, '•.-.':: ;n'!::i.4 tlj<» ]|".'i •
. MMi iNt><l in r>]:h.»\ '] 1..- ',.%»'ii, riv:hiy at'--!
sraltd 1.11 :i t!':'»?!*- ■ -• -f' iL'lit. wrJi tlu* l.>\'tl -• .
!..n:t. < »:i '<»!'' , •: ■ l\>'» fL^niale atttMrljuP.- • • ••
i.vtln'>-e-i ii I • ' '-1 of leuioiM'olour and ii 1: " : . ' -
])i/Kiii.i t'-. • .'i •! i.tIv fenmlj' ; their attentio*. ]-■!;] ■,
Ml" . \*\ . ' .) IS on the (>p])Osite side, h^'l-iinj \\i>
' . ' .a. -Oil vast* filled with blood, l !«••.'
* I
m
RUBENS. 117
Louvre,
front is a thin man, 8tandin<( with his hands behind his back,
observing the ceremony ; he has on a fur cap, and wears a
crimson robe. A venerable minister of state is on the right
of the queen, and two soldiers are behind him. Fainted in
the artist's free and florid manner.
Sft.l in, by 6 fl, 1 tn,—C,
Valued by the Experts du Mus^e, in 1 81 6, at 100,000 /«. 4000Z.
395. Diogenes, surrounded by a crowd of people, searching
with a lantern in his hand, by daylight, for an honest man.
Two children are close by his side mocking at his folly.
Done in the school of Bubens, and possibly touched upon by
his hand.
6 ft,\l in, hj1ft,S in,—C,
Valued by the Experts du Mus^e, in 1816, at 70,000 /«. 2800Z.
A duplicate of the preceding ia in the Munich Gallery. — Seep, 60.
396. A Tournament of six armed Knights, near the walls of
a fortified town ; they are attended by a herald and two pages.
The landscape is beautifully illumined by the rays of the setting
sun. This is a masterly-finished sketch,of extr6U)rdinary beauty.
2 ft, 3 iit, by 3 /?. 8 m.— P.
Valued by the Experts du Mus^e, in 1816, at 20,000 /*. SOOl,
397. A Landscape, represented under a singular effect of the
sun upon a fog, which is seen rolling in volumes over the banks
of a stream. The view presents on the right a cluster of trees
rising from a rugged bank, from one of these trees a net is ex-
tended across an opening, and attached to another tree nearer
the front ; the owner of the net sits on the bank, wat^ching the
approach of some birds ; and two ladies and a gentleman are
reposing on the ground in front, observing him. In the centre
of the foreground are two men sawing a piece of timber;
and upon an eminence in the middle-distance is a windmill.
1 ^. 5 in, hy 2 ft, 1 in.— C.
118 RUBENS.
Louvre.
Engraved by Bolswert ; and in the Mus(5e Fran^ais, by Duparc.
Valued by the Experts du Mus^e, in 1816, at . 8000 >. 320/.
398. A Village Wedding, or Festival. The scene is an
open landscape, with a country inn on the right, before which
are numerous groups of peasantry covering the whole of the
foreground; many of them are dancing in couples, to the
music of a bagpipe and fiddle; others are drinking and
carousing, or seated on the ground embracing. A large group,
chiefly composed of mothers suckling their infants, is near
the front ; and close to the right side are two females, one of
whom a peasant is inviting to dance ; the other standing with
her hands crossed in front, represents a portrait of Helena
Forman. The whole company consists of about eighty per-
sons, exhibiting a scene of festive jollity and rapturous mirth.
It is, perhaps, impossible to cite an example possessing
greater freedom and energy of execution, brilliancy and vigour
of colour, or force of expression, than is found in this picture.
4 /if. 11 in. by 7//. 11 in.— P.
Engraved by Fessard ; and in the Mus^ Frangais, by Dugreel.
Valued by the Experts du Mus^e, in 1816, at 100,000/*. 4000Z.
A sheet of paper, containing on both sides near thirty studies for
groups in the preceding picture, done in outline with a masterly
free pen, is in the collection of Sir Thomas Lawrence, P.R.A.
399. Portraits of Helena Forman and her two Children.
The lady, who is apparently about twenty-two years of age,
is attired in a light dress, and wears a large straw hat decked
with feathers ; her face, which is turned above three-quarters
from the spectator, is suffused with a tender shadow from
the projection of the hat ; the youngest child is seated on her
lap, and the other stands by her side, holding something in
its pinafore.
3 /f. 5 in. by 2 ft. 6 tn.— P.
I
ll»^\'^.
.I13H(LIIHD 07AT flSH QZA KAliUipi A^iajSH
. • , »M! (Ml the riulit, Ix^fMrt* v
• . ..•• M '-oMTiiiLr the whi»li <•: •
fuo danciiiLj in couples. '.
..•i.^: otJM'is an' «lrinki"'
'. »iii,(i nnhuicin;^. A laiyi* . ■
' ^ >^u« kIiu^ tln-ii infants, :-
••• • !jI -i«it» are two fern h1«-.>.
M 'I .• : tli»' <-thpi standuj .
■ .. •. . : ■ 'W^ '\ jKH'iruit of J^
'.. .V ■. :iii^.^t> «'f lihoiit t'i;rhi>
. .: s-Mvr jdllitv a'i'l raptuioi;-*
. ■'• a;. **.\an!pli* po-.
•:■•..• . ' Ml hrilliancy aOil
•i ;^ inuml in thi^ ] •
h.c,.., .-. i.^16, at 100,000 /« ■
' !i -^iil".- i.'Mi' liiirt \ 81 » .
.J .. . ! !.»• :m outliii*' wilh .1 Ji'
•• i •«li<'n of >ir 'll« •: .a> Lawn^icc, r.H.A
. i*. ]fi.its of Helena- F'.M'i.iii and lier two Chj. •
'v V*}.'. 1^ apparently ah.n:t twenty-twn \ears ••'
. .' 1! . lij.t dress, and W'\i« u larjjje straw hai .!♦•
. -^u-v^: lier face, which w turned above ihiee-qn
»'..• .sp.cl;;t...i, is sntrn-^ed wiih a t-endcr shadow
'• . : »'>V'. tii.ii ut t'le hat ; the vountrt*sl clnM i-* seated •
lip .:nd th«- oth»M- HUnds by her side, holding somethv
i'- |.'.nafore,
3 /V. 5 /«. l.y 2 ft. G i7/.--l\
RUBENS. 119
Louvre,
Engraved in the Mus4e Fran9ais, and by M. Cosway; in the
latter, one of the children is omitted.
Of the numerous pictures by the master in this gallery, this,
although little more than a finished study, possesses so much truth
of nature and sweetness of expression, that it is by far the most
attractive and engaguig.
Collection of M. de la Live de Jully, 1769 . 20,000 /«. 800/.
Randon de Boisett . 1777 . 18,000 /«. 720/.
Count de Vaudreuil . 1784 . 20,000/*. 800/.
Valued by the Experts du Mus^e, in 181 6 . 35,000 fs. 1400/.
400. A Landscape, representing a hilly country intersected
by a river, with buildings on its banks, adjoining which is a
stone bridge ; a second bridge, formed of planks, crosses the
river near the front ; in the foreground are a flock of sheep,
and several figures ; the latter consist of a shepherd seated at
the foot of a tree on the right, who appears to have just ceased
playing his pipe, and is looking earnestly at a beautiful rain-
bow, which crosses the heavens in the opposite side ; near him
stands a peasant directing the attention of a female to a happy
couple who are reclining on the ground together.
3 ft 9 in, by 5 //. 3 in.—V,
Engraved by Bolswert, with the omission of some of the sheep,
and other slight variations ; and also in the Mus^e Fran9ais.
Valued by the Experts du Mus^e, in 1816, at 10,000 /*., 400/. ;
but worth 800 gs.
401. A Portrait of a Lady, said to be of the family of Boonen,
but would probably be taken for that of the artist's first
wife. She appears to be about twenty-six years of age, and is
seen in a three-quarter view ; her dark brown hair is adorned
with a crown of jewels, and her dress composed of black silk,
the bodice of which is braided with gold lace and flowers ; a
gold chain is round the neck, and a triple chain of the same
metal, of an antique form, set with jewels, is suspended in front
120 RUBENS.
Louvre,
and held by the right hand. A brilliantly-coloured and highly-
wrought picture.
1/^ 11 m. by 1 >Tf. 5 tn.— P.
Collection of Baroness de Boonen, at Brussels, 1776, 202b flo, 182/.
Sold in the collection of the Due de Praslin, 1793, 7750 /«. 310/.
Valued by the Experts du Mus^e . . 1816, 10,000 /«. 400/.
402. A Portrait of the President Eichardot. — Sm Van Dyck.
403. The Flight of Lot and his Daughters. Lot, habited
in a light crimson mantle, is advancing under the guidance of
an angel, followed by his reluctant wife, who is dressed in a
bluish robe, and behind whom is an angel urging her on ;
these are followed by the daughters ; one of them, dressed in a
scarlet gown, is leading an ass, laden with household utensils
and vessels of gold and silver ; the other carries a basket of
valuable objects on her head. The party has just quitted the
gate of the devoted city, towards which the demons of
•destruction are hastening through the air.
The superior excellence of this beautiful production is strongly
•confirmed by the artist himself, who has signed and dated it PE. PA.
RVBENS, 1625, a mark of distinction which the writer has observed
but thrice on his pictures, and but very few are marked even with
his initials.
2 ft, 4 J in, by 3 ft, ^ in.—V,
Valued by the Experts du Mus^e, in 1816, at 60,000/*. 2400/.
The same subject, differently composed, is engraved by Lucas
Vosterman; dated 1620. — See MarJf)oroti{jh Collection.
The following twenty-one pictures, forming a series illustra-
tive of the principal events of the life of Marie de Medicis, were
painted by her express order in the year 1620, for the purpose
of decorating the Luxembourg Palace, and were completed at
Antwerp, in the short space of two years ; to accomplish which
arduous task, Bubens necessarily had recourse to the assistance
of his skilful pupils. In these magnificient productions the
)
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AiMJi^'ht pi( lure. .TOJ "^O THOU*!!
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A':'>» ■ •• :.. tin- '.I'i t s{>;i<'(' tif tu M ii « , t«' Mrc()iijpli>h \vh. •.•
if '.'■' ^ ■ K ^' ' 'jiis ntresNarilv I; : • ii^.-tM'^'e Ic- ti)»' a<:sistin.' •'.
</t' li;j? -^"'t: ].::j'ils. In the-<e ii-tjinlicieiit jjn>Juclion- 'be
RUBBNS. 121
Louvre,
artdst, freely indulging in the poet's and painter's licence, has
richly embellished each subject with allegorical figures and
fabulous deities, enhancing the luxuriance of his creative
powers in composition with the lustre of his resplendent
colouring. — They now adorn the Louvre.
404. The Destiny of Marie de Medicis. The Fates, personi-
fied by three beautiful females, represented spinning the thread
which involves the destiny of the queen, under the auspices of
Juno, who, leaning affectionately upon Jupiter, is supplicating
his benign interference.
12/f. 9 in. by b ft 2 m.— C.
Engraved by Chastillon.
405. The Birth of the Queen. Lucina is committing the
infant princess to the care of the city of Florence ; the last is
personified by a female with a castle on her head ; three genii
bearing the emblems of felicity and honours fly over her head,
and a river deity is recumbent od the for^round.
12/{. 9 in. by 1 ft. 9 in.— C.
Engraved by Duchange.
406. The Education of the Queen. Minerva is instructing
the young princess in the arts and sciences, assisted by Apollo,
Mercury, and the Three Graces.
12/1?. 9 in. by 1 ft. 9 tn.— C.
Engraved by A. Loir.
407. Henry IV. deliberating upon his Marriage. The king
is represented viewing with admiration the portrait of the
Princess Marie de Medicis, which is held before him by Hymen,
and, under the influence of Minerva and Love, makes choice
of her for his consort ; Jupiter and Juno look down with
approbation on his election.
12/f. 9 in. hj1ft.9 tn,— C.
Engraved by J. Audran.
122 RUBENS.
Louvre,
408. The Marriage of the Queen. The princess, splendidly
attired, is receiving the token of her union from the hands of
the Grand Duke Ferdinand of Xuscany, proxy for Henry IV.;
the august ceremony is performed by the Cardinal Aldobran-
dini, in the church of Santa Maria del Fiore. The grand
duchess and the principal ladies of the court attend the queen,
and the Marquis de Sillery and other gentlemen are in the
opposite side.
12/^ 9 in. by 7/^ 9 e/z.— C.
Engraved by Trouvain.
409. The Debarkation. The queen, attended by her suite,
is quitting her magnificent yacht to land at the city of
Marseilles, and the supposed tutelar deities of the city await
her approach with open arms. Fame, with a double trumpet,
is proclaiming her arrival ; and the Nereides and Tritons sport-
ing around the vessel indicate the favour of the marine deities,
who have been propitious to the voyage.
12/^ 9 in, by 7//. 9 m.— C.
Engraved by Duchange.
410. The Marriage of Henry IV. with Marie de Medicis,
consummated at Lyons, December 9, 1600. The city of Lyons
is personified by a female with a tower on her head, seated in
a car drawn by two lions, conducted by two cupids, bearing
lighted torches ; her attention is directed upwards, where the
newly-married couple appear under the forms of Jupiter and
Juno ; the former, seated on an eagle, with a thunderbolt in
his hand, is receiving the homage of the queen ; Hymen
and the Loves preside at the interview.
\1ft, 9 in, hyl ft, 9 in.
Engraved by Duchange.
411. The Birth of Louis XIII. The queen, recumbent
on a couch, is looking affectionately at the new-born infant,
whom Justice is placing in the arms of Health, personified by
RUBENS. 123
Louvre,
a young man with a serpent ; on the other side of the queen
is the nymph Fruitfulness, presenting her a cornucopia, in
which are seen five other infants, the destined future offspring
of the marriage. Phoebus commencing his course indicates
the time of the birth of the prince.
12//. 9 in, by 1 ft. 9 w.— C.
Engraved by Audran.
A Study for the portrait of the Queen in the preceding picture
is in the collection of the Duke of Euccleugh.
2/f. 2 in, by \ ft. 10 in,—Q., {about,)
412. The Prelude to the Departure of the King for the
War in Germany. The king is represented placing in the
hands of the queen a ball (the symbol of government), in the
presence of the dauphin, who stands between them. The
king is attended by several armed soldiers ; and two females
(Prudence and Generosity) stand behind the queen.
12 /if. 9 in, by 1 ft, 9 »».— C.
Engraved by J. Audran.
413. The Coronation of the Queen. This august and
splendid ceremony is represented in the church of St. Denis.
The queen, habited in royal robes, and accompanied by the
dauphin on her left and the princess on her right, is kneeling
before the altar, receiving the crown on her head from the
hands of the Cardinal Joyeuse, who is assisted by the
Cardinals Gonde and Sourdis, and several Bishops ; behind
the queen are the Due de Vend6me, bearing the royal sceptre,
the chevalier, his brother, with the hand of justice. Queen
Mai-garet, and the princesses of the court, all of whom are
magnificently attired, the ladies wearing crowns on their
heads. The king is observing the ceremony from a little window
above, and numerous persons of distinction are present.
Uft. 10 i», by 22/f.— C.
Engraved by Duchange.
124 RUBENS.
Louvre.
414. The Apotheosis of Henry IV. Time is represented
bearing the king .up to Heaven, where he is recseived by
Jupiter, to be placed among the Gods ; two females^ emblems
of Victory and Peace (the latter seated on armour and
weapons of war), are bewailing the decease of the monarch.
On the opposite side of the picture is the queen, habited in
mourning, seated on a throne, weeping for her recent loss ;
Minerva and Prudence stand by her side, and two emblematic
figures are presenting to her a ball and a prow, the symbols
of government ; at the foot of the throne are several senators,
the representatives of the French nation, kneeling to offer
their condolence and allegiance.
12/f. by 21 /if. 5t/?.— C.
Engraved by Duchange.
415. The Government of the Queen. In this composition
the artist has treated the subject wholly allegorically, and it
requires a considerable stretch of imagination to make the
intended application. The picture represents Olympus, with
an assembly of the gods ; France, under the symbol of a globe,
lies at the feet of Juno, her protector, who has risen from her
throne to place a couple of doves on its surface, committing
them to the care of Love, who stands by its side, playing with
two other doves ; the surrounding deities behold the benefi-
cent intentions of Juno with approbation. Apollo and
Minerva are in front, actively engaged driving away the
fiends of Discord, Envy, Fraud, and Malice ; and Venus is
restraining Mars from interfering.
12/if. by 22A— C.
Engraved by Picart.
416. The Journey of the Queen to the Bridge of C^. The
queen, splendidly attired, and wearing a helmet surmounted
by a plume of feathers, personating the goddess Bellona,
mounted on a beautiful white horse, is on her journey to 06,
RUBENS. 125
Louvre,
accompanied by Fame and Victory, who are flying over her
head, and followed by Strength, personified by a female with
her hand on the head of a lion.
12/^ 1 tn. by 9//. 4 tTi.— C.
Engraved by Simonneau.
417. The Exchange of the two Queens. The event is
supposed to occur on a bridge of boats, aci-oss the river
Andaye, being the boundaries of the two kingdoms. The
young queens, splendidly attired, stand together, with their
hands united. Isabella de Bourbon is received by the repre-
sentatives of Spain, and Anne of Austria by those of France ;
cupids and genii shed wealth and honours on their heads,
and the Nereides and Tritons present the riches of the ocean.
12//. 1 in. by ^ ft. 4 tn.— C.
Engraved by B. Audran.
418. The Happiness and Prosperity of the Eegency.
Sepresented by the queen elevated on a throne, holding the
sceptre and the balance of Justice in her hands, and, under
the influence of Wisdom and Love, governing the nation.
On the right of the throne are two females, personifying
Abundance and Liberality, dispensing the bounties of the
queen to the rising generation, indicated by four infants,
emblems of the Arts and Sciences. On the right is Time
introducing France to the fruition of the golden age.
Ignorance, Envy, and Slander, lie bound in front.
12/^ 1 in. by 9 /if. 4 in.--C.
Engraved by Picart.
419. The Majority of Louis XIII. Figured by a splendid
vessel (an emblem of the nation), with the young king stand-
ing at the helm, and the queen by his side, committing her
delegated power into his hands and aiding him with her
counsel; the rowers consist of four females, personifying
126 RUBENS.
Louvre,
Strength, Beligion, Justice, and Truth; and other emblematical
figures manage the sails.
1 2 /if. 1 in, by 9 /f. 4 in.— -C.
Engraved by A. Trouvain.
420. The Flight of the Queen to the city of Blois. The
queen, having descended from a window of her ch&te-au in the
middle of the night, is accompanied in her flight by Minerva,
and attended by the Due d'Epernon and a few armed men.
12//. 1 in, by 9 A 4 in.— C.
Engraved by Vermeulen.
421. The Queen deciding in favour of Peace. The queen,
counselled by Cardinal Bochefaucaut, accepts the olive branch
of peace presented by Mercury, contrary to the advice of
Cardinal Yalette, who stands by her side, advising her to
refuse it, while Prudence on her right is admonishing her to
be guarded against bad counsel.
12 /if. 1 in. hy% ft, 4 in.— C.
Engraved by Xattier.
422. Peace concluded. The queen, having consented to
accept the proposals of the king, is represented entering the
temple of Peace, under the guidance of Mercury and the im-
pulse of Innocence. Peace is personified by a female, who
stands in front with a flaming torch in her hand, setting fire
to some implements of war which lie on the ground ; behind
the figure of Peace are the harpies of Contention and other
vices.
12 /if. 1 in, by 9/?. 4 tn.— C.
Engraved by Picart.
423. Peace ratified in Heaven. In the composition of this
allegory the painter has placed the king and queen in clouds,
in the supposed presence of the Deity, indicating thereby the
uprightness and sincerity of their intentions and reconciliation;
RUBENS. 127
Louvre.
Hope and Charity appear in the clouds, and Courage or Power,
personified by a female armed with a thunderbolt, is driving
down the hydra of Rebellion.
12 A 1 %n,hy%ft, 4 t».— C.
Engraved by Duchange.
424. Time disclosing Truth. In this picture the artist has
intended to represent, that the misunderstanding which had
occurred between the king and queen arose from the vices of
Slander, Envy, and Malice, which Time had disclosed, and
the venerable monarch is seen bearing up Truth in his arms,
and exhibiting her naked to the world ; above these are the
queen and her son, holding between them the wreath of
Peace, encircling the symbols of Unity and Love.
Uft.l in. by 4//. 11 in.— C.
Engraved by A. Loir.
425. A whole-length Portrait of Marie de Medicis in the
dress and character of Bellona, holding a sceptre in one hand
and the genius of France in the other ; two cupids suspend a
chaplet over her head.
7 ft 7 m. by 3 ft, 6 %n,—G.
Engraved by Mass^.
Valued by the Experts du Mus^e, in 1816, . 10,000 fa. 400/.
A beautiful Sketch, the original study for the preceding portrait,
is in the collection of Sir Abraham Hiune, Bart.
13 in. by 10 in.—V.
426. A whole-length Portrait of Francis de Medicis, Grand
Duke of Tuscany, represented in a front view, wearing a
mantle lined with ermine over a black silk drees, a double
row of jewels is suspended round the neck, to which is
attached a cross, the right hand holds a walking stick.
7 ft. 7 in. by ^ ft. ^ in.—C
Engraved by Edelinck.
128 RUBENS.
Louvre.
427. A whole-length Portrait of Jean of Austria, Grand
Duchess of Tuscany, daughter of the Emperor Ferdinand and
mother of Marie de Medicis. She is magnificently apparelled
in silk, richly embroidered with gold and jewels.
7 ft 7 in. by 3 /f. 6 m.— C.
Engraved by Edelinck.
The preceding suite of twenty-three pictures were valued by the
Experts du Mus^e, in 1816, .... 5,190,000 >. 207,600/.
This valuation is, of course, merely imaginary.
428. A Portrait of Elizabeth de Bourbon, daughter of
Henry IV. of France, and consort of Philip IV. of Spain ;
her countenance, denoting twenty-six years of age, is seen in
a three-quarter view ; fair complexion, with light hair, decked
with a crown of pearls; she is dressed in blue satin,
embroidered with gold ornaments, ribbon sleeves, and a triple
white ruff with serrated edges ; a massive chain, composed of
pearls and other jewels, is suspended in front, and a bow is
attached with a brooch of diamonds and pearls on her bosom.
She is represented sitting in an arm chair, covered with
crimson velvet, holding a bunch of roses in her right hand ;
part of a temple, of Grecian architecture, forms the back-
ground. A delicate and highly-finished production.
Zft.i in. by 2 ft. 10 in.—V.
Valued by the Experts du Mus^e, in 1816, at 25,000 /«. 1000/.
A duplicate of the preceding, also by Rubens, is in the collection
of Madame HofEman, at Haerlem.
3 ft. 4 in. by 2 /^. 6 in.—V.
A portrait of the same lady, very similar to the above, is in the
Marlborough Collection.
429. Portraits of Francis Snyders (the painter of animals)
and his Wife.
This picture was exhibited in the Louvre, in 1814, and was
claimed and restored in 1815.
ELIZABETH OF FRANCE, DAUGHTER OF HENRY IV.
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RUBENS. 12»
Louvre.
The following drawings and sketches in chalks, tinted in
colour and washed in Indian ink, are also in the Louvre : —
430. Two Studies for Triumphal Arches.
431. A Design for a magnificent Car.
432. Pallas defending a Woman and her Children from the
fury and desolation of War. A spirited sketch in oil colours^
on paper.
14J in, by 21 J in.
433. The Archduke Albert on horseback, seen in a front
view, bare headed, holding a baton in his right hand. A pea
drawing, washed in bistre.
12 in. by 8^ in.
434. Pluto passing sentence on souls brought before him by
Mercury. A drawing in colour, done from a picture by
Primaticcio.
435. The Holy Family, The Virgin is seated, and the
infant Saviour stands in a cradle by her side, extending His
arms to embrace St. John, who is held by Elizabeth. A study
in red chalks, after Raffaelle.
10| in. by 9f in.
436. Silenus, supported by a Satyr and a Faun. Done in
bistre wash, and finished with the pen.
14 J in. by 13^ in.
437. A Female bending on one knee, and extending her hands
in the attitude of supplication. A hasty free drawing, in chalks.
The remainder of the drawings contained in this rich collection
are noticed under the pictiues to which they severally refer.
VOL. II. K
130 RUBKNS.
438. The Bape of the Sabines.
439. The Reconciliation of the Romans and Sabines, through
the interposition of the Sabine Women. A companion to the
former.
These magnificent pictures were painted at Madrid, about the
year 1628, and are now in the Escurial.
The original sketches for the above were sold in the collection of
M. Danoot, and are now in the collection of Alexander Baring, Esq.
— See description in this Work.
440. The Martyrdom of St. Andrew. The composition
represents the saint naked, all but the loins, attached by the
legs and. arms to a lofty cross, and one of the executioners, on a
ladder, binding his arm ; while another, standing at the foot of
the cross, is pulling the end of a cord which passes round his
body ; close to the front is a beautiful female on her knees,
supplicating an officer, who is on horseback, to have compaasion
on the martyr, and her entreaties are seconded by two other
females and an elderly man ; the gesture and expression of the
officer denotes his willingness but inability to serve them. A
number of spectators are seen on the farther side of the hill on
which the cross is erected, and three angels appear to be
ilescending with the rewards of martyrdom.
Engraved by Alexander Voet, jun., and anonymous, J. Dirckx ex.
Painted to adorn the altar of the Flemish chapel at Mckirid.
Cxunberland, in his Anecdotes of Spanish Painters, speaks highly
of this production.
Kow in the Escurial.
441. A capital Drawing of the preceding picture, com-
menced in chalks and terminated en grisaille, of superlative
beauty ; done by the artist for the engraver to work from.
23 J in. by 17^ in.
Collection of M. Mariette, . 1775. . . 1650/«. 66Z.
'■ of R. de Boisset, . 1777. . . 1500 /«. 60/.
Now in the collection of Sir Thomas Lawrence, P.R.A.
RUBEK8. 131
442. St. Jerome. A single figure.
443. Christ discovering Himself to His Disciples at Emmaus.
In this composition is a female with a glass of liquor in her
hand, and a servant holding a plate is attending upon the
Saviour and His disciples.
Engraved by Van Sompelin, and in reverse by Swanenburg.
In the Parada Palace.
444. The Judgment of Paris, The figures are of the size
of life.
Engraved by Lommelin.
,Thi8 picture is nearly a repetition of the one described in another
part of this Work.
Formerly in the palace of Buenritiro.
445. The Virgia with the infant Saviour in her arms.
Formerly in the convent of the king's apartments at Madrid.
446. The Immaculate Conception.
There is a print engraved by Bolswert, which Basan in his
catalogue places under this title ; it represents the Virgin with the
infant Saviour in her arms, standing upon a globe, treculing upon
the head of a serpent which encircles it ; two angels support the
skirts of the Virgin's robe.
In the King of Spain's Collection.
The following pictures are in the
ESCURIAL.
447. A Satyr ; of the size of life.
448. Two Nymphs.
449. A Bacchanalian Kevel.
132 RUBBNS.
Bscurial.
450. Mercury and Argus.
451. The Bape of Proserpine. The figures of the size of
Ufe.
The same subject occurs in the Marlborough Collection. — See
descnptwTL
452. Venus binding Cupid. After Titian.
453. Progne and her sister Philomela showing Tereus,
King of Thrace, the Head of his Son, on whose Body he had
just been feasting. The horrifying sight has caused the
monarch to kick over a table at which he was seated regaling.
Engraved by Gralle.
454. A Head of Flora, surrounded with flowers.
455. Vulcan working at his forge.
456. Perseus and Andromeda.
457. The Garden of Love. A company of fourteen, ladies
and gentlemen, assembled in a flower garden ; most of them are
seated on the parterre, engaged in conversation and music ; the
prevailing sentiment of the subject is indicated by the intro-
duction of eight cupids, several of whom are at play with the
ladies, and others sporting in the air and among the flowers ;
most of the figures personate portraits of the artist and his wif e»
with his scholars and their wives. — See another description.
Engraved by Lempereur.
Now in the collection of the Duke del Infantado, at Madrid.
Two drawings (18 in. by 27 in), studies for the preceding, done
in bistre with the pen, heightened 'vvith white, were sold in the col-
lection of M. Mariette 1775 . 980 /». 39/.
RUBBNS. 133
Escurial,
Engraved by Jegher. This print differs considerably from the
one by Lempereur, there being in it three couples on the farther side
of a balustrade, amusing themselves ^vith Ajet-d'eau,
458. The Virgin with the infant Saviour, attended by Angels,
in a landscape. There is a print in which the Infant is sleeping
in the bosom of His mother, who is seated at the foot of a tree,
and three angels playing with a lamb are near them: the view
terminates with a grove, by the side of which Sc. Joseph is
reposing and the ass feeding.
Engraved on an outline of Rubens, by Jegher ; also anonymous ;
and a similar subject is engraved by A. Yoet.
459. Adam and Eve in Paradise. A copy by Rubens,
after Titian.
460. St. Gleorge, on a spirited charger, slaying the Dragon.
Cimiberland, in his Anecdotes of Spanish Painters, styles this
picture the " very quintessence of colouring, and the most capti-
vating example of extravagance which the art of painting can
perhaps exhibit."
461. The Elevation of the Brazen Serpent.
Engraved by Bolswert — See description in a subsequent page.
This is probably a copy by a scholar, and re-touched by Rubens.
462. Neptune, in his Car, drawn by Sea-horses.
A similar subject occurs in the Dresden Gallery. — See p. 85.
463. Olympus, with a Council of the Gods.
464. Philip IV. of Spain, mountedi on a beautiful charger.
There is a print of this monarch on horseback, represented passing
xmder an archway, engraved by P. de Jode ; and a second print, in
which are introduced four angels fljdng over the king's head ; two
]S4 BUBENS.
JE8cu7*ial,
of them support a globe, and another (indicating Religion) has a
wreath and a cross in her hands ; and behind the king is a black
page bearing a helmet. Engraved, anonymous.
Cumberland (in his Anecdotes) observes, that Rubens painted five
portraits of Philip IV., one of which was equestrian, and grouped
with several other figures, and for which the painter received the
honour of knighthood, naturalization, and the golden key, as a
gentleman of the bed-chamber ; in addition to which, the Duke of
Olivarez presented him a ring worth 2000 ducats.
465. A Study for an equestrian Portrait, apparently intended
for Charles V. It represents a person fifty years of age, his
head uncovered and the face seen in a front view ; he is clad
in armour and grasps a baton in his right hand, which he poises
on his thigh ; his noble charger is also presented in a fore*
shortened position, full of action and spirit.
27 in. by 16 in.
This is a superb drawing in bistre, done for a design, of which
there can be little doubt but that the finished picture exists in Spain,
from whence the drawing came, and is now in the collection of Sir
Thomas Lawrence, P.R.A.
466. A Portrait of Sir Thomas More. The face is repre-
sented in a three-quarter view ; a black cap covers the head,
and the dress consists of a dark cloak with a broad fur cape
and edging, and a red vest ; the hands are united in front,
one of which holds a paper.
3//. 9 in. by 2 ft. 7 in. (Spanish measure.) — P.
This portrait was done by Rubens, by desire of the king, after a
whole-length picture by Hans Holbein.
Now in the Royal Museum, at Madrid.
467. The Rape of Ganymede. A small picture.
This subject occurs in another part of this Work.
rm^^^^m
RUBENS. 135
Uscurial,
468. Hercules reposing from his Labours.
469. Apollo conducting his Chariot.
470. Orpheus charming the Brutes. A capital composition.
Cumberland (in his Anecdotes) observes, " This is truly an ines-
timable picture, giving such a display of colouring as can hardly be
conceived.'' It was painted by him in his best age and manner.
471. A magnificent Landscape, in which is introduced a
religious Procession. The priest who conducts it is mounted
on horseback carrying the viaticum, and his horse is led by a
Count of Augsburg.
Cumberland notices this as being " one of the many pictures
which had conspired to impress him with the highest veneration for
the talents of the artist."
472. The Adoration of the Magi.
The same writer, in reference to this picture, says, " that it is
the standard work of the master. It was commenced in Flanders ;
enlarged, re-touched, and finished, during the painter's embassy in
Spain ; " and, after very highly commending it, he adds, " that
Eubens, in putting the finishing hand to it, has inserted his own
portrait on horseback among the group of magi." Mr. W. "Wood-
bum, who has frequently seen the picture, confirms this opinion of
its excellence.
473. Two Heads of Old Men. These are painted in a free
and masterly manner.
474. Two small Landscapes, in one of which is introduced
the subject of Diana in the Chase.
475. The Judgment of Midas. A capital picture.
476. Saturn devouring his Offspring. A small picture.
136 RUBENS.
Escurial,
477. Phaeton and Apollo.
478. Narcissus pining over his own fieflection.
479. Cupids and Bacchanals. A copy by Bubens, after
Titian.
480. Hercules killing the Hydra.
481. The Bath of Diana. A copy by Rubens, after Titian.
482. Paris carrying oflf Helen. The figures are of the size
of life.
483. Orpheus redeeming Eurydice. The scene represents
a view of the infernal regions ; Pluto grasping his trident and
seated on his throne, with Proserpine, habited in black, by
his side, apparently enforcing obedience to the conditions of
the gift ; the dog Cerberus lies at their foot-stool. On the
opposite side are Orpheus and Eurydice; the former, with
his lyre, is retiring cautiously from the presence of the deities,
followed by his beautiful wife, who is naked all but the loins,
her long dark hair floating on her fair shoulders. The portal
of the gloomy region stands open before them, and beyond it
is seen the river Styx.
6 /f. by 8 ft, (Spanish measure.) — C.
Done in lithography.
There is a print, engraved by Desplaces, of the preceding subject,
in which Proserpine is seated on the farther side of Pluto (being
the opposite to the above) ; and the dog Cerberus is close by his
side. Orpheus has his arm round the shoulders of Eurydice, and
is incautiously turning to look at her. Two figures, representing
Malice and Discord, are also introduced.
484. The Fall of the Giant«.
RUBENS. 137
Escurial.
485. The Three Graces.
486. Europa.
487. Venus and Adonis.
The preceding three pictures are copies hjr the artist, after Titian.
488. The Flagellation. A finished sketch for the picture
in the church of the Dominicans at Antwerp.
489. Nymphs surprised by Satyrs.
490. The Triumph of Bacchus. A composition of six
figures of the size of life.
491. A grand lion Hunt.
492. A large Picture, with several figures and a great
quantity of vegetables and fruit. It exhibits, in an allegorical
manner, the retirement of ITuma Pompilius, who is represented
sitting at the foot of a tree on the right, and three Eoman
citizens standing near him; Numa is nearly in a state of nudity,
intended perhaps to indicate the simplicity of his manners and
his sylvan retirement, which is further indicated by the intro-
duction of three wood nymphs and two satyrs, distributed
among the trees on the left. On the foreground lie piles of
fruit and vegetables ; tliese are by the hand of Snyders. The
figures only are by Rubens.
Sft. 8 in. by 12 /f. 6 m.— C.
This is probably the picture which was imported into England
in 1825, and with many others was put up to sale by Mr.
Stanley, having been the property of the ex-king of Spain, Joseph
Buonaparte. It is now in the hands of Mr. Buchanan, for sale.
A picture, corresponding with the preceding, is noticed in the
catalogue of the artist's effects after his decease. — See p, 34.
138 RUBENS.
HscuinaL
493. The Rape of Hippodamia. Amidst the confusion of
the conflict between the Centaurs and Lapithse, is a youth who
has spning over an altar and seized Hippodamia round the
waist, to snatch her from the embraces and back of a Centaur.
Engraved by P. de Balliu.
494. The dead Saviour lying in the Tomb, surrounded by
the Virgin and several Disciples.
Cumberland, in noticing this production, observes, " I have never
yet found any picture that speaks so strongly to the passions as
this last ; " — that Rubens, in this affecting piece, " has touched the
passions with something more than a painter's — with a poet's hand."
The following pictures are said to have been painted by
order of Philip IV., who presented them to his minister, the
Duke of Olivarez, to decorate a convent of Carmelites founded
by him at Loeches. These pictures descended by inheritauce
to the Duke of Alva, who (about the year 1807) sold four of
them to M. de Bourke, minister from the Court of Denmark to
Spain, by whom they were subsequently brought to England,
and exhibited in a large room in Piccadilly ; they were soon
after purchased by the present noble possessor, for the sum of
10,000 gs. When the French entered Madrid, in 1808, they
transferred two others of the set to the I^ouvre; and as
they still continue in that gallery, it may justly be inferred that
they were legally acquired. These magnificent pictures are
unquestionably the joint productionof Rubensand hisexcellent
scholars, in the same proportion as those which exemplify in
allegory the life of Marie de Medicis, now in the Louvre, and
many other noble gallery works.
495. The Triumph of Charity. Exemplified by a female
standing in a car drawn by two lions, bearing an infant on her
arm and extending her friendly hand to protect two other
children clinging to her side ; a circle of angels are buoyant in
RUBENS. 139
the air around her, and two other angels, one with a blazing
heart the other with a torch, follow the car.
Engraved by Lommelin.
Now in the possession of Joshua Taylor, Esq.
496. The Triumph of the Church. Represented by a
female seated in a magnificent car drawn by three white horses,
holding in her hands a pix containing the consecrated host ;
two angels are behind her, one of whom holds the train of her
robe, the other a mitre over her head ; three females (emblems
of Justice, Mercy, and Truth) guide the spirited animals, on
the nearest one of which is an angel bearing the symbolic keys;
three other angels float in air above their heads ; two figures,
personifying Ignorance and Superstition, are chained to the
car, the wheels of which are passing over the bodies of Envy
and Falsehood. Numerous other figures contribute to perfect
the allegory.
14//. 9 in. by 18 j^. 3 in.— C. (about)
Engraved by Bolswert.
497. The finished Study for the preceding, entirely by the
hand of Bubens, of the rarest excellence and beauty.
Collection of M. de la Hante (by Mr. Phillips), 1814. 410 gs.
In a subsequent sale 1816. 300 gs.
If it remains in the same pure state it was in when first sold,
600 ge. would be a reasonable estimation of its worth.
498. The Triumph of the Christian Law. This beautiful
allegory is composed of « female standing in a car, with a
chalice in her hand, and having an angel by her side supporting
a cross, with a globe placed between them; two youthful angels
draw the car ; over whose heads are flying two infant angels,
bearing the instruments of the Saviour's sufferings and death ;
a group of figures are behind, towards whom the female in the
car is turning with benign looks of invitation : these personify
Philosophy (halting on a crutch, and is a portrait of Socrates) ;
140 RUBENS.
Astronomy, with a sphere ; and Nature, with triple breasts.
Asia and Africa are in the rear.
14^. 9 in. by 18/^. 3 m.— C.
Engraved by Lauwers.
Valued by the Experts du Mus^e, 1816, . 160,000 /«. 6400Z.
Now in the Louvre.
499. The Triumph of the Christian Religion over Paganism
and Idolatry. Represented by an angel descending in glory,
bearing, with extended arms, in one hand a chalice with the
sacred host, and in the other the flaming sword of the law ; the
celestial appearance has created terror and confusion among
the sacrificators, who were preparing to immolate an ox, and
who in their fright have overturned the altar of sacrifice.
lift. 9 in. by 18/f. 3 in.—C. (about.)
Engraved by Bolswert.
500. The Israelites gathering Manna in the Desert. The
composition, consisting of seven figures, exhibits Moses stand-
ing on the left, with a rod in one hand and the other raised
upwards, in an attitude of grateful acknowledgment to Heaven
for the miraculous bread ; in the centre is a young man stoop-
ing to gather the manna, and two females are carrying baskets
full on their heads, one of whom is leading a fine child.
\^ ft. hjlZ ft. 7 m.— C.
This picture is not engraved, but there is an indifferent outline
of it in Young's Grosvenor (rallery.
Now in the collection of Earl Grosvenor.
501. The Fathers of the Church. These distinguished
individuals are represented walking in procession, accompanied
by Thomas Aquinas carrying a book under his arm, and the
Archduchess Isabella Clara Eugenia, in the character of her
tutelar saint (Clair), bearing the consecrated host in a pix \
these are in the centre of the group ; Pope Gregory,
RUBENS. 141
St. Ambrose, and St. Augustin precede them, and St. Jerome
and St. Norbert follow.
Ufi. by 14 /if. 6in.— C.
Engraved by Eynhouedts and Bolswert.
Now in the collection of Earl Grosvenor.
The original Study for the preceding picture, admirably painted,
was sold in the collection of John Webb, Esq., in 1821, for 100 gs.
A picture designated "The Fathers of the Church," was sold by
Mr. Christie, in 1807, for 195 gM. ; and again, in 1808, for 255Z.
502. The Four Evangelists. In this composition the artist
has evidently intended to represent the divine characters per-
forming the command of their Lord — ** Go, preach the gospel
to every creature;" and has accordingly exhibited them walking,
attended by their various attributes. St. Mark carries a large
book open, to a page of which an angel, flying by his side, is
pointing ; St. Matthew and St. Luke are before, and St. John
follows behind.
lift, by lift, 6 W.—C.
Engraved by Eynhouedts and Bolswert.
Now in the collection of Earl Grosvener.
503. The original Study for the preceding picture.
2 ft. li in. by 2 ft. 3 in.— P.
Sold in the collection of A. de la Hante, Esq., 1814, for 100 gs. ;
worth double that sum.
Now in the collection of Edward Gray, Esq.
504. Abraham receiving Bread and Wine from Melchizedeck.
The composition is formed of about seventeen figures, in the
centre of which is Abraham, clad in armour and wearing a
crimson mantle over his shoulders ; he is bowing before the
King of Salem, and receiving the bread from his hand ; the
latter is clothed in a yellow robe, lined with ermine, the train
of which is held by a page. Close to the front are two men
with vases of wine; and behind Abraham are a group of
armed soldiers, and the patriarch's horse; three angels are
142 RUBEKS.
above, attaching the drapery of the picture to a cornice, sup-
ported by pillars. This is by far the most inferior picture of
the series ; the eye here looks in vain for the free and masterly
handling of Rubens.
14/f. 4 m. by 19//.
This subject, very differently composed, is engraved by Witdouc ;
and also by Neefs. — See p, 110.
Now in the Grosvenor Collection.
A finished Study for the preceding picture, of superlative ex-
cellence, is in the collection of the Kight Honourable Dowager Lady
Stuart.
2 fi, 2 in, hy 2 ft S^ tn,^T. Worth 500 (7*.
505. Elijah fed by an Angel in the Desert. The prophet,
clad in a vesture of the skins of animals and a lai^e mantle
put loosely round him, stands before the angel, from whom he
is receiving a loaf of bread and a cup of drink. The figures
in this and the eight preceding pictures are considerably
above the size of life.
Engraved by Lauwers, and etched by Panneels.
Now in the Louvre. — Seep. 114.
The original sketches for the above nine pictures were formerly
in the Palazzo Nuovo, at Madrid ; several of these, together with
many others (noticed in the collections of this coimtry), are now in
England.
The preceding series of pictures were evidently painted for the
express purpose of being executed in tapestry ; and they imitate
that material in all the upper parts, where angels are represented
attaching it to a handsome cornice, interwoven with festoons of
fruit : the sides also, as is usual in such decorations, are terminated
by beautiful spiral and other columns, and the lower parts tastefully
finished ^vith various fanciful ornaments, amongst which the fringe
of the tapestry is frequently intermixed.
Michel, in his Life of Ruhms^ p. 365, says, "That when the
old palace at Brussels was burnt, in 1731, several pictures by this
master were destroyed, and amongst others some cartoons repre-
BUBENS. 143
senting the triumphs of the church. These," he adds, "were
executed in tapestry at Brussels, by order of the Infanta Isabella,
for Philip IV. of Spain, and the original sketches of these car-
toons were in the Palazzo Nuovo, at Madrid ; " and, in continuation
he observes, " in the church of the Barefooted Carmelites are to
be seen several copies of these pictures." In a work entitled
Le Peintre curteitx, by Mensaert, published in 1763, is reiterated
the same statement : " That the originals perished in the lire of the
palace, in February 1731." Both these writers evidently refer to
the same pictures, and these may have been the copies made on
paper (cartoons) from those above described, for the tapestry
workers ; and of the existence of the originals at Loeches both
writers were doubtless ignorant, for Michel, in p. 326, merely
notices, " That in the church of the Minor Carmes, at Loeches, are
four cartoons by Rubens, which have been executed in tapestry,"
but doe^ not give the subjects of them. It is singular that both
these writers mention a tenth picture, representing, in allegory,
Religion overcoming Heresy.
506. Venus endeavouring to detain Adonis from the Chase.
The goddess is seated on a bank at the foot of a large tree, with
her arm round the young huntsman, whom she appears to be
dissuading from a dangerous pursuit ; while Cupid, embracing
his knees, seems to aid her entreaties ; at the same time the
Three Graces are drawing aside the crimson mantle which con-
ceals her charms. In the opposite side are five cupids amusing
themselves with the huntsman's dogs. A highly-finished and
brilliantly-coloured picture.
3 ft. 2 in. hy2fi.S in.— P. Worth 800 gs.
Engraved by Patas and Lorenzini.
Now in the Florence Gallery.
507. The Holy Family. The infant Saviour is represented
recumbent in a cradle, caressing St. John, who stands at the
side of it ; and the Virgin, clothed in a scarlet vest and a blue
mantle, is seated near, with her hand on the cover of the cradle,
144 RUBENS.
looking with paternal affection at the children. St. Elizabeth
ifl on her left, and St. Joseph is behind her. A brilliantly-
coloured and very powerful production.
3 A 10 in. by 2ft 7 in,—?. Worth 1500 gs.
Engraved by L. Vostennan and Mogalli, and in the gallery by
Langlois ; and also in the Mus^e Fran9ais.
This picture adorned the capacious Louvre until 1815, when it
was restored to the Palazzo Pitti, at Florence.
508. A Landscape, offering an extensive view over a flat
country, of a richly fertile aspect, diversified with clusters of
trees, and the appearance of hamlets in the distance. A wind-
ing road passes through the country, on which is a waggoner
riding the fore-horse of his team, and at a little distance before
him is a large flock of sheep. More to the left, and close to
the front, are three women, with rakes and a fork, and two
others with bundles of turnips and grass on their heads, and
beyond them a man with a fork ; and in an adjoining meadow
are several horses grazing. In various parts are seen people
hay-making, and otherwise occupied in agricultural pursuits.
The beauty of a summer's sun gives lustre to the agreeable
scene.
3/f. 10 in. by 6 ft. 3 in.—V. Worth 1500 gs.
Engraved by Bolswert, Guyot, and Vivares.
Now in the Palazzo Pitti, at Florence.
509. A grand mountainous Landscape, in which is intro-
duced the subject of Ulysses thrown on the Phaeacian coast.*
The view exhibits on the left a lofty rocky mountain, whose
bold and broken forms sink gradually to the opposite side and
sweep along the front, jutting upon a plain ; on its side is
seen the palace and pleasure-grounds of Alcinous, approached
by terraces and a road of difficult ascent, and beyond are several
temples ; these recede in succession to the summit of the moun-
tain, from whence gushes a stream of water, which, rolling
* Odyssey, Books V. and VL
RUBENS. 1 45
down its rugged side, falls foaming at its base. On the
opposite side, and beyond the jutting hills, is seen the city of
Phseacia, occupying a gentle elevation on the coast, from
whence appears the open sea, whose angry billows, subsiding,
still beat along the strand and shelving shore. In the centre
of the foreground stands the wise Ulysses, whose naked form
is in part concealed by a bush ; his attitude and gesture
denote him to be imploring the succour of Nausicaa, the
daughter of Alcinous, who stands some distance off raising the
veil from her face; an elderly female is by her, and three of her
timid maidens a little remote from the scene. The princess
appears to have already commiserated the hero's sufferings,
and to have ordered two of her attendants, who are on the
opposite side, to supply him with raiment; this they are
taking from a splendid car, the mules of which are grazing
near. In the upper regions is seen Minerva, the protector
of Ulysses, complaining to Jupiter of the persecution of
Neptune. The beams of Aurora already gild the hemisphere,
and shed their bright influence over the landscape beneath,
and the raging storm of the night is succeeded by the gentle
breezes of a fine summer's morning. It may justly be said of
this admirable picture, that painting and poetry have united
to form a perfect work.
4 ft 1 in. by 6 ft, 6 tw.— P. Worth 2500 gt.
It was exhibited in the Louvre in 1814, and restored the follow-
ing year to the Palazzo Pitti, at Florence.
510. Portrait of the Artist when about forty-five years of
age. The face is seen in a three-quarter view, looking to the
right ; dark auburn hair, with mustachios and a small beard ;
he wears a large hat adorned with a gold loop, and is habited
in a Spanish mantle, which conceals the greater part of a frill
and a gold chain. A highly-finished and admirable picture.
2/<. 6 in, by 2/f.— P. Worth 1000 g%.
Engraved by Meulmeester and Gregori.
5^ ow in the Florence Gallery.
VOL. II. L
146 RUBENS.
511. Portrait of the Artist when about fifty years of age,
with the face seen in a three-quarter view, turned towards
the left ; the fore-part of the head is bald, and the hair of an
auburn colour, with mustachios and pointed beard ; a black
cloak envelopes the body, and a gold chain (a small portion
only of which is seen) adorns the neck.
2 /f. 6 in, by 2 /if.— P.
Engraved by Townley.
The head only of this picture is painted by Kubens, the rest has
been added to match the size of others in the collection.
Now in the Florence Gallery.
512. Bacchus with Nymphs and Satyrs. The jovial God
of Wine is represented sitting naked on the side of a C€U3k,
with a gold cup in his hand, into which a bacchante is pour-
ing wine from a vase, and a young satyr is under it, catching
in his mouth the overflowing juice. On the opposite side is
a satyr quafi^g the delightful beverage from a large vase ;
another young saytr stands by the cask, and a leopard lies
at the feet of the god. This picture is quite unworthy the
high name and reputation of Bubens, and possesses no charm
to recommend it besides its glowing colour.
4/f. 10 in, by 3 ft. 10 in,—C.
Engraved by PieroHri.
Now in the Florence Gallery.
513. Nymphs surprised by Satyrs. Painted by a scholar
of Bubens.
Engraved by Lorenzini.
This subject, composed of four nymphs and three satyrs, is
engraved by Soutman.
Now in the Florence Gallery.
514. A Portrait of Elizabeth Brant, the artist's first wife,
when about thirty years of age. Her smiling countenance
is seen in a front view, with dark hair decked with a band of
jewels ; the dress is composed of dark gray silk with small
RUBENS. 147
gold buttons in front, a lace frill round the bosom, and lace-
rulBes ; the neck is adorned with pearls, and a double festoon
of gold chain set with jewels is suspended in front. The left
hand is raised to the bosom, holding the hem of a dark silk
scarf ; and the right hand contains a small book. A carefully-
finished production.
2/f. 9 J in, by 2/f. 1 m.— P. Worth 500 gs..
Now in the Florence Gallery.
515. Christ triumphant over Sin and the Grave. Tha
Saviour is seated on the tomb, holding the staff of a banner in
His left Hand ; a white mantle is round His loins, which an
angel, who stands by His side with one knee on the tomb,,
holds with both hands ; on the opposite side are two angels.
This picture possesses great effect, from the opposition of the
white mantle held behind the Saviour, and an overcast sky,,
indicating thunder and lightning.
5 //. 4 in, hj ift, 3 in, — C.
Now in the Palazzo Pitti, at Florence.
516. A beautiful Drawing of the Assumption of the Virgin,,
commenced by a scholar, in chalks, and finished by the master,,
for the engraver to work from.
22 in. by 15 in.
Now in the Florence Gallery.
517. A Portrait of the Artist's second Wife. A free and
spirited drawing in chalks, slightly washed with the pencil.
It represents her in a three-quarter view, with her head
uncovered, and one hand placed on her bosom.
16 in, by 12 in.
Now in the Florence Gallery.
518. A grand Battle, representing Henry IV. of France
defeating his enemies at the field of Ivry. The view exhibits a
scene of vast extent, covered with numerous combatants, both
148 RUBENS.
liorse and foot ; and among the confusion and mSl^ of the con-
flicting armies is a group of three warriors near the centre ;
one of them, clcul in armour, and wielding a short sword, is
mounted on a spirited white horse, and appears to be severely
wounded by the spear of his antagonist, whose fiery charger has
^seized the enemy's horse in the neck ; to the right of these, and
nearer the front, is the king riding full gallop towards them on
a bay horse, over heaps of slain, grasping a thunderbolt in his
hand ; beyond these is seen a severe shock of cavalry, in which
numbers are obstinately struggling together ; on the opposite
side lies a slain warrior, whom a miscreant is stripping ; and a
little distant from these is a standard-bearer riding up towards
the centre, preceded by a body of infantry. The result of the
battle appears to be indicated by the descent of Bellona, bearing
her sword and segis ; and Victory, with the palm of peace in her
hand. The greater part of this immense picture is merely
sketched in, and not any figure is completely finished ; but the
whole appears to be by the masterly hand of Bubens.
12 ft 7 in. by 24/^.— C.
519. The Companion. The triumphal Procession of
Henry IV., after the battle of Ivry. The king is represented
standing in a gorgeous car embossed with ornaments in gold ;
he holds an olive-branch in his hand, and is clad in splendid
armour, with a gray mantle over his shoulder floating behind ;
Victory and Peace attend him, the former is placing a wreath
upon his uncovered brows. Four beautiful white coursers are
attached to the car, and are led by females and guided by
Minerva. While numerous soldiers with banners, trophies, and
instruments of music, accompany the car, a train of captives
follow it; and the victorious troops, leading the van, are
entering the gates of the city. Close to the front are an aged
man and woman, and several fine young females with thei*
children ; most of these are seated, and appear to hail the
victor as he passes. This and the preceding exhibit a rich
RUB£NS. 1 4!^
display of the exuberant genius of the artist, and are examples
of his gigantic powers in colour and execution.
Uft. 7tn. by24/f.— C.
Engraved by Lorenzini.
There is little doubt but these were part of a set commenced by
order of Marie de Medicis, to illustrate the life of Henry IV., and
of which subsequent events prevented the completion.
Now in the Florence Grallery.
520. The Choice of Hercules. The hero is placed by the
side of Venus, who embraces his right arm, and is looking-
enticingly in his face; at the same time her attendant, Cupid,,
embraces his knees ; on his left stands Minerva, bending with
persuasive gesture towards him, and pointing to some armour
lying on the ground, in allusion to the glorious deeds to be
achieved by arms ; behind the goddess is a page holding a
white charger, the head only of which is seen ; a little retired to
the right of the fair goddess are two beautiful nymphs, and
behind the group appears Time, bearing the usual emblems of
monition and destruction in his hands, while Cupid, in the air,
seems to have discharged his dart in vain.
Zft 11 in. by b ft 6 tn.— C. Worth 600 gs.
This picture was evidently painted in Italy, at a period when the
rich and mellow tones of Titian were in his view ; but the drawing
and expression are purely his own.
Now in the Florence Gallery.
521. The Portraits of the illustrious Hugo Grotius, Justus
lipsiuB, Philip Bubens, and the Painter himself. The three
first are seated at a table covered with a Turkey carpet, and
on which are several books ; the modest artist stands behind his
brother's chair; Grotius, dressed in black figured silk, is seated
on the right, turning over the leaves of a book, and a favourite
dog is jumping against his knee ; Lipsius is on the farther side
of the table, with a book open before him ; and Philip Bubens
holds a pen in his hand.
bft.hjift,2 iifc— P. Worth 2500 g».
150 RUBENS.
Engrayed by Morel and Gregori.
The interesting characters portrayed in this picture, combined
with the excellence of the painting, render it a treasure in art of
high value. Judging from the age of the artist, it was done about
the year 1623.
Exhibited in the Louvre in 1814, and restored in 1815. Now in
the Palazzo Pitti, at Florence.
There is a portrait of Justus Lipsius, engraved (oval), embellished
with ornaments, by Galle.
522. The Three Graces. Bepresented standing, with their
^rms entwined, and two cupids are crowning the centre one
with a chaplet of flowers ; a basket of fruit, and two figures,
slightly sketched, are in the background. This is a carefully-
finished picture, painted en grisaille,
1 ft 7 in, by 1 ft 4 m.— P. Worth 350 gs.
Engraved by Massard. The same subject, without the cupids,
is engraved by P. de Jode.
Now in the Florence Gallery.
523. The Horrors of War. Exhibited by the Temple of
Janus thrown open, and Mars, clad in armour, bearing a sword
and shield, rushing forward to the work of desolation, over-
turning in his progress the arts and sciences (denoted by
suitable figures and emblems, which lie postrate at his feet),
and spreading terror and dismay around. Neither the beauty
or allurements of Venus, who is clinging fondly to his side; the
persuasions of the Loves, embracing his knees ; nor the piteous
lamentations of the bereaved mother (personified by Cybele),
retard his furious progress. The harpies of Discord and
Eevenge drag him on, and lead the way to scenes of devasta-
tion and horror.
6/^. 5 m. by ^ ft 3^ in.—C. Worth 5000 gs.
Of the numerous allegories noticed in this work, the one just
described is decidedly the best; its figurative characters are
strikingly appropriate and expressive, and illustrate the sentiment of
the subject in the most forcible and affecting manner. The impetuo-
RUBENS. 151
dty designated in the action of Mars, and the consequent simul-
taneous effects on all around, are indescribably fine and energetic ;
its gorgeous colouring contributes no less to the prevailing spirit
of the piece and to the development of its prospective horrors.
The sword of war transferred this estimable production to the
Louvre about the year 1808, and the same means restored it to the
Florence Gallery in 1815.
524. The finished Study for the preceding picture, of the
highest excellence and beauty.
1 fL 8 in. by 2/f. 6 J m.--C.
Exhibited in the British Gallery in 1815. Sold in the collection
of A. Champernowne, Esq., in 1820, for 200 (jr«., and is well worth
double that sum.
Now in the collection of Samuel Rogers, Esq.
525. The Virgin with the infant Saviour in her arms.
Eepresented in a picture which is borne by groups of cherubim :
in the lower part of the composition are a number of angels
and saints in adoration.
Painted for the Chiesa Nuova at Eome, by order of the Archduke
Albert, about the year 1605.
A pen Drawing, washed in bistre, the first thought for the
preceding, was sold in the collection of M. Mariette, 1775, for 40/ir.
526. The Martyrdom of a Female Saint.
There is a print of this subject, representing the saint pierced
with a sword in the breast, and two angels commiserating her
sufferings, engraved by Vander Leuw.
Formerly in the Chiesa Nuova at Home.
527. Two Pictures, representing Marine Deities at table,
served by Nereides with fruit and fish ; and
A'ertumnus and Pomona in a Garden.
The figures only are by the hand of Rubens.
lliese formerly decorated the cupola of the palace of the Princess
Scalamare.
152 RUBENS.
528. St. Francis, habited in the mantle of his Order, kneeling
on the farther side of a bank ; his hands crossed on his breast,
and his countenance directed upwards, from whence a stream
of light descends. A skull, a crucifix, and a scourge, lie on the
ground. Painted in imitation of the Bologoese masters.
5 fL by 3 //. 2 m.— C.
Engraved by Mogalli.
Now in the Palazzo Pitti, at Florence.
529. An Allegory of the Tiber. Bepresented by a river god
reclining on a vase, and a nymph by his side with a cornucopia ;
these are attended by tritons and cupids.
Formerly in the Palazzo Ghigi.
530. Twelve Pictures of the Apostles.
There are prints of these saints, engraved by Bolswert.
Formerly in the Palazzo Rospigliosi.
531. The Virgin and St. Ann adoring the infant Saviour,
Formerly in a house on the Monte Cavallo.
532. Romulus and Bemus being suckled by a Wolf. A
large picture.
Formerly in the gallery of the CapitoL
533. Saint Helena discovering the true Cross. This picture
is distinguished for the expression of devout piety in the
saint, and the graceful beauty of the choir of angels who
surround the cross.
Sold by Mr. Squibb, by auction, in 1812, . . . . 380 ^«.
534. Christ crowned with Thorns. The milignant cruelty
of the executioners, the commiserating expression of a youth,,
and the meek and lowly submission of the Saviour, are the
peculiar characteristics of this excellent production.
This subject is engraved by Bolswert, Lauwer^, and Aubert.
Sold by Mr. Squibb, by auction, in 1812, . . . . 760 gt.
J
BUBENS. 15^
535. The Crucifixion. A composition of several figures, of
the size of life.
Michel, in his Life of RubenSy states, that this picture and the
two preceding were painted for the church of Sante Croce della
Gerusalemme, by command of the Archduke Albert, he having
formerly been Cardinal of that church ; and that they were executed
at Rome, during the artist's residence there to complete his studies.
They are also noticed by several other writers. The three pictures
were imported to England in 1811.
The Crucifixion was sold by auction by Mr. Squibb, in 1812,
for 280 ^«. ; again, in 1820, for 200 gs.y bought by Mr. Bryan;
and again, in 1821, for 215 gs.^ bought by Messrs. Woodburn,
from whom it was purchased by Count Woronzo, and lost with
other pictures at sea.
536. The Circumcision. The subject is composed of twelve
figures, and represents the Virgin sitting in front, clothed
in a scarlet vest and a blue mantle ; she is accompanied
by two female friends, who are seated on her left; one of
them holds the Infant, while the priest, who is seated in the
opposite side, performs the ceremony; a second, holding a
book, is near him, and two others are looking on ; a young
woman with a child by her side stands behind the Virgin, and
two female spectators are beyond her ; a company of seven
angels, paying homage to the Infant, are above. This altar-
piece is so very unlike the usual style and colour of the artist,
that were it not in a measure authenticated as his work,
both by church record and tradition, the writer would have
hesitated to notice it ; not from any deficiency in merit, but
solely from its resemblance to the Italian school.
14//. by 9/L 6 in,'-{about)
Engraved by Lommelin.
This picture was painted by order of the Society of Jesuits, for the
high altar of the church of St. Ambrose, at Genoa, where it now is.
A capital Drawing, in red chalk, apparently the first design for
the preceding picture, is in the collection of Sir Thomas Law-
rence, P.R.A.
26 in, by 16 m.
154 RUBENS.
537. Saint Ignatius Loyola healing the Sick and the
Possessed. The saint, habited in a splendid chasuble, stands
before an elevated altar on the right ; his hands are extended,
and his countenance directed upwards ; he is attended by six
monks on his left, and a seventh, holding his book, is on his
right. Among the afflicted, who are assembled at the base of
the altar, is a maniac woman, whom a powerful man holds in
his arms, while her anxious parents are on their knees suppli-
cating for her restoration ; near the centre and front stands a
handsome female, in a purple varied silk dress, holding a
sickly infant on her arm, and leading two other children by
her side ; behind these is a bereaved mother bending in agony
over her dead babe. On the farther side of this group are an
old man supported on crutches, and an elderly female, both of
whom look with the eye of entreaty towards the saint. A red
curtain extends over a large portion of the temple on the right,
and in the upper part are two angels. This excellent work is
painted in the artist's free and florid manner ; it abounds with
powerful expression, and is brilliant and effective.
U/t6 in, by 9//. 6 in.— C. (about.)
Painted for the Society of Jesuits, for their church of St.
Ambrose, at Genoa, whose side altar it now adorns.
A picture of the same subject, but of a more extended com-
position, is described in pp. 19 and 87.
538. A full-length Portrait of Philip III. of Spain, habited
in black silk adorned with numerous small gold buttons, a
plain stiff collar round the neck, a gold chain bearing the Order
of the Golden Fleece, and a dagger stuck in his belt ; he is
represented erect, his left hand placed on the hilt of his sword,
and the right hanging down at his side.
6 /if. 6 in, by 4 /if. (about)
Now in the Durazzo Palace at Genoa.
539. Love and Wine. In the composition of this allegory
the artist has introduced the portraits of himself and his wife
RUBENS. 155
Helena. The painter, who is apparently about forty-three
years of age, is seen in a profile view, has on a fur cap, clad in
armour, and wearing a scarlet mantle over his shoulders, and
red hose ; he is seated on the left, supporting his wife on his
knee, whom he embraces with his right arm round her neck :
her fair countenance is turned towards him, and she holds with
both hands a silver vase, which he is about to take with his
left hand. On the farther side of a table on the right stands
Bacchus, his brows bound with ivy, with a goblet of wine in
his hand, while Cupid, who is close to the front, is removing
the sword of the warrior from his side. The uncertainty of
sublunary bliss is denoted by a figure of Envy, advancing from
the shadowy background, and bearing the torch of discord in
his hand. The reality of the characters destroys the poetical
allusion of the subject ; in other respects it is an excellent
picture.
4 /if. 2 in, by ^/L 6 w.— P. (about) Worth 500 gs.
Cochin, in his Voyage d'ltaliej mentions this picture in high
terms of praise.
Now in the Brignogli Palace at Genoa.
540. A Portrait of the Artist when about fifty years of age,
seen in a three-quarter view, with long mustachios and a small
beard ; a large hat, turned up on the left side, decked with a
loop and feather, covers his head, and his dress consists of a
dark silk vest adorned with small gold buttons, and a dark
blue mantle embroidered with flowers in gold ; the Order of the
Golden Fleece is suspended to a chain round his neck.
28 in, by 24 in. (oval.)
In the Brignogli Palace at Genoa.
541. Vincent Gonzaga, Duke of Mantua, imploring the
Benediction of the Holy Trinity upon the newly-built Church
of the Jesuits at Mantua.
This picture is said to have been painted about the year 1611.
542. St. Jerome, with a lion.
This picture was formerly at Modena.
156 RUBENS.
543. The Virgin and Child, and St. Joseph. The Virgin,
seen in a three-quarter view, habited in a scarlet vest, a dark
blue mantle, and a light gray kerchief, is seated, holding the
naked Infant in an erect position in her lap, with her right
hand round His waist and her left hand under His foot ; St.
Joseph, leaning his head on his breast, is seen behind. This
picture appears to be the joint work of Bubens and scholars.
3//. 4 in, by 2 fL 10 m.— C.
In the Royal Palace at Turin.
544. A Cavalier endeavouring to embrace a Female, who is
struggling to escape from his arms. He is habited in a dark
dress with slashed body, and her attire is composed of a black
bodice with scarlet sleeves ; these are apparently portraits of
Rubens and his second wife. A carefully-painted picture^
but possessing very little of the spirit of the master.
3 ft by 3 ft.— 1\ (enlarged.)
There is a print which closely resembles this composition^
engraved by Persyns ; Mariette ex.
In the Royal Palace at Turin.
The same subject as the preceding picture, the figures represented
full length in a landscape, is engraved by Avril. — See description.
545. Christ appearing to the four Penitents.
bfi. 6 in. by 4/f. 6 in. — C. (about.)
This is a duplicate, with variations, of the Munich picture, done
by the master and scholars. — See p. 66.
Now in the Royal Palace at Turin.
546. The Holy Family. The Virgin is seated on the
ground, holding the infant Saviour, who is caressing a lamb^
across the neck of which St. John is standing, playfully
holding its ear ; while St. Elizabeth stands behind the latter,,
observing the two children with looks of affection.
13 J in. by 9^ in. — P.
Engraved by Earlom.
This was formerly in the Houghton Gallery, and is now in the
Imperial Gallery, in Russia.
RUBENS. 157
A duplicate picture, but of larger dimensions, is engraved by
Bolswert; and a similar composition is engraved on wood, by
Jegher j and also anonymous ; Galle ex. It is also etcbed by Pan-
neels, witb tbe addition of an angel presenting the Virgin a basket of
fruit, and St. Joseph seated near an old tree ; Elizabeth is omitted.
547. A Landscape, with some lofty rugged rocks occupying
the middle of the second distance, surmounted with trees and
bushes ; a rough road passes along the foreground and de-
scends into a dell, towards which a waggon, drawn by two
horses (on one of which the driver rides), is descending, while
a man pushes at the side of the team to prevent its upsetting.
A twilight effect, produced by the departure of the sun and the
rising of the moon, pervades the scene.
2 ft. 10 in. by 4 /if. 1 tw.— P.
Engraved by Bolswert; and in the Houghton Gallery, by J. Browne.
This picture was formerly in the collection of the Marquis de
Lassay, and is now in the Hermitage at St. Petersburg.
There is a very indifferent print, a copy from Bolswert, in the
f oregroimd of which is introduced the subject of the bears devouring
the scoffing children. Visscber ex,
548. Meleager and Atalanta, assisted by numerous dogs,
attacking the Calydonian boar ; two of the huntsmen, mounted
on horseback, are seen arriving at full gallop.
10 ft. 7 in. by 20 ft. 9^ in.—G.
Engraved in the Houghton Gallery, by Earlom.
This composition differs from others of the same subject:
Meleager is here represented on the left and Atalanta on the right
of the picture, and the enraged beast is rushing towards the front,
between them.
549. Jesus at the House ot Simon the Pharisee. The
Saviour is represented in a profile view, sitting on the left ; His
gesture and expression indicate Him to be replying to the obser-
vations of Simon, in reference to Mary Magdalen, who is
prostrate, anointing His feet and wiping them with her hair : —
' And Jesus answering, said unto him, Simon, I have some-
what to say unto thee ; and he saith. Master, say on. There
158 RUBENS.
was a certain creditor, which had two debtors : the one owed
five hundred pence, and the other fifty. And when they had
nothing to pay, he frankly forgave them both. Tell rae,
therefore, which of them will love him most ? " This appeal
and interrogatory has excited surprise in the countenance of the
Pharisee and his four friends, who are on his left ; while the
three disciples of our Lord, who are placed on his right, appear
to be pondering his words. Four domestics are entering from
behind, bearing dishes and viands for the table. This admir-
able picture is pednted in the artist's finished manner, and is
of first-rate excellence both in colour and expression.
6 ft Of in. by 8 ft, 0 J m.— C. Worth 3000 gs.
Etched by Panneels ; and engraved by M. Katahs, and Monaco ;
and in the Houghton Gallery, by E. Earlom.
Now in the Hermitage, in Russia.
550. Silenus and Satyrs. In the centre of the composition
is a drunken Silenus, with a jug in his hand, supported by a
female satyr on one side and a negress on the other ; in front
of these are two female satyrs lying on the ground, one of
them is suckling two young satyi-s ; and among a cluster of
trees, beyond them, are two other sylvan figures.
1ft. 11 in, by ^ ft, 6 m— P.
Engraved by Soutman ; and in the Houghton Grallery, by Earlom.
Now in the Hermitage, in Russia.
A Drawing, tinted and touched in oil-colour, a study for the above,
was sold in the collection of the Duke de Tallard, in 1756, for 60/«.
551. A Bust Portrait, said to be that of Helena Forman, seen
in a front view, with her hair hanging in ringlets round her face.
2/f. \\ in, by 1 ft, 8 J m.— P.
Engraved by Michel, in the Houghton Gallery.
Now in the Hermitage, in Russia.
552. The Death of the Elk. The scene exhibits a rocky
landscape, with a stream of water in front, into which the
exhausted animal has made its last bound, and where he is
seized on all sides by his merciless enemies, the dogs.
RUBBNS. 159^
Engraved by Ward, in the Houghton Gallery.
Now in the Hermitage, in Bussia.
553. Three young Lions, at the entrance of their den ; the-
centre one extending itself playfully on a fragment of rock.
f>ft Qm, by 8/f.— C.
Engraved by Walker, in the Houghton Gallery.
Now in the Hermitage, in Russia.
554. A Portrait of a Lady, of middle age, seen in nearly
a front view, wearing a cap and a black silk dress ; she is^
represented sitting in an arm-chair, with a muff in her lap.
Engraved by Watson, in the Houghton Gallery.
The preceding nine pictures formed part of a splendid collection,
which was sold by the Earl of Orford to the Empress Catherine of'
Russia, about the year 1795.
555. A Picture, entitled "Our Lady with the Rosary,"'
formery an altar-piece in one of the churches in Flanders.
556. Roman Charity.
557. Venus and Adonis.
The preceding three pictures are also in the Hermitage.
558. A Portrait of the Artist. This elegant picture pre-
sents the face in a three-quarter position, looking towards^
the left ; the head is covered with a large hat decorated with
a tassel, and the dress consists of a black Spanish mantle, an
embroidered frill, and a gold chain round the neck; the-
countenance indicates about forty-two years of age. This^
excellent production in portraiture has always excited the
admiration and praise of every beholder, and to the con-
noisseur is of the highest interest and value.
2 ft, 9 J in. by 2fL 1 »».— P. Worth 2000 gs..
Exhibited in the British Gallery, in the years 1826 and 1827.
Now in the collection of His Majesty.
The catalogue of the pictures of Charles L (No. II., p. 126) states.
it to have been presented to that monarch by my Lord Danby..
160 RUBBNSk
Paul Pontius has given a fine print from it in reverse, which is
-copied by Savery ex. It is also engraved by Worlidge, Chambers,
Facius, and Pelham, and recently by J. H. Robinson. The same
portrait, without the hat, is engraved by Meyssens.
There is a duplicate (also by Rubens), of an oval form, in the
Florence Gallery, engraved by Meulraeester ; and the picture from
which Facius made his print was then in the possession of the Duke
•of Norfolk. Dickenson has engraved a small portrait of Rubens.
559. Helena Forman. The portrait is exhibited in a
three-quarter view, looking towards the right, and the hands
•cross each other in front; her auburn hair is decked with
pearls and a few flowers ; the dress is composed of a black
silk rUgligd over a yellow satin gown and bodice, the sleeves
are slashed and underlined with white satin, a richly-work^
lace frill surrounds the bosom and stands up behind the
head, and a string of pearls adorns the neck.
This admirable portrait is said to have remained in the family of
Rubens from the time it was painted until 1819, forming a pendant
to the celebrated Chapeau de Paille^ then in the collection of the
Baron Siers d'Aertselaer, at Antwerp, of whom it was purchased
privately by a dealer and sent to Paris, from whence it was consigned
to the writer, who sold it to His Majesty, in 1820, for 800 ga.
It is highly commended by Sir Joshua Reynolds, in his Tour
through Flanders, for the excellence of its colouring and drawing.
At the period he wrote it was in the collection of M. Van Parys,
who was related by marriage to the family of Rubens.
Exhibited in the British Gallery, in the years 1826 and 1827.
Now in his Majesty's Collection.
At the back of the panel of this picture is a slight but very
43pirited Sketch, in brown (also by Rubens), representing the
Continence of Scipio.
The portrait of this elegant lady occurs so frequently in the
■catalogue, that it is difficult to give credence to all of them being
the work of Rubens. The writer, however, begs to state, that, as
the greater part of them have come under his inspection, he has
no hesitation in answering for those he has seen being from that
Tuaster's hand. Other pictures are noticed in consequence of their
RUBENS. 161
having been engraved ; and the descriptions, in some instances, are
taken from those prints. It should also be kept in mind, that the
attachment of Eubens to this lady (she being his second wife, and
only sixteen when he married her), together with her extraordinary
beauty, must have been great inducements to the artist to repeat her
portrait so frequently, and also to introduce it in most of his com-
positions. Facius has engraved a print of Helena Forman, from a
picture then in the possession of the Duke of Norfolk.
560. A. Portrait of the Duke of Mantua's brother, repre-
sented clad in armour. — Vide Catalogue of Charles /., No, XLy
p. 127.
2fi. 1 m. by I ft. 10 tn.—V,
561. An Allegorical Subject, allusive to Peace and War.
In the centre of the composition, which consists of fourteen
figures, is a beautiful female naked, pressing milk from her
breast into the mouth of an infant ; on her right, and nearer
the front, is a satyr bending on his knee, and casting from a
cornucopia a quantity of fruit (with the twigs of which &
leopard is playing) towards three children who are approach-
ing, under the guidance of two cupids ; one of whom holds a
torch, and is placing a chaplet on the head of the eldest child ;
behind the satyr are two nymphs, one bearing vessels of gold
and silver, and the other playing a tambourine. In the rear of
this group, which represents Harmony, Peace, and Plenty,,
is seen Minerva protecting them from the intrusion of War,
personified by an armed man, accompanied by two harpies.
A landscape forms the background. This capital production
is more distinguished for the splendour of its colour and the
display of masterly execution, than for the excellence of its
composition or the propriety of the allegory.
6 /f . 5 in. hj9ft.8 in.-^.
The history of this picture states, that Rubens presented it to
Charles L, about the year 1630; and in the catalogue of that
monarch's pictures, made in 1649, it is inserted imder the title of
Peace and Plenty (No. I., p. 3) ; and again under that of Peace
and War (No. XIII., p. 86), and is there valued at 100^. It subse-
VOL. II. M
1 62 RUBENS.
quently became the property of Prince Dona, in whose palace,
in Italy, it was exhibited, and called " The Family of Rubens."
Political events in that country was again the cause of its removal
from the Doria family ; and Mr. Irvine, a gentleman distinguished
for his taste and judgment in the fine arts, became the purchaser,
■and sent it to England in 1802, and the same year it was sold by
Mr. Buchanan to the Marquis of Stafford, for the sum of 3000 gs.
Engraved in the Stafford Gallery, by J. Heath.
Exhibited in the British Gallery, 1815.
This excellent picture (the value of which is greatly enhanced by
the interesting events attached to its history) was presented to the
National Gallery, by the Marquis of Stafford, in 1827.
562. Daniel in the Den of Lions. The prophet is repre-
sented sitting naked in the middle of the den, his hands clasped,
and his countenance directed upward with an expression of
earnest prayer. Nine lions are prowling around him.
T/L 6 in. by 10//. 10 tn.— C.
Engraved by Blooteling, Vander Leuw, and Lamb ; and in mezzo
tinto by J. Ward. There is also an etching of it, by Street,
extremely rare.
This picture is inscribed in the catalogue of Charles I. (No. XIY.,
p. 87), which states, that it was presented to that monarch by my
Lord Dorchester.
Now in the collection of the Duke of Hamilton, at Hamilton
Palace.
563. St. George. A Landscape, intersected in the distance
by a river (said to be the Thames, with Windsor seen beyond
it). Near the centre, and extremity of the foreground, is
St. George, with his right foot on the neck of the vanquished
dragon, and presenting to the daughter of the King of Seline
the end of the girdle which she gave him to bind the monster.
These two figures are portraits of Charles I. and Henrietta-
Maria, his queen. Nearer the spectator, and on the right side,
is a group of four females, bewailing the ravages of the beast,
exhibited on the dead bodies lying near them, from the sight
of which two infants are recoiling with horror. The knights
RUBBNS. 163
attendant upon the saint are on the left ; one of them, mounted
on a gray charger, is armed cap-a-pie ; the other stands on
the farther side of his horse, holding its rein ; beyond them
are about nine figures, posted upon a high bank, overlooking
the passing scene. Three females are at the extremity of the
composition embracing each other, and beholding, with
astonishment, the exploits of the saint. Two angels, each
bearing a chaplet, are flying towards the conqueror.
4 ft 5 in, by 7 /f.— C.
Engraved in the Orleans Gallery, by Lienard. There is also a
print which appears to have been engraved after a picture by
Teniers, in which several of the figures in the original composition
are omitted.
This picture is described in the catalogue of Charles I.'s Collec-
tion (No. I., p. 1 66) as the great St. George ; and, if it be the same
picture, it is stated in that catalogue, that the king bought it of Mr.
Endymion Porter. Rubens, however, is said to have presented it
to that monarch, in order to testify his gratitude for the many dis-
tinguished favours he had received from the royal hands ; and the
subject was selected in compliment to the English nation. At the
distribution of the royal collection it was taken to Paris, and sub-
sequently became the property of the Duke of Orleans, at the sale
of whose collection, in 1798, it was valued at 1000 ^8., and bought
by Mr. Morland, from whom it has passed into the royal collection.
Exhibited in the British Gallery in 1826 and 1827.
564. A Triumph of Silenus. The composition consists of
eight figures, in the centre of which is Silenus supported by
two satyrs ; one of them, with his mouth open, appears to be
straining with the weight, while the other bends under it.
On the farther side of Silenus is a beautiful nymph, whose
wild and sparkling eyes, smiling face, and uplifted hands,
indicate the effects of the exhilarating beverage, and in play-
ful wantonness is squeezing the juice of a bunch of grapes on
the temples of the demi-god ; this group is preceded by a faun,
playing on a double pipe, and followed by an old bacchante
bearing a torch, whom a satyr is embracing ; in front of these
-are two infants, one of them taking a branch of vine from the
164 RUBENS.
hand of Silenus. The figures are of the size of life, and seen
to the knees.
4 ^. 7 in, by 6 ft. 6 in, — C.
The writer ventures to direct the attention of the connoisseur to
this production, as an example of the most perfect description of
its kind. The luxuriance of the expression is finely characteristic
of the fabled beings of ancient allegory; its colour is rich and
luminous, and the handling highly accomplished.
Engraved by Delaunay, with the addition of a goat's head ; and
again by Folo, omitting the goat.
This picture is inscribed No. 170 in the catalogue of the collec*
tion of Rubens, made after his decease, and was bought privately^
for Cardinal Richelieu, in 1642. It subsequently passed into the
possession of M. de Tartre.
Collection of Lucien Buonaparte, 1816, by Mr. Stanley, 950 ga^
Chevalier Bonnemaison, 1827. . 21,000 /«. 840Z.
Sold by the writer to the Right Hon. Robert Peel for llOOZ.
565. The Bath of Diana. The figures are above half the
size of nature.
4//. by 6/if.— C.
Michel, in his Ldfe of Rubens^ commends very highly this pro-
duction ; and observes, that it was with some difficulty purchased
of the artist's widow for Cardinal Richelieu, in 1642, for 3000^
croumSj about 600Z.
566. The Three Graces. The figures are of the size of
nature.
The same writer states, that this picture was bought of the
executors of the artist's widow for the Eing of England.
Peter de Jode has engraved a print of this subject; and the
same, with the accessories, is repeated, anonymous.
There is a small picture en grisaille of the Three Graces, in the-
Palazzo Pitti, at Florence, engraved by Massard.
567. Hero and Leander.
Collection of Sir Peter Lely, 1680, bought by Mr. Creed for 85^.
568. A Landscape.
Same collection, 27Z.
RUBENS. 165
569. The Last Judgment.
Same collection, 101 Z.
The above was copied from a curious manuscript catalogue of the
collection and entire effects of Sir Peter Lely, in the possession of
Messrs. Molteno and Graves.
570. The Battle of the Amazons. This is stated to be the
original study for the picture now in the Munich Gallery,
differing in some instances in the disposition of the groups.
In this sketch the battle is represented raging at the foot of
the bridge; and in the finished work the combatants are
wpon the bridge.
2 ft. 2 J tn. by 3 ft, 9 t«.— P.
Collection of the Duke of Orleans, 1749.
571. The Entombment. The composition represents Joseph
of Arimathea supporting the body of the Saviour, and the
Virgin stands by the side with a linen napkin in her hands ;
the Magdalen and another figure are seen behind the Virgin.
Engraved by Ryckman.
Collection of M. d'Angelis, BrvmeU, 1763. lOOO/o. 90Z.
672. Boman Charity.
4/f. 4 m. by 6/^.— C.
Collection of Jan Agges, Anistey'dam, 1702. . 510 /o. 46Z.
Panneels has given an etching of this subject, in which the old
man is represented seated in prison, and his daughter, kneeling on
the bench by his side, giving her father the breast.
The same subject, in which the father is on his knees, and his
daughter seated by his side looking round with anxious inquietude,
is engraved by Alexander Voet. This is now in the Hague Gallery.
There is a third print, by J. Smith, very similarly composed,
with the difference, that the face of the daughter is seen in a profile
view, looking down. Now in the Marlborough Collection.
573. The Coronation of the Virgin. The Virgin, with the
infant Saviour recumbent on her lap, is seated in the clouds
166 RUBENS.
surrounded by cherubim; two angels, bearing a celestial
crown, hover over her head ; and two others are at her feet
Engraved by Bolswert.
Collection of Jasper Loskart, Amst 1709. 1000 ;fo. 90/.
574. Joseph and Mary returning to Jerusalem in search of
their Son, Jesus.
Engraved, anonymous ; Hendriex ex.
Collection of M. Chevalier Domburg, Amitt. 1710. 840^. 75/.
575. A Landscape, with a Shepherd and Shepherdess, and
other figures.
Engraved by Bolswert.
Collection of M. Chevalier Domburg, Amst. 1710. 400^. 36Z.
This LB probably the one now in the Louvre.
576. The Garden of Love. In this composition the artist
has introduced portraits of himself and his scholars. Van Dyck,
De Vos, and others, with a company of beautiful females.
6 ft. 6 in. by 7 ft. 9 in.—C.
Collection of Van Loo, . . Amst. 17 IS. . 3600 flo. 324/.
Again M. de Reus, 1777. . 8000 >. 320/.
The preceding subject is well known by the numerous copies,
many of which have been sold as the genuine works of Eubens ;
but although the writer has seen at least a dozen of them, he has
not yet had the good fortune to meet with the original picture.
There are three prints of the Garden of Love, each of which has
evidently been engraved after different pictures. The earUest of
the three is one done by Jegher, on an outline by Rubens ; in this
composition part of the company are amusing themselves with Ajet-
d*eau. The second print is engraved by Clouwet, from a picture
composed of seven females, four gentlemen, and six cupids ; two of
the latter are flying down from a fountain adorned with a statue of
Venus seated on a dolphin. The third print exhibits a composition
of nine females, five gentlemen, and ten cupids ; six of the latter
are sporting among shrubs near a fountain, composed of a statue
of Venus erect. This is engraved by Lempereur after a picture
then in the cabinet of M. de Piles, entitled Le Jardin d^ Amour.
mmi^Kmmmm^mmmi^mtmm^^9i^f99fr
RUBENS. 167
There is also an indifferent print of it by Malbo\ir6.
The original drawings (studies for the groups in the preceding
picture) were sold in the splendid collection of Monsieur Mariette,
1775. . 980/5. 39Z.
Since writing the above descriptions, the author has been informed^
by Mr. D. Wilkie and Mr. W. Woodburn, that the original picture,
corresponding with the print engraved by Lempereur, is now in the
collection of the Duke del Infantado, at Madrid.
5 /f. by 6 ft, 6 m.— C. (aOf/ut.)
577. The Tribute-Money. The picture represents the
moment when the Saviour utters the injunction — " Bender to
Csesar the things that are Caesar's." The piece of money is in
the Saviour's left hand, and the right is raised above His head^
in allusion to the second part of the sentence — " and to God
the things that are God's." This just reply to the inquiry of
the Jews has excited in their countenances surprise and
dismay. Among the group is one with a bald head, at whose
side stands the inquirer, pointing his finger to the piece of
money. The composition consists of nine figures of the size
of life, seen to the knees.
5/f. by6/f.— P.
Engraved by Landry, Visscher, and Vosterman. The size of
two of the prints is 28 in. by 37 in.
Collection of M. Van Loo, Amst 1713. . 1150 ^fo. 103Z.
Lord Courtenay, . . 1816 490 gg,
John Webb, Esq. . . 1821 441 ge.
There is also a print, representing the Tribute-Money, composed
of twelve figures, engraved by Dankerts, of a very large size ; and
again in smaU, anonymous.
578. A Landscape, in which are introduced Meleager and
Atalanta killing the Calydonian Boar.
2 ft. 4 in. by 3 //. 4 tn.— P.
Collection of M. Amory, . Amat. 1122. . . 120 flo. 65/.
Anonymous, . Amst. 1732. . . lOSOflo. 93/.
168 RUBENS.
579. Samson slaying a Lion. He is represented tearing the
animars jaws asunder. A finished study.
1 ft 1 in, by 1 ft. 4 tn.— P.
Engraved by Quilenus.
Collection, anonymous, .... 1732. . 300^. 27/.
Thomas Emmerson, Esq. 1829. . . . 27 J g%.
There is a drawing in chalk, washed in Indian ink, of the pre-
ceding, in the British Museum.
A picture representing the same subject as thd preceding, also
a finished sketch, is engraved by Wyngaerde.
Cochin mentions a picture of Samson combating a lion, and a
dead tiger lying at his feet, as being in the Casa Avoyadri at
Brescia.
This subject is engraved in mezzotinto by Fredhof, after a picture
in the possession of Yon Sachsen, and is probably the one mentioned
by Cochin.
580. David slaying a Lion.
2 ft 3 in, hj2fi.7 in,— P.
Collection, anonymous, . Amst. 1732. . . 300^. 27 L
The original drawings, studies for the above two pictures, are in
the collection of Sir Thomas Lawrence, P.RA
581. The Fall of the Bebel Angels.
e>'
10 ft, by 8/f.— C.
Felibien mentions a picture representing this subject, then in the
collection of Cardinal Richelieu.
Collection of M. Bout, . Hague, 17 3S, , 1110^. 100/.
The above is probably the one now in the gallery at Schleisheims.
A picture representing the preceding subject was sold in the
collection of Sir Peter Lely, 1680, for lOlZ.
582. The Ascension of the Virgin, accompanied by Angels.
The apostles and holy women surround the tomb below.
A finished sketch.
Sft.3 in, hy2ft,2 in,^V,
Collection of M. Adrian Bout, . 1733. . . 909 ;fo. 81Z.
RUBENS. 169
583. The four Penitents in the presence of the Saviour.
3/f. 1^in.hj2fi. 2 in.
This subject is engraved by Lauwers; and also by Green, in
mezzotinto, from a large picture in the Munich Gallery. — See
pp. S3, 66, and 156.
Collection of M. Adrian Bout, . . 1733. . 590 /o. 53/.
584. Pan and Syrinx, in a Landscape. This is probably a
sketch for the picture in His Majesty's collection.
15 m. by 23 in.— P.
Collection of M. Adrian Hout, . . 1733. . 700 /o. 63Z.
585. The Nativity. A composition of eight figures.
S/L IJ in. by Sft. 1^ in.—C.
Collection of the Count de Fraula, Bruss. 1738. 535 ./fo. 48Z.
586. The Ascension of the Virgin.
Collection of the Count de Fraula, 1738. . 900 /o. SU.
587. Mercury conveying Psyche to Olympus. A com-
position of seventeen figures. This excellent production is
remarkable for the purity and splendour of its colour, and the
admirable finishing which pervades every part.
2 ft. 4: in. by 3 ft. 1 en.— P.
Engraved by Finden.
Collection of the Count de Fraula, 1738. . 500^. 45Z.
Madlle. Regans, Bruss. 1775. . 1700^. 153Z.
Now in the collection of the Marquis of Stafford. Worth 500 gs,
A picture, representing the same subject as the preceding, was
sold in the collection of M. Geldermeester, 1800. 475 /o. 43Z.
588. Perseus and Andromeda.
3 ft. 6 in. by 3 //. 9 m.— -C.
Collection, anonymous, . . Amst. 1738. . 630^. 57^.
There is a print of this subject, taken from a picture then in the
collection of the Count de Bruhl (3 ft. by 5 ft. — C), in which
Perseus has dismounted from Pegasus, and is taking Andromeda by
the hand ; they are attended by seven cupids, &c. Engraved by
Tardieu.
1 70 RUBBNS.
A picture representing the preceding subject (6 ft, 5 m. by
2 /if. 7 in,) was sold in the collection of Robert Udney, Esq. 1804.
A picture of Perseus and Andromeda is introduced in a view of
the interior of the apartments of the artist's house. Engraved by
Harrewyn.
589. Vertuinnus and Pomona. The landscape is painted
by Breughel.
3//. by 4/^.
Collection of Van Loo, . . . . 1713. . 2825 /o. 254Z.
of M.Valkenburg, . . 1733. . 1700;fo. 153/.
590. Cymon and Iphigenia.
3Aby 3/f. 6»n.
Collection of Van Loo, . . . . 1713. . 1000^. 90/.
691. Sophonisba.
3 /if. 6 in. by 2/f. 6 in.
Collection of Van Loo, . . . . 1713. . 700^. 63/.
592. Abigail meeting David with Presents. The composition
exhibits Abigail alighted from her beast, and bending on one
knee before David ; her left hand is placed on her breast, and
her right extended towards the present brought to appease his
anger against her husband Nabal ; her attendants consist of
two females, who stand on her farther side (these are, probably,
portraits of the artist's wives), and three men servants. David,
clad in armour and wearing a scarlet mantle, has also dis-
mounted from his horse, which is held by a youth behind him,
and is bending forward to raise Abigcdl ; a company of two
horse and three foot soldiers attend the future king of Israel.
This capital production is admirably composed and splendidly
coloured.
hfl 9 in, by 8//. 2 tw.— C.
Engraved by Lommelin.
Collection of M. Meyer, Rotterdam, 1722. . 1400^. 126Z.
Now in the collection of Paul Methuen, Esq. Worth 1500 gs.
Another picture of Abigail meeting David was sold in the col-
lection of W. Agar Ellis, Esq., 1806.
RUBENS. 171
593. Four Children playing with a Lamb, in a landscape.
3 ft 2 in. by 2 ft 1 in.— C.
Engraved by Spruyt.
Collection of M. Meyers, . . . . 1722. . 870 /o. 78Z.
Now in the Vienna Gallery. — See pp. 96 and 109.
594. Venus and Adonis, attended by cupids.
3 //. 7i in, hy3ft,l in.
Collection of M. Schuylenburg, Hagiie, 1736. . 840 /o. 75/.
M. da Costa 1764. . 1035/o. 93Z.
Tassaert has engraved a print of the above subject.
595. Bathsheba at a Fountain, attended by a female and a
negro.
4 //. 9 in, by 6 fi, 5 in. — C. ; or 5 ft, 6 in, by 4 ft.
Collection Count Van Plettenburg, Amst, 1738. lOOO/o. 90/.
M. Van Zwieten, . Hague, 1741. 700 flo, 63Z.
596. Christ expiring on the Cross. The countenance of
the dying Saviour is directed upwards.
4ft, 1 in, by 3 ft. Sin,
Engraved by Bolswert.
Collection of M. de Witt, . . Amst, 17 il. , 500 flo. 45/.
597. Christ triumphant over Death and the Grave. The
Saviour, attended by two angels, one of whom is placing a
wreath on His head, the other sounding a trumpet, is repre-
sented sitting on His tomb treading Sin and Death under His
feet; a third angel, bearing a palm branch, is winging its
way towards the Saviour.
6 //. by 4 ft, 6 171,— C,
Engraved by Eynhouedts. The same subject is engraved by
Galle ; by anonymous ; and also in a small size.
Collection of Count Domburg, Hague, \7ib. . 700 ;fo. 63/.
The preceding picture was painted for the tomb of the family
of Cockx, in a chapel of the church of St. Walburge, at Antwerp.
— Seep, 8.
1 72 RUBENS.
598. Susanna and the Elders.
3/^. by 3 A 6«n.— C.
Collection of Count Domburg . . 1745. . 400 /o. 36/.
There are several prints of the preceding subject, one of which
is engraved by Jegher, on an outline by Eubens ; in this composi-
tion Susanna is seated, seen in a front view, and the elders are by
her side removing her drapery. Jegher has repeated the subject,
differently composed. It is also engraved by Vosterman, Pontius,
and Simon.
There is a mezzotinto print of this subject in which one of the
elders is behind Susanna, piilling off her drapery.
Felebien mentions a picture of Susanna and the Elders, then in
the collection of the Duke de Richelieu. Etched by Spruyt.
599, St. Walburge in a Ship. — See p, 8.
2 ft, 6 in. by 3 ft, 2 in.—V,
Collection of M. de Roore, . Hague^ 1747. . 160^. 14Z.
M. Schamps, at Ghent.
600. The Burial of St. Walburge.— /Sfe« p, 8.
2 ft, 6 in, by 3 ft. 2 in.—?.
Collection of M. de Roore, . Hague, llil. . 250 flo. 221,
These were painted for the church of St. Walburge, at Antwerp.
601. A Dead Christ. A finished study.
12 in. by 19 m.— P.
Collection of M. de Roore, . HaguSy 1747. . 280^. 26Z.
602. Christ discovering Himself to His Disciples at Emmaus.
Engraved by Witdouc. There is also a print by Sompelin, in
which are introduced a woman with a glass of liquor in her hand,
and a boy with a plate. The same, in reverse, is engraved by
Swanenburg.
Collection, anonymous, . . McUines, 1756. . 1250^. 112Z.
Now in the Munich GaUerv.
603. The Daughter of Herodias showing the Head of John
the Baptist to Herod. The tetrarch, habited in a rich mantle
RUBENS. * 173
decked with ermine, and a cap of the same material, is seated
at the head of a long table, with Herodias on his right ; his
attention is directed to the head of the saint, which is held
in a charger by the young femsde who had requested it ; and
behind whom is a boy playing with a monkey. A company
of seven guests are at the table, and several servants are
entering the room bearing viands for the banquet.
Engraved by Bolswert ; and also by Clouwet.
Collection of M. Sybrechts, Amst 1754.
A very capital drawing, of superlative exceUence, commenced
in chalks and terminated en grtsatlle, done by the artist for the
engraver to work from, is in the collection of Sir Thomas
Lawrence, P.R.A.
18f in. by 28 J in.
604. Hagar and Ishmael in the Desert.
2 ft. 6 in. by 2 ft. 7 in.— P.
Collection of M. de Steenhault, Brussels, 1758. . 440 flo. 391.
605. A Landscape, in which are introduced nine figures.
Sfi.hy 5fL 2 in.
Collection of P. J. Snyers, . Brussels, 1758. . 401 /o. 36Z.
606. A Wild Boar Hunt. The figures are by Eubens, the
animals by Snyders, and the landscape by Wildens.
5 ft. 9 in. by 9/f. 11^ in.
Collection of P. J. Syners, . Brussels, 1758. . 340^. 30Z.
607. Joshua overcoming the Amalekites. A sketch.
23 in. by 28 in.—V.
Collection of P. J. Syners, . . . 1758. . 78 flo. 71
608. Infants adorning a niche (in which is a statue of the
Virgin and infant Saviour) with festoons of fruit.
2 ft. 10 in. by 2 ft. 1 in.— P.
Engraved by Galle.
Collection of M. Hoet, . . Hague, 1760. . 1210^. 109/.
174 * RUBENS.
609. The Virgin watching her sleeping Infant. The Saviour
lies asleep on a couch in front, covered with a blanket, and
the Virgin, with her hands united, stands by His side, bending
aflfectionately over Him ; she is seen in nearly a front view,
dressed in a scarlet robe, and a dark blue mantle on the left
shoulder. A pleasing example of the master, painted in a
light free manner.
2//. by 1 ft n\ m.— P. Worth 300 gs.
Engraved by Vosterman.
Collection of Cardinal Valentini, AmsL 1763. . 570 flo, 51Z.
This picture has, within a few years past, been presented to the
church of St. Nicholas, at Brussels, to adorn the epitaph of Henry
Ausroos.
610. A Landscape, in the foreground of which are intro-
duced a cart laden with vegetables, several figures, cows, and
sheep.
23 tn. by 33 tn.—P,
A print corresponding with this description is engraved by Van
Kessel, and another by Browne. — See descriptums.
Collection of Cardinal Valentini, . 1763. . 195 /o. ISl.
611. Christ expiring on the Cross. The city of Jerusalem
is seen in the distance.
3 ft 10 in, by Sft
£ngraved by Sompelin and Galle.
Collection of Cardinal Valentini, . 1763. . 1225;2o. IIOZ.
Leindert de Neuville, . 1765. . 4000^. 360Z.
A picture corresponding with the above is in the collection of
Sir Simon Clarke, Bart.
612. The Rape of the Sabines. After a cursory view of the
bustle and confusion, the inevitable consequences of such an
event, the eye rests on a prominent group in the centre of the
scene of action, composed of six figures, one of which, mounted
on a chestnut horse, and wearing a red mantle over his armour,
has seized a young Sabine woman, whose white dress and
RUBENS. 175
appearance indicate her to be of superior rank, and, with the
assistance of a young man, is endeavouring to raise her on his
horse ; nearer the spectator, a stout Soman, clad in armour,
his helmet surmounted with a plume of feathers, is clasping a
stru{^ling female round the waist, while an elderly woman, who
has fallen in the tumult, has seized the leg of the man with her
teeth. On the left, and close to the front, is a young female,
who has thrown herself into the arms of her mother for pro-
tection against the violence of a youth, on whose face the mother
is imprinting her nails ; a little removed from these is another
discordant pair, struggling together at the side of a covered
platform, on which is a company of elegant young females,
several of whom are seized by soldiers ; among them is one in
a light blue dress, with her back to the spectator, apparently
greatly agitated by the threatening attitudes of several men
before her. On the opposite side is a pretty female, whom a
young warrior is pulling by the clothes towards him, and whose
resistance is aided by an elderly man ; beyond these is seen a
display of the military games near the gate of the city. A
building, resembling the Pantheon, terminates the view.
613. The Keconciliation of the Bomans and Sabines. The
treachery and violation of confidence, represented in the pre-
ceding picture, naturally excited the most indignant feelings in
the breasts of the Sabines ; and the following year brought an
army, composed of the fathers, brothers, and other relations of
the violated females, breathing slaughter and revenge against
the Bomans. In the arrangement of the composition, the
artist has supposed the two armies prepared for instant battle ;
this is indicated by a few soldiers of each nation being placed
on opposite sides of the picture ; those of the Bomans, on the
right, consist of five soldiers, the head of a cohort, whose
banners and arms appear approaching ; the nearest of these to
the spectator is a foot soldier clad in armour, whose eagerness
to advance to the combat is restrained by a female liolding him
by the sword-arm ; beyond him is a cavalry soldier riding a fine
1 76 HUBENS.
gi'ay charger, the bridle of which is held by a beautiful young
Sabine ; on her left stands another, whose countenance and
gesture strongly depict her mental anxiety ; still further on are
four other interesting young females, one of whom carries a fine
babe in her arms, a second is on her knees, and a third holds
up to view the pledge of the conjugal union ; these form a line
in the centre of the composition, and face the Sabine array.
The Sabines are represented by three infantry and two cavalry
soldiers, the advance of the column ; one of the former, and the
nearest to the spectator, armed with a sword and shield, who,
bearing defiance in his looks, and showing by his action eager-
ness to rush upon his opponent, is suddenly arrested in his
purpose by a young female, who has thrown herself at his feet,
clasping his arm with nervous energy, and with imploring looks
pleading for reconciliation ; a fine infant, lying on the ground
by her side, adds force and effect to the moving appeal ; such an
unexpected interposition appears to have paralyzed the move-
ments of the soldiers; the horseman suspends the intended cast
of his spear, and a soldier stands motionless with his half-drawn
sword. Symptoms of hesitation are exhibited on both sides.
1 ft, 10 in. by 2 ft, 10 tn.— P.
To expatiate on the many beauties which these pictures possess
would exceed the limits allotted to this work ; it may, however, be
observed, that the artist has, with consummate judgment, given to
the first picture a richness of colour, and force of effect, which
accord with the action and energy of the subject, while delicacy and
tenderness of tone pervade the latter. It may also be noticed, that
the positions and forms of the females are graceful and elegant, and
free from the defects so frequently censured in Kubens by critics.
These pictures are what is termed finished sketches, or, more
properly, matured studies for the large pictures now in the Escurial,
and are of rare excellence and beauty.
Sir Joshua Reynolds, in his Journey through Flanders, observes,
" that few pictures by Rubens, even of his most finished works, give
a higher idea of his genius ; all the parts are more determined than
is usual in sketches. The latter picture (he pays) has more novelty
and is the most interesting of the two."
RUBENS. 177
Collection of Prince Rubempre, . . 1765. , 2^00flo. 216^.
M. Danoot, 1829. 14,178 ;fo. 1280?.
In the latter sale, the price stated is merely nominal, the pictures
having been previously bought, with many others, the Sltte of the
collection, by a speculator, subject to the condition, that they should
pass through the sale, in order to promote the disposal of those of
an inferior class.
Sold by Mr. Buchanan to Alexander Baring, Esq., in April the
same year, for lOOOZ.
>J 614. The Descent from the Cross. A sketch.
28 in. by 18 m— P.
Collection of Prince Bubempre, . . 1765. . 510 Jlo, 46Z.
615. A Man and a Woman in a Larder, stored with game,
fruit, and vegetables. The latter are painted by Snyders.
6 ft 1 in, by 11 ft Q in.
Collection of M. Lormier, . Hague, 11 Q3, . 780^. 70Z.
616. The Death of Hippolytus. This grand and terrific
subject is depicted in this admirable production with such a
painter's hand and poet's fire, that the writer feels it impossible
for him to do justice to it but by quoting the description of
the subject from Bacine : —
L'onde approche, se brise, et vomit k nos yeuz,
Parmi les flots d'^cume, un monstre furieux.
Son front large est arm^ de cornes mena^antes ;
Tout son corps est convert dMcailles jaunissantes ;
Indomptable taureau, dragon imp^tueux,
Sa croupe se recourbe en replis tortueux :
Ses coursiers,
La frayeur les emportes ; et, sourds a cette fois,
lis ne connaissent plus ni le frein ni la voix ;
En efforts impuissans leur maitre se consume ;
lis rougissent le mors d'une sanglante ^cume.
VOL. II. N
1 78 RUBENS.
A travers les rochers la peur les pr^cipite,
L'essieu crie et se rompt : Tintr^pide Hippolyte
Voit Yoler en Eclats tout son char fracass^ ;
Dans les r^nes lui-m§me il tonibe embarrass^.
******
Tratn^ par les chevaux que sa main a nourris.
20 in, by 25 tn.—V.
Engraved by M. Cosway.
Now in the collection of Sir Abraham Hume, Bart.
A study, in chalks, of the Hippolytus is in the Mus^e at Paris.
His Grace the Duke of Bedford possesses a duplicate of the pre-
ceding picture, having the addition of two figures, who are seen
escaping from the terrific scene. For this example, the writer has
been informed, his Grace paid the liberal sum of 900Z. The
difiference between the two works is, that that of Sir A. Hume is
painted with a free, loose, and masterly pencil, and this in a dry
and careful manner. The seashore is also covered with a variety
of little shells, very neatly painted^ but quite inappropriate to the
grandeur and sublimity of the subject.
Engraved by Earlom and Anker Smith.
Exhibited in the British Gallery, 1823.
617. The Death of Hippolytus.
20 in. by 27 w.--P.
Collection, anonymous, . . Amst. 1738.
M. deRoore, . . . . 1747. . 290 Jlo. 26Z.
This is probably one of the above pictures. The lowneas of the
price is no criterion, as this master's works were never very highly
appreciated in Holland.
618. A Milkwoman.
This picture is cited by Deschamps, in Za l^ie des Pwntrea^ as
then in the collection of the Count de Yence, 1753.
619. A Portrait of Helena Forman, with the face seen in a
three-quarter position.
25 in, by 19 in, — P.
C ..'!■ . ^ J1I'>W ^laMWwIPMW^PMiigg^^gggggLiiEH-j-laJ-!!
RUBENS. 179
Collection of M. Pasquier, Rouen, 1756.
the Due de Praslin, . 1793. . 1001 /«. 40/.
M. Robit, 1801. . 1500 >. 60Z.
Now in the collection of Sir Simon Carke, Bart. Worth 200 gs.
620. Banditti pillaging a Village.
Collection of M. Chatagneraye, . 1730. . 1037 /a. 41/.
621. Venus and Adonis.
23J m. by 32 tn.—C.
This subject is engraved by Tassaert, Lorenzini, and Panneels,
and is in the Florence Gallery.
Collection of Prince Carignan, . . 1742. . 1200 /«. 48/.
622. A River God reclining on an urn, surrounded by
bulrushes and other water plants.
4//. 8 m. by 3//.— C.
There is a print of a river god and a nymph reclining on an urn,
engraved by Vangelisti.
Collection of Prince Carignan, . . 1742. . 1600 fs, 64/.
623. Venus returning from the Chase. The beautiful goddess
oc5Cupie8 the centre of the composition, carrying a lance
against her shoulder, and a quantity of small birds in her lap ;
two satjrrs precede her, one of whom carries fruit before him,
some of which two boys are taking ; the other has a basket of
fruit on his head ; five nymphs compose her train, one of which
a bagpiper is embracing, each of the others carry game and
hunting implements. Several dogs accompany the party.
The figures are entire.
6 //. by 7 //.— C.
Engraved by Launay.
Collection of the Due d'Orl^ans, 1749 (bought for the family).
Orleans Gallery, brought to England, 1798, and valued at 400 gs,
A very spirited sketch for the preceding picture is now in the
collection of the Earl of Radnor, at Longford Castle.
12 in, by 11 in.
180 RUBENS.
624. The Last Supper.
625. The Companion. The Eesurrection of Lazarus.
1 ft 7 in, by 2 ft
Engraved by Bolswert.
These are masterly sketches, done en grisaille for large pictures.
Collection of M. Tonneman, Amst 1754. . 1350^0. 122Z.
M. Braamcamp, Amst. 1771. . 1700 /o. 1537.
in a public sale at Mr. Christie's, 1826. 100 ^».
626. An Allegorical Subject, allusive to the Life of Henry
IV. of France. A spirited sketch.
Collection of d'Argenville, . , . 1756. . 800 /«. 327.
627. St. Cecilia, singing and playing on the harpsichord.
The saint is attended by angels, one of whom is seated on
the back of a sphynx.
5 ft 7 in. by 4 /f. 3 w.— C.
Engraved by Witdouc. This subject, with two angels, is also
engraved by Panneek, and again by Lommelin. The above came
from the collection of Prince Carignan.
Collection of the Due de Tallard, . 1756. 20,050 A. 8027.
Now in the gallery at Potsdam.
628. St. Cecilia, &c. &c., attended by two Angels.
1 ft' by 5/4 2i«.— C.
Engraved by Panneels, Lommelin, and Wyngaerde.
Collection of M. Sonsot, Brussels, 1739. . 1400^. 1267.
The preceding saint, seen in profile, playing on an organ, is=
engraved, anonymous; and again, with the face presented in a
three-quarter view, anonymous.
629. The Adoration of the Kings. This picture is composed
of fourteen figures, and is distinguished from others of the
same subject by the Virgin holding the infant Saviour in a
sitting posture, on a pillow, before whom a magi (seen in a
|lll|_ P IIH^
RUBBNS. 181
profile view) is bowing on hie knees, presenting a bowlful of
money.
5 ft. i in, by 1 ft. 10 m.-— C.
This picture is mentioned by Descamps. It was formerly in the
collection of M. Godefroy, a banker at Brussels, and previously in
that of Moretus, the celebrated printer at Antwerp.
Collection of the Due de Tallard, . 1756. . 7500 /«. 300/.
630. The Watering Place. The view exhibits a landscape,
characterized by its bold forms and wild appearance; a broken
and diversified foreground is intersected by a stream of water
extending along the front, and traversed at a little distance by
a rustic bridge ; beyond which rises a mass of rocks, whose
summits are clothed with lofty umbrageous trees and rich
underwood. This sequestered scene is enlivened by cattle and
figures ; among which, and close to the front, is a man in a
scarlet jacket watering two horses; another man is in the stream
driving out a cow ; a woman with a can on her head and three
other cows are on the bank, and a fourth cow is crossing the
bridge ; to the left are three more of the herd, and near these
is a youth seated on a bank playing a pipe; in the opposite side
are flocks of sheep browzing on the hills, from whence the view
opens to the disDant country. A clear and brilliant daylight
effect, and the verdant freshness of summer, pervade this
admirable picture.
3 /L 3 in. by 4 ft. 4 J m.— C.
Engraved by Van Uden, Brookshaw, and also by Brown, under
the above title, when in the collection of the Duke of Montague.
Collection of the Due de Tallard, . 1756. . 9905 /«. 4007.
Exhibited in the British Gallery in 1815.
Now in the possession of the Duke of Buccleugh. Worth 1500 gs.
631. The Assumption of the Virgin. A grand altar-piece.
10 ft, by 7 ft.—C.
Collection of M. Pauvels, Bnueds, 1803. . 4666 /o. 420/.
1 82 RUBENS.
632. The Centaur Nessus carrying off Dejanira.
1ft. 7 in. by 4/f.
Engraved anonymous.
Collection Vanden Grave de Fraula, BruM. 1738. 575 /o. 52Z.
Madlle. Regans, . . . Bruss. 1775. 3550 /o. 319Z.
There is also a print of the preceding subject, engraved by
Schultze, in the Le Brun Gallery, from a picture (2 ft. 8 in. by 2 ft.).
In this the centaur is represented at the moment of his receiving a
mortal wound from the arrow shot by Hercules. This picture was
sold by Le Brun to Count Strogonoff, at St. Petersburg.
Another picture of the same subject was sold in the collection of
William Young Otley, Esq., 1811.
There is also an etching of this subject, which represents the
centaur galloping off with the struggling female in his arms ; she
has one arm round his shoulders and one hand under his arm.
Engraved by Panneels.
633. Four large Cartoons, representing the most distin-
guished feats of the Consul Decius, done for patterns to be
executed in tapestry.
Collection of M. Bertells, Brussels, 1119. . I500flo. 135Z.
See LicJUenstein Collection, p. 101.
634. A Landscape, in which is introduced the subject of
Hagar and Ishmael.
26 in. by 27 m.— P.
Collection of M. Boremans, Brussels, 1781. . 790 flo. 101.
635. The Head of expiring Seneca.
19 in. by 17 *«. {oval.)
Collection of R. Strange, Esq., 1769.
636. The Martyrdom of St. Ui*&ula and the eleven thousand
Virgins. An angel is seen descending from the clouds, bearing
a wreath to crown the martyr saint. A brilliant and beauti-
ful sketch.
19 in. by 15 in. — P.
I
RUBENS. 183
Etched by Spruyt.
Collection of M. Braamcamp, 1771. 495 /o. 45Z. Worth 150/.
Now in the collection of M. Van Sasseghem, at Ghent.
637. A Portrait of a Lady Abbess.
26 in. by 21 in.— P.
Engraved in the Choiseul Gallery.
Collection of the Due de Choiseul, . 1772. . 550 fs. 22/.
638. A Landscape, exhibiting a view of an open and richly-
wooded country, illumined by a bright sunset.
17 in. by 25 tw.— P.
Engraved by Maille in the Choiseul Gallery.
Collection of the Due de Choiseul, . 1772. {not put up.)
639. The Beconciliation of Jacob and Esau. The former
is accompanied by his wives, children, servants, and cattle.
An excellently-finished sketch for the large picture now in
the Munich Gallery. — Seep. 68.
18 in. by 15 in. — P.
Engraved by Balliu.
Collection of M. Lempereur, . . 1773. . 3660 /«. 146/.
Prince de Conti, . . . 1777. . 2620 /«. 105Z.
M. Beaujon, .... 1787. . 1580/tf. 63/.
M. de St. Victor, . . . 1822. . SIO fs. 32/.
Li the latter sale it was exceedingly disguised with dirt ; the
writer has since given 100/. for it, and sold it for 130/.
640. Boman Charity. In the composition of this pictiire
the old man is represented sitting on the ground, with his legs
under him and his hands tied behind his back ; his affectionate
daughter is on her knees, looking round with anxious inquietude,
and her child, covered with a linen cloth, lies on some straw.
The same subject occurs in p. 165.
2fi. 4 in. by 3 ft. 4 in.—C.
Engraved by Smith in mezzotinto.
184 RUBENS.
CoUection of M. JuUenne, . . . 1767. . 5000 /«. 200Z.
. Prince de Conti, . . . 1779. . 1600 > 64i.
M. Robit, 1801. . 2400/8. 96Z.
A picture, representing the same composition as the preceding,
but of larger dimensions, is in the Marlborough Collection.
641. Melchizedeck giving Bread and Wine to Abraham
and his Soldiers. The composition consists of about eighteen
figures. This is a finished study, of superlative beauty, for
the large picture in the collection of Earl Grosvenor. — For
description, see p. 141.
24 in. by 30 tn.—V.
Collection of M. Julienne, . . . 1767. . 3840 /«. 154Z.
Now in the collection of the Dowager Lady Stuart, and worth 500 ^&
642. The Queen of Sheba appearing before Solomon, with
presents of gold and silver vessels. Close to the front are a
negro page with a parrot and a monkey, and two men-servants
laden with part of the treasure.
643. The Companion. Esther approaching the throne of
Ahasuerus, to supplicate him on behalf of her people. The
king has risen from his throne, and is extending the sceptre of
clemency over the fainting Esther. A composition of eight
figures. These are vigorous and masterly sketches for the two
pictures done for the ceiling of the Jesuits' church at
Antwerp. — See pp. 16, 17.
19J in. by 15 J in. — P.
Engraved by Preisler and Punt.
Collection of M. Julienne, . . . . 1767. . 830 /«. 331.
. M. deBois, 1785. . 526 A. 21/.
M. De Calonne, . . . 1795. . . . 100 gs.
M. Brian, 1798. . . . 10 gs.
Now in the possession of Mr. Norton.
RUBENS. 185
644. The Pope causing the H0I7 Gate to be opened. A
composition of several figures, and two angels in the clouds.
24 in. by 16 J in.
Collection of M. Julienne, . . . 1767. . 605 /«. 24/.
645. A lion Hunt. Composed of three men, mounted on
spirited horses, attacking two lions, one of which is receiving
the spear of one of the huntsmen in its mouth.
Engraved by Moyreau, when in the collection of M. Juhenne,
1767.
A sketch, probably the picture from which the print was taken,
IB in the collection of Lord Darnley, at Cobhara.
17 J in. by 24 tn.— P.
646. The Marriage of St. Catherine, in the presence of a
great number of Saints.
22f in, by 17 in.— P.
Engraved by Suyers and Eynhouedts.
A masterly sketch for the altar-piece of the church of the
Dominicans, at Antwerp. — See p, 24.
Collection of M. Julienne, . . . . 1767. . 1000 /«. 40/.
Now in the collection of the Earl of Mulgrave.
647. The Virgin with the infant Saviour in her arms,
seated in a niche surrounded by eight persons, among whom
are a bishop on one side and the Magdalen on the other. A
sketch.
12J in. by 19 J in.— P.
Collection of M. Julienne, .... 1767. . 480 /«. 19/.
648. Saint Cecilia, singing and playing on the harpsichord.
15 in. by lOJ in.— P.
A sketch in gray, probably for one of the pictures noticed in
p. 180.
Collection of M. Julienne, . . . 1767. . 50 >. 21.
186 RUBENS.
649. The Assamption of the Virgin. A free sketch.
19 in. by 11 in.— P.
Collection of M. Julienne, . . . 1767. . 200 /». 8Z.
650. The Conversion of St. Paul. A sketch.
19 in. by 13 in.— P.
Collection of M. Julienne, . . . 1767. . 128 fs. 51.
651. Same Subject.
17 in. by 10 in.— P.
Collection of M. Lempereur, . . . 1773. . 611 /«. 2il.
652. Same Subject.
17 in. by 19 m.— P.
Collection of Prince de Conti, . . 1777. . 800 >. 32/.
653. Cambyses compelling a Judge to sit upon a Cushion
made of the Skin of the late Judge, his Father, whom Cam-
byses had caused to be flayed for Injustice. A finished study.
17 in, by 17 in.— P.
Engraved by Eynhouedts.
Collection of M. Lormier, Hague^ 1763. . 640^. 58/.
654. A Landscape, beautifully varied with hills, dales,
wood, and water ; and enlivened with figures, horses, cows,
and ducks. In the front-ground are two women and a man ;
one of the former has a milk-can on her head, the other carries
a can on her arm ; a waggon drawn by two horses, on one of
which the driver rides, is close to the right side.
3 ft. by 3. /if. 11 in.— P.
Collection of M. Potter, . Hague, 17 2S. . lOOOflo. 901.
M. Wiennan, . AmsL 1762. .Ib70flo. 141/.
A picture corresponding with the preceding description is in the
Munich Gallery.
655. A Landscape, with a grove of trees. This Arcadian
scene is enlivened by a laige assemblage of nymphs and youths,
RUBBNS. 187
attended bj cupids flying and sporting amongst the trees.
The composition is probably mtended to represent the island
of Gythera, with the games instituted in honour of Venus.
2/f. 1 in. by 2//. 11 *n.— P.
Engraved by Clouwet and Premier.
Collection of Prince Trevulzio, Amst 1764. 2960^. 266Z.
Now in the Bclvidere Palace. — Seep. 97.
656. Four Huntsmen with Dogs attacking a Stag. The
animals are painted by Snyders.
4 ft. ^ in. by 6 ft. 5 in.— C.
Collection of M. da Costa, . . . 1764. . 510^. 46Z.
657. Ceres and a Satyr. The latter bears a horn of abundance.
4 A by 6 A 2 m.— C.
The landscape is said to be by the hand of Breughel ; but, judging
from its size, it is much more likely to be by Wildens.
Collection of M. Horion, Brussels, 1788. . 2600 flo. 234Z.
658. The Four Doctors of the Church. A sketch.
24 in. by 17 tn.— P.
There is a print by Van Dalen, representing St. Ambrose, St. Ore-
gory, St. Jerome, and St. Augustin, consulting together over a book.
Collection of M. Horion, . . . 1788. . 1210/o. 1091.
659. Abimelech, with Abraham and Sarah.
2 fi. by 2 ft. 6 tn.— P.
Collection of M. Horion, Brussels, 1788. . 3210 /to. 289Z.
660. A Magdalen. A sketch.
17 in. by 22 tn.— P.
Collection of M. Horion, . . . 1788. . ZlOflo. ZZl.
661. Villagers merry-making. A landscape,in the foreground
of which are introduced a company of sixteen peasants, of both
sexes, habited in their gayest attire, dancing in a ring, which
their frolicsome bounds have broken, and thrown into pic-
turesque confusion.. Among those in front may be observed a
188 RUBENS.
fine comely female, wearing a scarlet dress, whom her partner
is embracing, and another in a blue gown is invited hj her
companion to imitate them ; every countenance and gesture
indicate, the joyousness which pervades all hearts ; in a cluster
of trees beyond them is seen the merry piper playing his in-
strument. This beautiful production may be compared to a
cluster of the gayest flowers sparkling in the noon-day sun ; it
is no less admirable for the natural expression which animates
the figures, and the free and masterly handling of the execution.
2 ft. 5^ m. by 3 ft. 5^ tn.—F.
£tched by Van Hiel ; and engraved by Bolswert. It is inserted
No. 103, p. 31, of the catalogue of Kubens's effects; and it is also
noticed by Descamps in his Lives of the Painters.
Collection of Le President de Tugny, 1751. . 1010/«. iOl.
M. Julienne, . . . 1767. . 1361 /«. 65/.
ThomasEmraerson, Esq. 1829. . . . 950^8.
662. St. Theresa on her knees, interceding with the Saviour
for the delivery of souls from purgatory, two of whom are
being delivered by angels from this imaginary place of punish-
ment. This is a finished study> of uncommon force and rich-
ness of colour, and the figures are animated with true pathetic
expression.
2 ft 2 in. by 1 ft. 7 in.—F. Worth 300 gs.
Engraved by Bolswert. — See p. 22.
Collection of Prince Rubempre, Brussels^ 1765. . 760 Jlo, 68Z,
M. Braamcamp, . Amst. 1771. . 835 /o. 75/.
Now in the collection of M. Van Sasseghem, at Ghent.
663. A Duplicate of the preceding Picture, but of inferior
quality.
Sold in the collection of J. Mayhew, Esq. 1812. . . 350 gs.
Now in the collection of the Marquis of Stafford.
664. The Seven Wise Men of Greece. A sketch.
Ul in. by 18^ in.— P.
Collection of M. Julienne, . . . 1767. . 601 /«. 24/.
RUBENS. 189
665. Nymphs and Satyrs. A sketch.
Collection of M. Julienne, . . . 1767. . 180 fs. 11
666. The Eape of Proserpine. A sketch for the large
picture in the Marlborough Collection.
1 1 in, by 25 in, — P.
Engraved by Soutman.
Collection of M. Trouard, .... 1769. . 600 />. 24?.
Sf. Le Brun, . . . 1791. . 778 /«. 31Z.
M. Castlemore, . . . 1791. . 840 fs. 34Z.
667. A Lioness, with three Cubs, extended on the ground.
2 fL 10 in. by i/t. 5 J m.— C.
Collection of M. Van Schorel, . . 1774.
668. An Historical Subject, relating to the Life of Decius.
A sketch.
2 ft, 6 in, by 2 ft. 8. w.— P.
Collection of M. Aubrey, .... 1773. . 1600/*. 64/.
669. Two Females, emblematical of Peace and Plenty.
23 in, by 17 m.— P.
Collection of M. Trouard, . . . 1769. . 802 /«. 32/.
M. LeBrun, . . . 1791. . 300 /«. 12/.
670. Government, or Commerce. Bepresented by a female
wearing a mural crown seated upon a pedestal, holding the prow
of a vessel in one hand, around the arm of which is entwined
a snake, and resting the elbow of the other hand on a ball.
23 in, by 16 in, — P.
Engraved by P. Pontius. A similar subject is engraved by
Yosterman.
671. The Companion. Power, or Strength. Bepresented
by a female in a blue vest, girded with a lion's skin, seated,
with one hand on the shaft of a column and holding a pillar
with the other.
Collection, anonymous, . . Pam, 1780. . 1201 /#. 48/.
190 RUBENS.
672. The Adoration of the Shepherds.
14^ m. by lOi ^n.— P.
A free sketch for an altar-piece, formerly in the church of the
Dominicans at Antwerp.
Engraved by L. Vosterman and Spruyt. — See p, 12.
Collection of M. Van Schorel, Antwerp, 1774.
673. Cadmus sowing the Dragon's Teeth, from which
spring up armed men. A free and spirited sketch.
10^ in, by 16J in.
Collection of M. Van Schorel, 1774.
Mr. Panne, 1819 (at Mr. Christie's) , . , . 9 gs.
Now in the collection of Sir Thomas Baring, Bart
674. A Pair of Allegorical Subjects. One represents the
city of Paris, under the figure of a female, holding Louis XIII.,
when an infant, in her arms ; to whom Mars is presenting a
sword and armour, and Cupid (flying above) bears him a
buckler.
9 in, by 4J in. — P.
675. The Companion. Henry IV., with an olive branch in
his hand, conducting his Queen under the auspices of Hymen,
who is flying over their heads. These are free sketches.
Engraved by Martinasie.
Collection of M. Van Schorel, Antwerp, 1774.
Now in the collection of the Hon. Gen. Phipps.
676. The Daughters of Cecrops opening the basket in which
was concealed the infant Erichthonius. A composition of six
figures. A sketch for the large picture in the Lichtenstein
collection. — Seep, 100.
15 in. by 18^ »n.— P.
Engraved by Van Sompel.
Collection of M. Van Schorel, Antwerp, 1774.
i
RUBENS. 191
677. The Death of Procris. She is represented reclining
her dying head on the lap of Cephalus.
16f in, by 22 m.— P.
Collection of M. Van Schorel, 1774.
678. Vulcan forging the Arms of Achilles. A sketch for
part of one of the triumphal arches erected in honour of Fer-
dinand^ at Antwerp, in 1635.
9 J in, by 7 in. — P.
Collection of M. Van Schorel, 1774.
679. Two Females, one of whom is seated with a cornucopia.
An allegorical subject, allusive to Peape and Plenty. A sketch.
5 in, by 6;J in, — P.
Collection of M. Van Schorel, 1774.
680. A Bacchanalian Subject. The principal group in this
composition consists of Silenus, with three satyrs and an ass ;
two of the latter are lifting the jolly god on the beast, and
the third supports his head. On the left is a bacchante seated,
and a satyr behind her pouring wine from a vase into a cup
which she holds ; a naked infant lies at her side with a bunch
of grapes in its hands, which a little satyr is endeavouring to
take away. Beyond these figures are some children with
panthers and tigers; and still farther is Bacchus, crowned
with vine branches.
A similar subject, composed of twelve figures, is engraved by
Popels.
4ft.hy7ft.
Collection of M. Caulet d'Hauteville, 1774. . 6000 fs, 240/.
681. A beautiful Infant sitting naked on a pillow. In the
background is introduced a rainbow, the emblem of promise.
A well-coloured and pleasing example.
1 ft, 10 in, hy I ft, b in,—F,
Collection of Randon de Boisset, . 1777. . 1600/«. 60Z.
Now worth 160 gs.
Now in the collection of Baron Steengracht, at the Hague.
192 RUBENS.
682. An Allegorical Subject, allusive to the Life of Marie
de Medicis. A sketch.
17^ in, by 19^ m.— P.
Collection of M. PaiUet, . . . 1777. . 600 /». 24Z.
M. de BoBuf, . . . 1782. . 1200 /«. 48Z.
683. Venus, wounded by a Thorn, receiving the Condolence
of the Loves. A sketch.
2 ft, S^m. by \ ft, \0\in.
Collection of M. Thellusson, . . 1777. . 600 /«. 2il,
684. The Annunciation of the Virgin. A sketch.
4 ft. ltn,hy$ ft, i in.— C.
Engraved by Drevet.
This picture has been enlarged.
Collection of the Prince de Conti, . 1777. . 1700 /«. 68/.
685. The Fates weaving the Destiny of Marie de Medicis,
under the auspices qf Jupiter and Juno. A study.
18 tn, by 22^ in.—C.
Collection of the Prince de Conti, . 1777. . 1401 fs, 66/.
686. A Landscape, exhibited under the aspect of a stormy
sky, through which a transient gleam of sunshine illumines
the middle grounds.
16 in, by 24 in, — P.
Collection of the Count de Vaudreuil, 1 784. . 1801 fa. 72/.
687. The Deluge of Phrygia. — For description, see p. 93.
4 /f. 6 in, by 6 /f. 4 in.—C.
Engraved by Bolswert.
Collection of M. Montribloud, . . 1784. . 2401/^. 96/.
Henry Hope, Esq. . 1816 200 ^«.
Phihp Pann^, Esq. . 1819 .... 157 gs.
Now in the collection of Sir Thumas Baring, Bart.
A duplicate of the preceding, of very superior excellence, is now
in the Vienna Gallery.
RUBENS. 193
688. A Portrait of the Duke of Buckingham, clad in armour
and wearing a red scarf.
23 in, by 18 m.— P.
This is probably the picture inserted No. 1 27 in the catalogue of
the artist's effects, p. 32.
Collection of M. Godefroy, . . . 1785. . 4800 >. 192/.
M. duClos, . . . 1812. . 9500 /^r. 380Z.
689. Ulysses and his Friend discovering Achilles among the
Daughters of Lycomedes. The youthful hero, clothed in a
scarlet robe, stands in a masculine attitude in the centre of the
composition ; his right hand grasps a sword and the left its
scabbard, while his attention is directed to his father, who
expresses his recognition by placing his hand on his son's arm.
The females consist of six young ladies and an elderly one,
amongst whom is one of the former dressed in white satin (seen
in a profile view) ; another, in a yellow robe with blue sleeves,
kneels in front, examining a basket of jewels ; and a third, in a
gray vest, is stooping by her side, engaged in the same object.
Painted in a free and spirited manner.
4 ft 6 in. by 3 /if. 1 1 tn.— C.
Engraved by Yisscher, Byckman, and anonymous.
Collection of M. Nouri, .... 1795. . 3200 >. 128/.
Now in the collection of Sir Abraham Hume, Bart.
690. Two Angels bearing the Dead Body of a Child to
Heaven. One of them has a palm branch in his hand, and a
third angel carries a wreath of flowers.
17^ m. by 23^ in.
Collection of Van Slingelandt, Z)(>r^, 1785. . 410 ;fo. 37Z.
Mrs. Harritz, London^ 1810 30 ^«.
Recently in the collection of Edward Gray, Esq.
691. A Landscape, exhibiting a view over a flat country,
beautifully varied with trees and hedges, and enlivened by a
VOL. II. o
194 BUBENS.
transient ray of sunshine passing over the middle grounds and
extending to a watering place, at which are several figures with
cattle.
2 ft, 9 J m. by 3 ft, 9 m.— P.
Engraved by Bolswert.
CoUection of M. Proley, . . . 1787. . 4400 /«. 176Z.
692. A composition of four figures, as large as life, consisting^
of a Man and a Woman with two Children.
4 /f. by 3 ft, 6 m.— C.
Collection of M. Proley, . . . 1787. . 4100 /w. 164i.
693. Christ with Martha and Mary. They are represented
in the court of a house, enclosed by a balustrade of black
marble, from which the eye looks over a richly-wooded land-
scape, enlivened with deer and poultry. The Saviour is seated
in the centre of the court, looking towards Martha, who stands-
on His right, and by her attitude £md expression appears to be
reproaching her sister Mary for neglecting the household
affairs ; the latter is seated on the left of the Saviour, with a
book in her lap. A table, with fruit on it, stands at the side,
and through an open door near it are seen the interior of a
kitchen, and a man-cook engaged at a dresser ; a monkey
with a bimch of apricots, a dish of grapes, and a variety of
small birds, are distributed on the pavement in front, and a
greyhound stands by Martha's side.
1 ft, \\\ in, by 1 ft, 10 m.— P.
This picture is the joint production of Rubens, Breughel, and
Van Kessel; the figures are eleven inches high, are painted in a broad
free manner and in the richest tones of colour, with an expression
which it is impossible for art to surpass.
Collection of M. de Calonne (bought in), 1788. .4800/*. 192L
Same collection . . . LandoUy 1795 330 gs,
Mr. Bryants, .... 1798 250?.
M. Rynders, Brussels, 1821. . UbOflo, 121L
Coxmt Pourtales, London^ 1826 151Z.
Mr. Smith (by Mr. Stanley), 1828 170 ^«.
i^amim^^mt^^m^^^^K^^^i^^fWP^^i^imi
RUBENS. 1 95
694. The Nativity, and Adoration of the Magi. A sketch
for a large picture.
18 in, by 14 in, — P.
Collection of M. le Brun, .... 1791. . 800 >. 32L
695. The Falconer. A portrait of a gentleman, represented
in the character of a falconer, with a fine hawk on his hand ;
his dress consists of a black mantle bordered with fur, a white
pendant collar, and a black hat turned up at the side. A
landscape forms the background, on the left of which is a
large tree entwined with ivy. This excellent production is^
distinguished for the masterly freedom of its execution, the
brilliancy of its colour, and the apparent natural character of
the portrait.
4 ft. 6 in, by 3 //. 5 w.— P.
Collection of the Due de Praalin, 1793. . 10,001 /«. 400Z.
M. Geldermeester, 1800. . 4,050 /o. 364Z.
Exhibited in the British Gallery in 1826.
Now in His Majesty's Collection Worth 800 gs.
696. A Portrait of a young Lady, with the face seen in a
three-quarter position; light hair, and a cap decked with
feathers ; a necklace of pearls, which falls on her bosom, and
a red corset dress with large sleeves.
2 ft by 1 ft. 7 in,—C.
The writer of the catalogue states that this picture has sustained
injury by cleaning.
Collection of the Due de Praslin, . 1793.
697. Two Studies of Children's Busts, with coral ornaments.
round their necks.
16 J in. by 11 in. — P.
Collection of M. Destouches, . . 1794.
698. The Assumption of the Virgin. The Virgin, attended
by angels, appears to be mounting aloft, while the astonished
apostles surround the vacant tomb below. A beautiful and
highly-finished study for a large picture.
Sft.i in, by 2 ft, 1 in.— P.
I
196 RUBENS.
Collection of M. de Calonne, . . . Londofiy 1795. . 150Z.
H. Hope, Esq. (by Mr. Christie), 1816. . 250/.
J. Knight, Esq. (by Mr. PhiUips), 1819. . 130 gs.
John Webb, Esq. (by Ditto), . 1821. . IIOZ.
699. An Allegorical Subject, representing Justice, Peace,
and Plenty, personified by three nymphs, one of whom is
emptying a cornucopia of fruit, which three cupids are
gathering. A sketch for a group in one of the Luxembourg
pictures.
Engraved by Eynhouedts.
Collection of M. de Calonne, . . . 1795 42/.
700. St. George and the Dragon. — See pp. 33 and 48.
Collection of M. de Calonne, . . . 1795 71/.
701. The Virgin, with the infant Saviour in her arms. A
small but very beautifully-finished picture.
Collection of M. de Calonne, . . . 1795 165/.
702. An Allegorical Subject, representing Rome triumphant.
A finished sketch.
Collection of M. de Calonne, 1795 42/.
703. Groups of Children with festoons of Fruit,and Animals.
A study for the ceiling at Whitehall.
Collection of M. de Calonne, . . . 1795. . . . 220 gs.
704. Mars, Venus, and Cupid. The goddess is represented
in nearly a front view, naked, sitting on a couch ; her right
hand presses her bosom and the left crosses the body, to hold
a blue drapery which covers the loins; her flaxen hair is
decked with pearls. Her attention is directed to the young
god of love, who, while climbing upon her knee, looks archly
in her face ; a little retired beyond him is Mars, standing near
a table, on which is mounted a cupid, to unbuckle his armour ;
a brilliant shield stands against the table and a quiver lies on
the ground ; some architecture and a red curtain compose the
RUBENS. 197
background. The attractions of this capital picture consist
exclusively in the beauty and freshness of the colouring, the
judicious arrangement of light and shade, and the agreeable
harmony of tints and general efiFect. In reference to the
figures, it must be owned that they are sadly devoid of those
ideal forms of beauty and expression so indispensable to give
value and interest to classic and poetical subjects.
6/?. 4tn. by 4/f. 2 m.— C.
Collection of M. Vandergucht, . . 179G 130 gs.
Mr. Bryan, .... 1798 90 gs.
Now in the Dulwich Gallery, Worth 500 ge.
There is an etching of Mars and Venus, anonymous.
705. Nature unveiled by the Graces. The subject is com-
posed of a number of nymphs and satyrs sporting, with fruit
and flowers ; in the centre of these are the Three Graces, in
lovely and elegant attitudes, unveiling nature. The fruit and
flowers are attributed to the pencil of Breughel.
3 /f. 6 in. by 2 /f. 4 tn.— C.
Engraved by Van Dalen.
Collection of Sir Lawrence Dundas, 1794 800 ga,
706. Tigers in a Landscape.
Collection of Sir Joshua Reynolds, 1795 IIO ge*
There is a mezzotinto print of a tiger suckling three cubs in a
landscape, engraved by Rhien.
707. A Woody Landscape, represented under the aspect of
Moon and Star light. The solemn and silent scene is relieved
by the introduction of a solitary horse browsing on the margin
of a river.
2//. li in, by 3//. 2 m.— P.
Engraved by Bolswert.
Collection of Sir Joshua Reynolds, 1795 80 gs,
Earl of Besborough, 1801 SI gs.
Willett Willett, Esq. 1813 300 gs.
Exhibited in the British Gallery in 1815.
Now in the collection of the Earl of Mulgrave.
I
I
198 BUBBNS.
708. A Sketch for the altar-piece of the church of St.
Augustin, at Antwerp. If this statement be correct, the
subject represents the marriage of the infant Saviour to St.
Catherine, in the presence of a great number of saints.
The finished picture is engraved by P. de Jode. — See p, 47.
Collection of Sir Joshua Reynolds, 1795 10^ gs,
709. Silenus and Bacchanalians.
Collection of Sir Joshua Reynolds, 1795 45 gs.
710. Venus recumbent on a bank asleep, tmd Cupid
alarmed by the approach of Satyrs.
Collection of Sir Joshua Reynolds, 1795 25 gs.
711. The Holy Family, with St. Elizabeth.
Collection of Sir Joshua Reynolds, 1795 66 gf,
712. Studies for various subjects, particularly the Rape of
the Sabines.
Collection of Sir Joshua Reynolds, 1795 5 gs,
713. Studies for groups in the ceiling at Whitehall.
Collection of Sir Joshua Reynolds, 1795 12^ </«.
714. The Wise Men's Offering. A sketch.
Collection of Sir Joshua Reynolds, 1795 ^l gs.
715. Children blowing Bubbles. The nearest infant is re-
presented naked, with its back to the spectator. A finished
study, painted with a rich impasto of colour.
24 in, by 20 in. — P. {about,)
Collection of Sir Joshua Reynolds, 1795 175 ^«.
WiUett Willett, Esq. 1813. . . , U6 gs.
Exhibited in the British Gallery in 1828.
Now in the collection of the Earl of Damley.
RUBENS. 199
716. St Matthew. A bust, painted with extraordinary
force and glow of colour.
Collection of Sir Joshua Reynolds, 1795 70 gs.
717. A Pair. Allegorical Subjects ; being studies for the
principal groups in the ceiling at Whitehall.
26 in. by 21 in, — C. (ab<mt,)
Noticed in Sir Joshua Reynold's Tour through Flanders ; at that
time in the collection of M. Danoot.
Collection of M. Horion, Brussels, 11 SS. . 910 /o. 82/.
Sir Joshua Reynolds, 1795 180 ^8.
Now in the possession of Colonel H. Baillie.
718. The Holy Family. A finished sketch.
Collection of Sir Joshua Reynolds, 1795 71 gs.
719. A Wild Boar Hunt.
Collection of Sir Joshua Reynolds, 1795 1^5 gs.
720. Hercules and Omphale. A composition of several
figures.
Collection of Sir Joshua Reynolds, 1795 160 ^6.
Philip Pann^, Esq., 1819 } 23 gs.
Now in the collection of Thomas Emmerson, Esq.
721. Thetis supplicating Jupiter on behalf of her son
Achilles.
Collection of Sir Joshua Reynolds, 1795 25 ^«.
722. A Hunt. A sketch.
Collection of Sir Simon Clarke, Bart., and George Hibbert, Esq.
1802 iigs.
723. The Companion. A similar subject.
These were formerly in the collection of Mr. Delm.
CoUection of Sir Simon Clarke, Bart, and George Hibbert, Esq.
1802 43 gs.
200 RUBENS.
724 Christ on the Cross.
2ft.S in, by 1 ft. 9 m. — P. {about.)
A beautiful example of this frequently-repeated subject, which
has been engraved several times by Bolswert.
Collection Sir S.Clarke, Bart., and G. Hibbert, Esq., 1802, 150 gs.
Now in the collection of Sir Simon Clarke, Bart.
725. A Landscape, with a hill on the right covered in part
with trees ; a rivulet flows in front which is crossed by a rustic
bridge, and near it is a shepherd playing a pipe, while his
cows and sheep browse around him. The centre of the view
shows a rich pasture receding to the distant mountains ; a few
young trees and an old willow are on the left of the composi-
tion ; a faint gleam of sunshine breaks through the clouds of
a rainy sky, in which are indicated two rainbows.
Desenfans states that this picture is engraved under the title of
" The Two Rainbows," and that it was formerly in the collection of
Prince Rupert, but the writer has never seen such a print.
Collection of Noel Desenfans, Esq. 1802. . . . 105 ^».
Now in the Dulwich Gallery.
726. A Portrait of Mary de Medicis, represented with a fan
in her hand. Her dress is composed of the richest materials
abundantly adorned with jewels ; a lace frill surrounds the
shoulders, leaving the bosom exposed, and a diadem of pre-
cious stones covers the head. Painted by a scholar.
4//. 2«n. by ^ ft. 4 m.— C.
Collection of Noel Desenfans, Esq. 1802. . . . 100^^.
Now in the Dulwich Gallery.
727. A Portrait of Sir Theodore Mayne, Physician to
James I.
Engraved in Dr. Mead's collection.
Collection of the Earl of Besborough, 1801. . . . 60Z. 15*.
Marquis of Lansdowne, 1806. ... 77 ga,
728. A Portrait of Ferdinand of Medici, Grand Duke of
Tuscany.
28 in. by 22 in.—V.
RUBKNS. 201
Collection of Robert Udney, Esq. . 1802.
This picture is said to have been painted at Florence, and to
have belonged to the Salviati Collection.
729. The good Samaritan. A cabinet picture.
Collection of Lord Rendlesham, . 1806 189Z.
730. A Landscape, representing a forest, through which is
passing a huntsman on foot, preceded by six dogs. The
gloomy and sequestered scene is enlivened by the cheering rays
of the setting sun, whose vivid beams sparkle between the
trunk of two trees, which cross each other on the right and
front.
This excellent production is finely engraved by Bolswert.
This picture was lot 108 in the catalogue of the artist's collec-
tion.— Seep, 31.
Collection of the Marquis of Lansdowne, 1806. . . . 305 gs.
731. A Landscape, corresponding in composition with the
preceding, but of a smaller size.
Collection of Lord Clanbrassils, . 1813 95 gs.
Exhibited in the British Gallery in 1815.
Now in the collection of the Earl of Mulgrave.
732. The Continance of Scipio. The composition repre-
sents the Roman warrior seated upon an elevation on the right,
extending his hand towards the affianced couple, who are ap-
proaching the foot of his throne ; the young man is seen in a
hinder view, bending on one knee and holding his bride's right
hand, at whose side are her father and mother ; and behind her
are four females, two of whom hold up her train ; in the oppo-
site side are soldiers with vessels of gold. The subject is
composed of fifteen figures of the size of life.
7 ft. hy 12 ft— C.
Engraved by Bolswert ; and by Danbrum, in the Orleans Gal-
lery. There is aho an etching by Spruyt, which has evidently
been done from a sketch, probably for the picture.
202 RUBENS.
Collection of the Due d'Orl^ans, 1798, valued at 800 ^«., bought
by Lord Berwick.
Lord Berwick (sold by Mr. Phillips), 1825, bought in at 1500Z.
Again (by ditto), 1826, Mr. Yates, 660 gs.
The following twelve Pictures are finished sketches, forming
a series of the history of Constantine ; they were formerly in
the Orleans Collection, and are engraved with the rest of that
gallery.
733. The Mairiage of Constantine with Fausta, the daughter
of the Emperor Maximien. The ceremony is represented taking
place before an altar in the temple of Jupiter and Juno ; and
the artist has introduced in the composition a second marriage,
supposed to be that of Licinius with Constantia, the sister of
Constantine, which, however, took place at a subsequent period.
Two youths are at the altar, one playing a double pipe and
the other carrying the torch of Hymen ; close to the side are
two men waiting to sacrifice a white heifer.
17^ in. by 20J en.— P.
Engraved by Tardieu and Godefroy.
Valued in the Orleans Collection, in 1 798, at 1 50 ga.
734. The Miraculous Cross. Constantine, in the presence
of his army, beholding the apparition of a luminous cross £md
inscription in the heavens, which he afterwards adopted on his
banners. The Emperor, accompanied by a friend, stands upon
a pedestal in front, extending his arms in adoration of the
supernatural appearance.
17i in, by 20 J in,—?.
Engraved by Tardieu and Leinard.
Valued in the Orleans Collection at lOOZ.
735. The Labarum. Constantine committing the labarum
(a banner bearing the insignia of the cross) to the care of two
of his bravest soldiers. A composition of three figures.
13J in, by 10^ in,—V.
RUBENS. 203
Engraved by Tardieu and Leinard.
Valued in the Orleans Gallery at 100 gs.
Put up to sale at Mr. Stanley's, in 1823, and bought in at 41 gs.
Exhibited in the British Gallery in 1828.
Now in the possession of Henry Brooksbank, Esq.
736. The Battle between Constantine and Maxentius. The
picture represents the moment when the two heroes, mounted
on fiery chargers, meet in front, and Constantine is poising a
spear to cast at his adversary, who is approaching him sword
in hand ; the rush of troops, both horse and foot, exhibits a
sc^ne of obstinate conflict. Close to the front are two dead
soldiers, one of whom is pierced by a spear in the breast, the
other lies under him, with his broken weapon in his hand ;
and in the distance is seen the cavalry of Maxentius escaping
over the bridge Melvius.
14^ in, by 25 in. — P.
Engraved by Lorieux, Tardieu, and Moncornet.
Valued in the collection at 200 gs.
Put up to sale at Mr. Stanley's, in 1823, and bought in at 130 gs.
Exhibited in the British Gallery in 1828.
Now in the possession of Henry Brooksbank, Esq.
737. The Death of Maxentius. -The emperor, while en-
deavouring to escape over the bridge Melvius, is precipitated
through a broken part of the bridge, which he had destined as
a snare for his enemies, and is falling headlong into the Tiber,
crushed by the accumulation of his own men and horses ; two
other of his soldiers, one riding a dark horse the other a white
one, are on the brink of the chasm, and behind them are two
more, who, in wheeling their steeds round to avoid the danger,
are encountered by the enemy ; the shock of battle on the
bridge has thrown a number of the combatants into the river,
two of these are seen suspended at 'the side of the bridge.
This is a most enviable example of the master, possessing, in a
204 RUBENS.
small compass, the same admirable spirit and energj' which
animate his largest productions.
15J in. hy 25 in. — P.
Engraved by Hubert, Tardieu, and anonymous, Drevet ex.
Valued in the Orleans Collection, in 1798, at 200 gs, ; and
bought by Sir Philip Stephens, in whose sale, in 1810, it was
knocked down at 430 gs.
Collection of Lord Renelagh (by Mr. Christie) . 1822 . 130 gs,
(bought in.)
Same collection 1829 . 165 gs.
Exhibited in the British Gallery in 1818.
Now in the possession of Wm. Rogers, Elsq.
738. Victory, personified by a winged female placing a
chaplet on the head of Constantine. Two captives lie bound
at his feet, and beyond this group rises a magnificent trophy,
composed of the head of Marentius, and the banners and arms
of Eome.
11^ in. by 14 in. — P.
Engraved by Cathelin, Tardieu, and Moncomet.
Valued in the Orleans Collection at 200 gs.
Put up to sale at Mr. Stanley's, in 1823, and bought in at 61 gs.
Exhibited in the British Gallery in 1828.
Now in the possession of Henry Brooksbank, Esq.
739. Constantine's triumphant Entry into Rome. The con-
queror, clad in armour and mounted on a noble gray charger,
is approaching the gate of the city, where the genius of Borne
and several priests and senators await his arrival ; behind him
are the advance of a body of cavalry soldiers, and a lictor
bearing the fasces. Fame, flying before, is proclaiming with
her double trumpet his heroic deeds ; and Victory is crowning
him with laurels.
20 in. by 25J tn.— P.
Engraved by Lorieux and Tardieu.
Valued in the Orleans Collection at 150 gs.
f
RUBENS. 205
Collection of the Earl of Liverpool (by Mr. Christie), 1829, 42 gs,
(bought by the writer.)
Exhibited in the British Gallery in 1815.
Now in the collection of the Hon. G. J. Vernon.
740. Constahtine restoring Liberty to the Eoman Senators.
The Genius of Eoine,personified by a female with the palladium
in her hand, is seated on a throne in the centre, with a figu,re
of Peace on her left, placing a chaplet on her head, and Victory
on her right, holding a number of triumphant banners ; near
her are two captives (a Dacian and an Albanian), and on the
opposite side stands Constantine, clad in armour and grasping
a thunderbolt (emblem of power) in his hand ; three prisoners
lie bound at his feet, and the figurative representation of the
origin of Eome is introduced near them. This masterly sketch
is one of the most brilliant of the set.
20 in. by 25^ in.—?.
Engraved by Cathelin and Tardieu.
Valued in the Orleans Collection at 150 gs.
Collection of the Earl of Liverpool, 1829, 100 gs. (bought by the
writer.)
Now in the collection of the Hon. G. J. Vernon.
741. Constantine investing his Son Crispus with the Com-
mand of the Fleet. The former is placing in his son's hand a
globe, and a winged genius is giving him a prow, the symbols
of government; a figure of Neptune, reclining on the sea-
shore, completes the illustration of the subject.
14^ in. by 11^ in. — P.
Engraved by Bosq and Tardieu.
Valued in the Orleans Collection, in 1798, at 100 gs.
Put up to sale at Mr. Stanley's, in 1823, and bought in at 41 gs.
Exhibited in the British Gallery in 1828.
Now in the possession of Henry Brooksbank, Esq.
742. Constantine approving of the Draught for the Plan of
s
206 RUBENS.
the City of Constantinople. The emperor, wearing the Boman
toga, stands in the left of the picture with a friend behind him,
extending his hand in approbation of the plan, which a work-
man is holding, while the architect, bending on one knee, is
measuring a portion of the design with compasses ; the bird of
Jove hovers above.
16 J in, by 16^ in, — P.
Engraved by Hubert and Tardieu.
Valued in the Orleans Collection at 70 ^«., and bought by Sir
Philip Stephens ; in whose collection it was knocked down, in 1810,
for 111 ga.
Again in Lord Eanelagh's sale (bought in) . 1822.
Again in the same collection 1829. . . 43 gs.
743. Constantino worshipping the Cross. A composition of
four figures, one of which, standing in the centre (characteristic
of Faith), is directing the emperor's attention to the cross.
14 in, by 13 in. — P.
Engraved by Delignon and Tardieu.
Valued in the Orleans Collection at 80 ge.
Put up to sale at Mr. Stanley's, in 1823, and bought in at 35 gs.
Exhibited in the British Gallery in 1828.
Now in the possession of Henry Brooksbank, Esq.
744. The Baptism of Constantino. A magnificent temple,
decorated with spiral columns, in which are assembled a number
of priests and persons of distinction; one of the former is
administering the sacrament of baptism to the emperor, who
is kneeling by the side of the font to receive it.
17^ in, by 20^ tw.— P.
Engraved by Delignon and Tardieu.
Valued in the Orleans Collection, in 1798, at 100 gs,
A picture representing the same subject, differently composed, is
engraved by Baroni.
745. Thomyris causing the Head of Cyrus to be immersed
in Human Blood. This splendid production of ai*t is com-
RUBENS. 207
posed of seventeen figures, assembled in a magnificent vesti-
bule ; the queen, richly attired in a white satinrobe embroidered
with gold, and a yellow mantle, accompanied by a lady on her
left, stands on an elevation of two steps on the right, observing
the executioner fulfil her orders ; the latter is bending on one
knee, holding the head of Cyrus over a golden charger, filled
with blood ; behind him are several persons of distinction and
soldiers witnessing the scene ; among these is one wearing a
fur cap and a red dress, with his hands behind him, near whom
is a stout man in a purple robe and a furred cloak ; three men
in armour are behind these, and a dog is in front ; two pages
bear the train of the queen, and three females are in attendance
behind her.
6 ft 8 in. by 11 /^. 9 zn.— C.
Engraved by P. Pontius, Ragot, Duchange, and Launay.
This capital picture is of the first order and excellence, and was
evidently painted after the master had maturely studied the works
of Titian, whose solemn, deep tones of colour are imitated with the
happiest effect, and add a grandeur and majesty which well accord
with the subject.
Collection of the Due d'Orl^ans, 1798; bought privately by the
Earl of Darnley, for 1200 gs, ; at present worth 2500 gs.
Exhibited in the British GaUery in 1822.
Now in his Lordship's collection at Cobham.
746. An admirably-finished Drawing by Eubens, the original
study for the preceding picture, commenced in chalks, and
washed in Indian ink and colours.
Now in the valuable collection of Sir Thomas Lawrence, P.R.A.
It was formerly in the collection of M. Mariette, a distinguished
amateur of drawings, at whose sale, in 1775, it sold for 1201 fs, 48Z. ;
and would now probably be estimated at 200^.
747. A Picture, representing the same subject, and similarly
composed, but with fewer figures, and of smaller dimensions.
In the Louvre. — Seep, 116.
208 RUBENS.
748. The Judgment of Paris. The young shepherd is repre-
sented sitting at the foot of a tree on the left, in the act of pre-
senting the apple to Venus, who stands fronting him, between
Juno and Minerva, while Mercury, who is on his farther side,
appears to be watching the result of the shepherd*s decision.
The deities are distinguished by the several emblems of the
peacock, Cupid, and the owl ; and the faithful dog is couched
at his master's feet. The figures in this capital picture are
finished with unusual care; the landscape is painted in a broad,
free, and sketchy manner; as a whole this production offers the
most engaging effect, with the richest tones of colour.
4 /if. 5 tn, by 5 ft 11 in. — C.
Engraved by Lommelin, Couch^, aud R. Woodman.
Collection of the Due d'Orl^ans, 1798, valued at . . 2000 gs,
Lord Kinnaird . 1813, passed at . . . 3000 gs.
It was subsequently purchased by T. Penryce, Esq., of Great
Yarmouth, who has constituted it an heirloom.
There is a print, engraved by Moitte, after a picture (18 in.
by 23 in.), which embraces the same composition as the preceding
with the addition of two cupids, and the heads of three sylvan
deities peeping from behind a high bank. Paris is not oflTering the
apple as in the former picture, but is deliberating in his election.
This print was done from a picture then in the collection of the
Count de Bruhl, and is probably the one now in the Dresden Gallery,
which is so highly prized that it is very deservedly protected by a
plate glass.
A second picture, being a repetition in small of the first picture,
was sold in the collection of the Countess of Holdemess, in 1802,
for 305 gs.
J. Neefs has engraved two prints, after sketches by Rubens, re-
presenting the Judgment of Paris and the Triumph of Galatea,
which were done for designs to decorate a silver salver and ewer for
Charles I.
749. The Rape of Ganymede. The beautiful youth is repre-
sented in Olympus, reclining on one of the wings of Jupiter's
RUBENS. 209
ec^le, and bending forward to take a cup from the hands of
Hebe.
7fLhjQft.—C.
Engraved by Henrique.
Collection of the Due d'Orldans, 1798, . . valued at 400 gs.
750. Philopoemen, the Achaean General, chopping Wood for
the Cook-maid at an Inn. On the left side stands a large table>
on which are piled an abundance of provisions, consisting of a
dead fawn, a swan, a peacock, and a boar's head, intermixed
with fruit and vegetables ; these are by the pencil of Snyders.
S ft, hy 9 ft, 2 m.^C.
Engraved by N. Varin, in the Orleans Gallery.
Collection of the Due d'Orl^ans, 1798, . . . valued at 600Z.
751. The Death of Adonis. This composition consists of
six figures of the size of life. On the foreground of a woody
landscape lies extended the pale corpse of Adonis,at whose head
is the goddess Venus, bending on one knee, bewailing her lover's
death ; beyond this group are three nymphs and a cupid, each
deeply affected with grief ; two of the huntsman's dogs are on
the left ; a thick grove of trees forms the background. The
figures are painted in the artist's smooth and finished manner,
most admirably drawn, particularly the body of Adonis ; and
the landscape is by the free pencil of Wildens.
1ft, 6 in, by lOj^.— -C. (aboui.)
A picture of this subject was put up to sale in the collection of
Mr. Bryan, 1798, and knocked down at 1407/.
Now in the collection of Thomas Hope, Esq.
A sketch for the preceding picture is in the Dulwich Grallery.
19 in. by 25^ tn.— P.
Panneels has etched a print, representing Venus kneeling by the
side of Adonis, her hands extended, and her countenance directed
upwards, apparently complaining to the gods of the loss of her lover;
her car drawn by swans is on one side, and the dogs of the hunts-
man on the other.
VOL. II. P
210 RUBENS.
752. Diana departing for the Chase. The goddess, clad in
a mantle, and the skin of a tiger, which covers the body and
left shoulder, leaving the right arm, breast, and legs exposed,
and bearing a spear apparently in her left hand (which is con-
cealed behind her), is advancing towards the front, caressing
with her right hand a fine hound which is jumping up against
her ; two other hounds are on the left, and beyond these are
two nymphs, one of them is looking at a female struggling in
the embraces of a satyr, behind whom is another satyr, extend-
ing his arm to pull him away ; the head and arm of the latter
only are seen. This capital production exhibits pre-eminently
the powers of Bubens in this class of subjects, to which he
never fails giving that peculiarity of expression suited to the
fabulous mythology it represents, and a splendour of colour
truly enchanting.
7 A by oft lOiw.— C.
Engraved by J. Ward, K.A.
Collection of M. Wouter Valckenier, Aimt 1796, 6100^. 540/.
Mr. Bryan, . . London^ 1798, . . . 1000 gs,
Sir S. Clarke, Bart. & G. Hibbert, Esq. 1802, 1850 gs.
^'ow in the collection of Sir Simon Clarke, Bart.
753. Ceres and Pomona. The catalogue states, that this
picture is painted in Bubens's finest manner ; adding, '' that the
composition is unusually grand, the design graceful, and the
colouring splendid."
Collection of Mr. Bryan, .... 1798 490 gs,
754. St. Peter holding the Keys.
Collection of Mr. Bryan, .... 1798 40Z.
755. The Companion. 8t. Paul The same catalogue
observes, that " this and the companion were presented by
the painter to one of the confr&res at Antwerp."
Collection of Mr. Bryan, .... 1798 40^
766. The Holy Family. A composition of four figures, as
KUBENS. 211
large as life, seen to the knees. The Virgin is seated in the
middle, with the infant Saviour in her arms, whose feet she
has just finished washing in a basin ; His head reclines on
His mother's breast, and His attention is directed to an angel,
who is presenting Him a basket of fruit ; St. Joseph (seen in
a profile view) is in the opposite side. The background
represents a landscape.
6 ft by 4 ft 2 in.— C.
This capital picture is stated to have been painted for a M.
Grouin, in whose family it continued until it was purchased for the
Presle Collection, from whence it was transferred to the present one.
Collection of M. Robit, .... 1801, . 1 2,000 /«. 480Z.
Now in the collection of Sir Simon Clarke, Bart, valued at 1200 ^7*.
757. The Eesurrection ot Christ. The composition exhibits
the Saviour seated in the middle, with His right hand on a
ci'oss and the left placed on a globe, which is supported by an
angel ; two other angels (one holding a palm branch) are at
His side, and the emblems of sin and death are under His feet.
5//. 6 in. by kft. 3 m.— P.
Engraved by Eynhouedts.
This excellent picture was purchased of an English nobleman, in
1874, for the cabinet of M. Donjeux.
Collection of M. Robit, .... 1801. . 8420/*. 337/.
758. The Portrait of a Lady, with her head inclining a
little forward, and the face seen in a three-quarter position.
2/f. 1 tn.by \ ft, 9 m.— P.
Collection of M. Robit, . . . . 1801. . 1500/«. 60i.
Now in the collection of Sir Simon Clarke, Bart.
759. The Four Fathers of the Church, Saints Gregory,
Ambrose, Augustin, and Jerome. These venerable persons
are seated, and three of them are attending to St Jerome,
who appears to be expounding the scriptures. Three angels,
bearing a crosier, a burning heart, and a beehive, hover above
their heads.
27 in, by 24 m.— C.
2 1 2 RUBENS.
Engraved by Galle, and also by Van Dalen.
Collection of M. TronchieD, . . . 1801. . 1900 /«. 76/.
Picot has engraved a print, entitled " Les Evang^listes."
760. A Portrait, said to be that of Rubens. The face is
seen in a front view, and the figure inclines forward ; a broad
frill surrounds the neck, and a gold chain crosses the body.
24^ in. by 21 in. — P. (oval,)
Engraved by Wollett, from a picture ascribed to Van Dyck,
then in the collection of Earl Godolphin.
Collection of John Purling, Esq. . 1801 79 gs.
Mr. P. Coxe, . . . 1815 65 gs.
Now in the collection of Edward Gray, Esq.
761. The Virgin and Child, with Joseph and St. John.
Said to have formerly been in the collection of Lord Scarborough.
Collection of John Purling, . . . 1801 300 gs,
A picture, styled " A Holy Family," was sold by Mr. Christie,
1807, for 800 gs.
762. The Assumption of the Virgin.
3 ft. 4 in. by 2 ft 1 in.—F.
Engraved by Bolswert, and in small by Loemans.
This is an admirably-finished study for the large picture painted
for the Jesuits' church at Antwerp, and now in the cathedral of
that city. — For descripticmy see p. 20.
Collection of Count d'Arcy.
John Purling, Esq. . 1801 565 gs.
Sir Simon Clarke, Bart. 1802 410 ^».
Exhibited in the British Gallery in 1826 and 1827.
Now in the collection of His Majesty.
763. The Vkgin, with the infant Saviour sleeping in her
arms ; near them are St. Elizabeth and St. Joseph.
3/f. 4 in. by 2 ft. 6 in.—F. (about.)
Collection of Crauford, Esq. (by Mr. Christie), 1801, 140 ^«.
Now in the collection of Abraham Kobarts, Esq.
RUBBNS. 213
764 The Holy Family. In this composition the infant
Saviour is caressing St. John.
4/f. 3 m. by 4 /f.— P.
Tassaert has engraved a print which resembles this description.
Collection of Sir George Yonge, Bart. 1806 5101,
765. The Loves of the Centaurs. This classic scene repre-
sents the fresh and verdant groves of Arcadia, in which is
introduced the poetic fiction of the centaurs ; two of which are
fondly embracing in the foreground, and a second pair is seen
sportively bounding over the meadows at a little distance.
The enchanting beauty of the landscape, and the spirit and
energetic expression displayed in the imaginary animals,
render this a production of matchless excellence.
Ift.S in, by 2 ft 4 m.— P.
Collection of a gentleman in Grafton Street, 1802. . . 260 gs.
The Hon. T. Greville (by Mr. Christie), 1810, 610 gs.
Now in the collection of the Duke of Hamilton, Scotland.
766. Jupiter and Antiope. The nymph Antiope is on the
left of the picture, bending down in the attitude of the antique
Venus accroupee, with her naked back to the spectator, and
her face turned towards him in a three-quarter position ; in
front of her is Cupid, covered with a thin veil, crouching close
to her knees, to shelter himself from an impending storm ;
beyond this group is seen Jupiter, under the form of a satyr,
issuing from a grove, bearing a cornucopia of fruit ; the scarlet
mantle of the nymph lies on the ground in front. The opposite
side of the picture displays a grand hilly landscape finely
diversified with trees ; a dark cloudy sky casts a gloomy aspect
over the scene, and adds surprising lustre and brilliancy to the
figures, which are painted with studious care, combined with
admirable drawing and a rich impasto of colour. It is signed
and dated P.P. RVBENS, 1614.
4//. Sin. by 6 A 1 m.— P.
Collection of M. Peytier de Merchten, Ant, 1791, 4402^. 396/.
214 RUBENS.
Now in the posaession of Mesdames de Knyff, at Antwerp. The
Writer is credibly informed that these ladies have recently refused
the sum of 40,000 flo, for it, 3400?.
The same subject, in which the nymph Antiope is represented
sitting asleep on a bank, and Jupiter, under the form of a satyr,
cautiously removing her drapery, is engraved by Panneels. Ravenet
has also engraved a print of this subject from a picture then in the
possession of Marquis Felino.
767. A magnificent Landscape, presenting a view over an
immense tract of country, varied with gentle hills, finely wooded
and intersected on the left by edges and deep ravines, enclosing
arable and pasture lands, in which cattle are grazing ; on the
right, at some distance from the front, stands a noble country
mansion (the residence of the artist), flanked by a tower ; in
front of the house are some lofty trees, standing on a knoll,
at the side of which is a stream rippling over stones to the
foreground ; through which a waggon, drawn by two horses,
is passing ; a woman in a scarlet cloak, a calf, a cask, and other
objects are in the waggon, and the driver is mounted on one of
the horses ; still nearer the front is a sportsman with his dog
and gun, creeping towards a covey of birds on a hill in the
centre. This part of the picture is composed of bold broken
ground, divided by chasms, and beautifully diversified with
bushes, brambles, wild plants, and the stump of an old tree ;
the variations of sun and shade play alternately over the wide
expanse of country, conducting the eye by the most agreeable
transitions to the extreme distance, where a city (probably
Malines) and several hamlets are indicated by the appearance
of the steeples and towers of churches.
4/f. 6^ iru by 1 ft 9 tn.— P.
In contemplating this superb picture, and calling to mind others
of similar excellence, it must surely be admitted, that» to conceive
and to execute were one with this incomparable painter. Nothing
in nature was too fleeting for his eye, or too vast for his compre-
hension ; and his pencil, ever subservient to his will, appears to have
RUBENS. 2 1 5
played rapidly over the surface of his canvas, emhodylng forms, and
giving to every object in nature its " form and pressure." A print,
which promises to be a faithful transcript of the picture, is now
engraving by Mr. George Cooke.
This and the following picture were purchased from the Balbi
Collection in 1802, and imported into England by Mr. Buchanan ;
of whom the one above described was bought for the sum of 1500 gs.
by Sir Gborob Bbaumont, Bart., whose zeal for the prosperity of
the arts influenced him to present it, with many others of great ex-
cellence, to the British nation, in 1826, the whole forming A GIFT
TO THE VALUE OF UPWARDS OF SEVEN THOUSAND
FIVE HUNDRED GUINEAS.
768. A grand Landscape, exhibiting an extensive view
*
over the flat open country in Flanders, with all the varieties
which nature shows in a cultivated state, and adorned with
clusters of lofty trees and the picturesque intersections of
roads and hedges. This scene of nature is enlivened by a
party of peasants returning at evening from harvest work ;
beyond these are others still occupied in agricultural labours;
some cattle are at a pond on the left, towards which several
ducks are hurrying. The general aspect of vegetation presents
the beauty and freshness arising from recent showers, which is
finely indicated by a rainbow in the heavens, the purity of the
atmosphere, and the transient bursts of sunshine.
4 fL 6 J in. by 7 /L 9 m.— P.
This production of the pencil is of equal excellence with the pre-
ceding, to which it formed a companion in the Balbi Palace, and
was also imported in 1802, and was soon after purchased hy
George Watson Taylor, Esq. for the sum of 1500 gs., at whose sale,
in 1823, it was sold for 2600 gs.
Now in the possession of the Earl of Orford.
769. The Elevation of the Brazen Serpent. This splendid
composition exhibits Moses and Aaron standing on the right ;
the latter is pointing to an elevated serpent, towards which
many of the Israelites, who are suffering from the tormenting
bite of venomous reptiles, ai-e looking for relief ; among these
216 RUBENS.
is a woman with two children in her anns, whose faith in the
typical erection has preserved her and the infants from the
punishment of the disobedient.
6 A 4i7i. by 8//. 11 m.— C.
£ngraved by Bolswert and Galle.
This and similar subjects are those which display in the strongest
characters the incomparable powers of Rubens ; here the fervour of
his mighty genius could revel uncontrolled, and with an energy
almost appalling depict the violent contortions of the agonizing
suflferers.
This glorious work of art formerly adorned the Marano Palace, in
Italy.
Collection of A. Wilson, Esq. . . 1807 1200Z.
Wm. Champion, Esq. . 1810 lOOOZ.
Well worth 2000 gs.
Exhibited in the British Gallery in 1815.
Now in the possession of T. B. H. Owen, Esq.
Duplicates of the preceding, done by the artist's scholars, and
probably retouched by his hand, occur in the galleries of Potsdam
and Madrid.
A beautiful drawing of the preceding picture, done in black
chalk heightened with white, is in the Mus^e at Paris, and the
original sketch was sold in a collection at the Hague, in 1749.
500 flo, . 45/.
Size of the latter, 16 m. by 22 in. — P.
770. An old Woman, of a good-humoured and interesting
countenance ; seen in a front view, looking down. She has a
basket on her arm and a lighted candle in her right hand, the
flame of which she is screening from the wind with her left ;
while a youth, who is looking over her shoulder, reaches out
his hand to light a candle at the one she is holding. It is im-
possible for art to effect a more perfect illusion of candlelight
than is produced in this excellent picture.
3 ft 4 in. by 2/1. 8 m.— P.
Etched by Rubens; and also by Jacob Stahl, in 1645.
Engraved by Visscher; and in mezzotinto by Joshua London; and
again, anonymous.
RUBENS. 217
Collection of Hastings £lwyn, Esq. 1806 950 g$.
Now in the collection of Lord Feversham.
Panneels has etched a print, entitled Gursus Mundiy representing
an old woman, with a broken pitcher in one hand and a lighted
candle in the other, at which a boy is about to light a whole one.
A skeleton is seen in the background.
There is a picture of a similar subject to the preceding, but of
very inferior merit, in the Dresden Gallery, which was engraved by
Wyngaerde, in 1631 ; and also by Basan and Boece.
The same subject, with the addition of two boys, is engraved in
mezzotinto by Smith.
771. A Sketch for a Portrait of Helena Forman.
Collection of Sir William Hamilton, 1801 52/.
772. A spirited Sketch of a Boar Hunt, and the Death of
Meleager.
Collection of Edward Coxe, Esq. . 1807 66 (/«.
773. Abraham sending away Hagar. Sarah, who is repre-
sented as the chief mover in this dismissal, stands at the door
of the house, with her left hand placed on her hip and the
right raised in an attitude of addressing herself forcibly to
Hagar, who is quitting the presence of her offended mistress.
The patriarch stands within the door of the house.
2 ft. 4 in, by 3 ft 4 tn.— P.
Engraved in Young's Grosvenor Gallery.
Collection of Welbore Ellis Agar, Esq., 1807.
Now in the collection of Earl Grosvenor.
774. The Conversion of St. Paul. This magnificent pic-
ture offers a composition of extraordinary grandeur. The
principal group consists of four horsemen, and six figures on
foot, the whole of which are thrown into confusion by the super-
natural appearance of the Saviour in the heavens. Saul, the
object of this visitation, struck with terror, lies prostrate and
senseless on his back in the foreground, with one leg on the
horse's back, which has fallen forwards upon its kneie ; at the
218 RUBENS.
same, instant one of his attendants is stooping at his head to
assist him ; a little retired from these is another of his escort,
mounted upon a terrified horse rearing upright ; and beyond
him is an armed standard-bearer. On the right of the picture
is a third soldier, clad in armour, riding a fiery charger, which
is kicking up behind ; those of Saul's attendants on foot are
equally affected with terror and dismay. A brilliant light,
emanating from the Saviour, is diffused over the centre group,
producii)g an effect at once awful and sublime. In whatever
view this superb production is considered, whether with re-
gard to the composition and drawing, the richness and glow of
the colouring, or the masterly boldness and freedom of the
handling, the mind and eye of the connoisseur will dwell upon
it with real delight, and confess it to be a work of the highest
real excellence.
8 A by U/t. 6in.— C.
Engraved by Bolswert.
This noble gallery picture was formerly the property of M. de
Montesquieu, of whose family it was pmrchased by Mr. Delahante,
to whom the country is indebted for the importation of many first-
rate pictures. Mr. Hastings Elwyn became the possessor of it in
1806 ; from him it passed into the collection of Hart Davies, Esq.,
at the sum of 4000 gs. It was put up to auction at Mr. Christie's,
in 1810, and knocked do^vn at 2550 ga.
Now in the collection of J. P. Miles, Esq., Bristol.
775. The Conversion of St. Paul. A beautiful study, of the
choicest quality, probably the first idea for the preceding
picture.
16 J Ml. by 11 in. — P.
Collection of Welbore Ellis Agar, Esq., 1807.
Now in the collection of Earl Grosvenor, and worth . 200 gs.
776. The Adoration of the Magi. — For description, nee
p. 55.
10 ft. 9 in. hjSft.l in.—C.
Engraved by Witdouc, and in Young's Gallery of the Grosvenor
Collection.
RUBENR. 219
Michel, in his TAfe of Rubens, states this picture to have been
the work of only eight days, at the usual price of 100 flo. per diem.
It was painted to adorn the altar of the church of the White Nuns
at Louvain.
CoUectiou of Marquis of Lansdowne, 1806 840Z.
Now in the collection of Earl Grosvenor.
777. Portraits of the Artist and his first Wife. They are
represented sitting on a bank ; Subens has his left arm on her
shoulder, and his right hand holds a folio upon its edge ; it
appears, by his attitude, that he is directing the lady's attention
to some distant object ; a vase and a basket containing flowers
are by the side of the lady. These accessories and the land-
scape are attributed to the pencil of Breughel.
7 ft by 6 ft 2 m— C.
Collection of Sir Gregory Page Turner, Bart.
Welbore Ellis Agar, Esq., 1807.
Now in the collection of Earl Grosvenor.
778. Christ appearing to Mary Magdalen after His Resur-
rection, called Noli me tangere. The Saviour, clad in an
ample mantle, girt round His loins and cast over the right arm,
leaving His breast and feet exposed, and holding a spade in His
left hand, is bending forward, with His right arm extended to
Mary, who is bowing on one knee before Him. A vase of
ointment stands on the ground between them.
6 ft 6 in, by 5 ft 9 tn.— C.
Engraved by Lommelin and Wyngaerde.
Collection of M. Smeth Van Alpen, Rott 1810. 2700^. 243Z.
Now in the collection of M. Six Van Winter.
The artist has introduced the same subject as the preceding in a
small landscape painted by Breughel.
2 ft by 2fi, Stn.—F.
779. Hygeia, Goddess of Health. A beautiful young
female, nearly naked, with a serpent entwining her arm, and
220 RUBENS.
holding a cup in her hand. The figure is of the size of life,
seen to the knees.
3 ft, 5J in, by 2 ft. 5 tn.— P.
Collection of M. Smeth Van Alpen, 1810. . 800 ^o. 72/.
Now in the collnction of M. Franken, of Lokeren.
780. A Portrait of Rubens's second Son, at the age of
fifteen months. The infant, dressed in the stiff costume of
the period, his chubby face seen in a front view, is seated in
a green chair, playing with sweatmeats on a board before him.
This picture (which shows the whole figure) is remarkable
for its careful finishing and its striking resemblance to nature.
On the side of the chair is inscribed "iEtatis suae 15
Maenden; 1627."
2//. 7 in, by 1 ft, 9J m.— P.
Engraved by Salvador.
Collection of M. Sereville, . . . 1811. . 4225 /». 169/.
It was consigned from Vienna to the writer for sale in 1828,
at 600/.
The Prince of Monaco is said to have paid 1000 ducats for it —
about 450/.
Xow in the public gallery at Frankfort.
781. The Adoration of the Shepherds. The subject is
composed of nine figures, and two angels above, bearing a
tablet, on which is written Gloria in excelsis.
2ft. bin. by 1//. 11 m.— P.
This is probably a finished sketch for a large picture, which is
engraved by P. Pontius.
Collection of M. de Preuil, . . . 1811. . 6000 /«. 240/.
782 Pan pursuing Syrinx. The subject is represented in
a woody landscape, exhibiting a beautiful sylvan scene ; in the
foreground is Pan bounding down a rugged bank in pursuit
of the nymph Syrinx, who is seeking shelter among a cluster
of reeds in a stream. An excellent production, possessing
extraordinary effect and brilliancy of colour.
20 in. by 26 in.—V.
RUBENS. 221
Collection of Walsh Porter, Esq. . 1810. . . . 1000 ^».
Exhibited in the British Gallery in 1826 and 1827.
Now in His Majesty's Collection.
783. A Portrait of GrotiuB. His portly countenance,
denoting him to have been about fifty years of age, is seen in a
front view, with a small beard and mustachios ; a broad full
ruff surrounds the neck; the dress consists of black figured silk.
2/^. 4 m. by 2^.--C.
Collection of Sir Richard Sullivan, Bart, 1808. ... 95 ga.
784 The Holy Family. The Virgin is seated on the left,
the infant Saviour standing naked in her lap, with His right
arm round her neck ; the infant St. John stands close to the
Virgin, extending his hands to tlie Saviour, before whom St.
Francis is bowing in adoration ; St. Elizabeth is behind the
Saviour, and St. Joseph on the left.
7 ft. 3 in. by 6 Jt—C,
Collection of M. Paillet, . . . . 1814. . 6000 /». 240/.
Now in the collection of His Majesty, at Windsor.
A duplicate of the preceding is in the collection of J. P. Miles,
Esq., at Bristol.
5//. 8 m. by 6 /if. 7 tw.— C.
The latter is probably the one sold by Mr. Christie, in 1820, for
240/.
785. Three Servants, presenting to a nobleman a large
quantity of fruit, a fawn, and other game. The latter are by
the pencil of Snyders.
7 //. 11 in. by 8 //.— C.
Collection of M. Paillet, . . . . 1814. . 4100^. 164/.
786. A Bust of Plato (seen in nearly a profile view), with
long hair and beard; a light-coloured mantle covers the
shoulders.
2 ft. 0| in. by 1 ft. 7 tn.—P.
Engraved by Vosterman.
Collection of M. de Vinck de Wesel, Antwerp, 1814. 200^. 18/.
222 RUBENS.
787. A Landscape, representing a woody scene with a
pond in front, in which a traveller is refreshing his steed,
and cattle are drinking.
The catalogue states this picture to he the first thought for the
fine picture known as "The Watering Place."
Collection of Hart Da vies, Esq. . 1814 . . . . 300 ^«.
788. Saint Sebastian, tied to a tree, transfixed with arrows.
Mr. Hill's sale, 1811 120 ^«.
There is a print of this subject in which an angel is crowning the
dying martyr, engraved by Panneels ; and a second, which repre-
sents an angel extracting an arrow from the martyr's side, engraved
by Ragot. The latter is repeated in small, reversed ; Marin ex.
789. An Equestrian Portrait of Ferdinand of Austria. A
finished study, on paper, for the large picture.
Engraved by P. Pontius.
Collection of W. Y. Otley, Esq. 1811.
790. A Monk, in the dress of the Order of Benedictines ;
his hand is on a skull, which is placed on a covered table at
the side. This is said to be the portrait of F. J. Vanden
Linden, a knight of the Order of Jerusalem.
Engraved by Vanden Berg.
Collection, anonymous (at Mr. Christie's), 1813. . . 300 gn.
791. Three Goddesses, Flora, Ceres, and Pomona, with a
great variety of fruit and flowers. Two of the figures are
said to be portraits of the artist's wives.
Collection of Willett Willett, Esq., 1813, bought in at 340 gs.
Same collection (at Mr. Christie's), 1819 100 gs.
There is a print of a similar subject to the preceding, composed
of three nymphs, one of whom holds a cornucopia with a parrot
perched on the top ; another of the nymphs is giving a bunch of
apricots to a monkey. Engraved by Van Kessel.
792. A Larder, in which are a Female and a Sportsman in
RUBENS. 223
conversation. The place is stored with a great variety of
game, poultry, and fruit.
CoUection of Willett Willett, Esq. . 1813 280Z.
Now in the possession of Charles Baker, Esq.
793. A Portrait of a Spanish Officer. The face is repre-
sented in a three-quarter view, having mustachios and a small
tuft of beard on the chin ; the dress consists of black silk with
slashed sleeves, relieved with white satin ; a broad lace frill
adorns the neck, and a large hat turned up in front covers
the head.
Engraved by Fitler.
Collection of Lord Kinnaird, 1813, sold under the name of
Yelasques 399 g».
794. The Virgin and Child. The Virgin, clothed in a
scarlet vest and a dark mantle, is seated with the infant
Saviour standing naked in her lap, her right hand round His
loins. This is a production of the first order ; the form and
expression of the figures are beautiful, the colour rich and
glowing, and the finishing highly accomplished.
4/f. 4 in. by 3 /if. —P. {about,)
A very similar composition to this is engraved by P. Pontius and
A. Voet ; and a picture, with the figures entire, and the addition of
St. Ann and St. Joseph, is finely engraved by Bolswert.
In the catalogue it is styled, " A Mother and her Child."
Collection of Hart Davies, Esq. 1814. (bought in) 1000 ga.
It was afterwards sold to Sir Mark Sykes, Bart, for 1100 gs.
795. The Union of Navigation and Commerce. A finished
sketch.
Collection of Mr. P. Coxe, . . . 1815 ^1 g$.
Purchased by Lord Mulgrave.
796. The Woman taken in Adultery. The composition
consists of five principal and seven subordinate figures, of the
224 RUBENS.
size of life, seen down to their middles. The accused woman,
with a countenance expressive of deep repentance, stands in the
centre, and her two chief accusers are on her left ; the nearest,
in a sacerdotal habit and wearing a phylactery on his fore-
head, is said to have been intended for a portrait of Calvin ;
the other for that of Luther. The former, witii a peculiar
archness of expression, accompanied by suitable action, appears
to have made the charge, and is reciting the law laid down by
Moses, " that such should be stoned : but what sayest thou ? " —
whilst the latter, with a stoical calmness, has his eyes fixed
on the Saviour, who stands in the opposite side in an atti-
tude of appeal to these accusers. The head of a venerable
man, seen on the woman's right, is considered to be a portrait
of Rubens's master, Otho Venius. Great expression and
splendid colouring are the chief characteristics of this capital
picture, which is said to have been painted for the family of
Knuyf, of Antwerp, and devolved by inheritance to the cele-
brated collector, the Canon Knuyf.
4 ft. 8 in. by 7 ft. 4 in.—V.
Engraved by Madlle. Simons and Tassaert ; in Tresheim's British
Gallery, by Cardon ; and by W. Bromley in the Forster Gallery.
Collection of the Canon Knuyf, Avi. 1780.
Henry Hope, Esq. . 1816. ... 2000 g».
Bought by Mr. Norton.
Exhibited in the British Gallery in 1818.
Now in the collection of J. P. Miles, Esq., at Bristol.
797. Christ bearing His Cross. A masterly sketch, en
grisaille, for a large picture.
Collection of M. Thellusons,
Duke d'Albert, . . 1817. 85 ^*.
798. Salvator Mundi.
Painted for the Duke of Mantua, and subsequently in the col-
lection of M. Veluvi.
Sale at Mr. Christie's, . . . 1818 235 gs.
RUBENS. 225
799. A Magdalen.
Collection of John Knight, Esq. . 1819 ISO gs.
800. Portrait of Helena Fornian, seen in a front view, with
her hair in bushy curls decked with a flower ; a chain of
jewels is suspended round her neck and attached to a cluster
of the same, adorning the front of her bodice ; the bosom is
exposed, and a stiff lace frill stands up round the shoulders.
2ft. etn.hj2ft, 1 in.
Etched in the collection of Lucien Buonaparte, 1816; sold
, privately.
801. An Allegorical Subject, allusive to the Commerce of
Antwerp. The city of Antwerp is represented under the
figure of a beautiful female, whom Pallas (having put Sedition
under her feet) is embracmg.
This }fi probably a study for part of one of the triumphal arches
so often noticed in this Work.
Collection of the Earl of Ossory, . 1819 120 gs,
A picture corresponding in description with the preceding was
put up at a sale in 1804, and knocked down for 550 ga.
Again in a sale at Mr. Christie's, . 1807 950 gs.
802. Esther, accompanied by two females, appears faint-
ing on her knees in the presence of King Ahasuerus, who
has arisen from his throne and is extending his sceptre over
her ; a page holding his robe, and two of his ministers, are
behind him.
Engraved by F. Vanden Wyngaerde.
803. A Grand Procession to a Sacrifice. In the centre of
the composition is a priest clothed in scarlet, preceded by
musicians playing on instruments, and leading a white bull; in
advance of these are four females bearing baskets of flowers ;
two youths, leading heifers, follow the priest, and in the rear
are five elephants, adorned with rich trappings, carrying
VOL. II. Q
^226 RUBENS.
baskets of fruit on their heads, and gold candelabra and censors
on their backs, these are directed by suitable attendants : a
lion and a tiger contribute to the grandeur of the procession,
which appears to be slowly advancing to a temple seen on a
hill, the sides of which are occupied by numerous spectators.
3 ft. by 5 ft. 5 tn,—C. on P.
The artist, in the composition of this splendid sketch, has
borrowed freely from a cartoon of Andrea Mantegna ; but in the
•energy of the expression, colour, and masterly handUng, has made
it his own. It was inserted as Lot 315 of the catalogue of the
-collection of Kubens. — See p. 35.
This excellent production was purchased from the Balbi Palace ;
and, on its importation^ was correctly valued at 800 gs.
Collection of A. Champernowne, Esq., 1820. . . . 335 gn.
Exhibited in the British GaUery in 1815.
Now in the collection of Samuel Rogers, £^.
804. The Prodigal Son. The interior of a stable and
•cow-house, in which are two horses, one gray the other of a
•chestnut colour, standing in a stall on the riglit; in the centre
are several cows, the nearest one to the spectator is lying
down ; a great variety of objects common to a stable are dis-
tributed about the place ; three men are near the horses, one
of them appears to be occupied at the manger, another has a
•candle in his hand, and a third is placing provender in the
rack. The prodigal is on the left side, near the entrance to the
stable, bending on one knee, his hands placed on his breast,
and looking with an expression of entreaty at a maid-servant
who is close to him, feeding some pigs that are rushing with
eagerness to the trough; beyond these are seen a waggon near
a farm-house, and two men watering horses in a pond ; the
general effect denotes sunrise. This picture is painted with
extraordinary care, and great attention to detail ; the animals
are correctly drawn, and possess the true characteristics of
nature; but the great charm of this production consists in the
truly affecting and pathetic expression of the prodigal, whose
RUBENS. 227
position, countenance, and gesture, strongly mark the com-
punctuous workings of his mind.
3 ft. i in. by 4 //. 9 in,— P.
Engraved by Bolswert.
Sir Joshua Reynolds, in his Tour through Flanders, mentions
this picture, which was then in the collection of M. Pieters, 1781.
Collection of M. Stiers d'Aertselaer, 1822. . SiOOflo. 306^.
It was in the Writer's possession, for sale, in 1823-4 at 800/.
Now in the possession of W. Wilkins, Esq. Exhibited in 1829.
A beautiful study in chalks, for the shed and cows of the pre-
ceding, is in the possession of Sir Thomas Lawrence, P.R.A.
23 in, by 21 in.
805. Portrait of Philip Rubens, the artist's brother. He
is about twenty-five years of age, and seen in a three-quarter
view ; auburn hair ; the body enveloped in a mantle.
24 in. by 19^ in.
There is a print of this gentleman, taken from a bust portrait,
engraved by Galle.
Collection of M. Stiers d'Aertselaer, 1822. . 1178 /o. 105Z.
Now in the possession of Baron Mecklenburg.
806. Portrait of Helena Forman, when about twenty-six
years of age. The face is represented in a profile view, with
short auburn hair, decked with a crown of pearls and rubies ;
a plain brown and red dress, leaving the bosom exposed.
The bust is enclosed in an oval.
25 in. by 19 in. — P.
Collection of M. Stiers d'Aertselaer, 1822. . 620 /o. 56/.
Now in the collection of Edward Gray, Esq.
807. Bellerophon, mounted upon Pegasus, destroying the
monster Chimaera. This spirited sketch was done for one of
the designs of the numerous pictures which decorated the
triumphal arches erected at Antwerp in honour of Ferdinand,
in 1635.
13 m. by lOtn.— P.
Engraved by Van Thulden.
228 RUBENS.
Collection of M. St Victor, . . . 1822. . 761 /«. 301.
(bought by the Writer).
Now in the collection of William Beckford^ Esq.
808. A Lioness stretching herself in a playful manner on
the ground. Had Bubens confined his studies exclusively to
animals, this production would have placed him in the first
rank of painters in that class of art.
A ft. 6 in. hy 6/i. 6 in. — C. (ahatU.)
Collection of G. Watson Taylor, Esq., 1823 .... 310 gs.
Exhibited in the British Gallery in 1818.
809. An Allegorical Composition, representing a triumphal
Procession of Henry IV. of France, after the Battle of Ypr^s.
A spirited sketch, said to be the original design for a large
picture at Florence. (See p. 148.) In the upper part of the
panel are studies of detached groups.
19 in. by 25J tVi.— P.
Collection of M. Schamps.
G. Watson Taylor, Esq., 1823. ... 51 gs.
Exhibited in the British Gallery in 1821.
Now in the collection of Lord Whamcliffe.
810. Portrait of one of the Artist's Children. Painted
with great energy of expression and a rich impasto of colour.
17 »n. by 12 in.— P.
There is a print of Kubens's eldest son, Albert, when an infant^
engraved by Schiavonetti.
Collection of G. Watson Taylor, Esq., 1823. ... 147 g8.
Re-purchased for that gentleman, and now in his collection.
Exhibited in the British GaUery m 1821.
811. THE CHAPEAU DE PAILLE. A portrait of a
young lady (said to be a Mademoiselle Lundens), wearing a
black Spanish hat, adorned vrith black and white feathers, and
elegantly attired, according to the costume of the time, in a
black velvet bodice and skirt, with scarlet sleeves and white
epaulettes, tied with rose-colour ribbons, and a tawny-colour
RUBENS. 229
Bcarf, thrown in a negligent manner over the shoulders ; the
hands are passed over each other in front, the left one holding
the scarf. Her complexion is most delicately fair, but the hat,
inclining forward, throws a shade over the upper part of the
face, which, by the reflex from the white bosom, is rendered
beautifully transparent. She is represented parsing before
the exterior of a window on a fine sunny day, the effect of
which is strikingly denoted in the brilliancy of the colouring.
2/^ 7 in. by 1 /^. 10 in,— P.
Tradition states that this beautiful picture was so highly prized
by the artist, that he never could be induced to part with it. At
his death, in 1640, it was inserted in the Catalogue of his Pictures
(lot 122) which were sold privately in detail (see p, 32), and, when
his widow died, passed into the family of Lundens, with whom it
remained as a joint property until a few years back, when it was
purchased by the late proprietor. Baron Stiers d'Aertselaer, of
M. Van Haveren, for 50,000 fs., 2000Z. On the decease of the
Baron, it was sold for the benefit of his children, in a collection of
other valuable pictures, at Antwerp, on the 29th of July 1822, and
was purchased by the Writer, in conjunction with another person,
for 32,700 /<?., which, mth the addition of 10 per cent., and other
incidental expenses, is about 3000 gs.
Insinuations having been thrown out, that this picture was bought
privately, at a reduced sum, previously to the sale, and was after-
wards run up in price, for the purpose of giving it a fictitious value,
the Writer feels it due to himself most solemnly and unequivocally
to declare, that no such thing took place; indeed, had he been
inclined to have acted in so dishonourable a manner, he could not
have succeeded, the laws of Holland enforcing a public sale of all
minors' property. Shortly after the picture arrived in England, it
was sent by His Majesty's express desire to Carlton House, where
it remained for a fortnight. The Writer has been most credibly
informed, that the King was greatly delighted with the picture, and
would have bought it, had not his advisers expressed an opinion
that the price was too high, although the Writer, anxious to see so
distinguished a specimen of the art in the royal collection, offered to
accept such remuneration upon the prime cost as those gentlemen
230 BUBENS.
might think fit to recommend. A proposition was then made, that
some other pictures should be taken in part exchange, but they
proved to be of such very indifferent quality, that the Writer was
under the necessity of refusing them : thus the affair terminated.
The Writer thinks it proper to state, that, influenced by an ardent
desire to sell it to His Majesty, he was induced to refuse an offer
of 500/. profit, a few days after its arrival in England.
In the month of March following (1823), it was exhibited at Mr.
Stanley's Rooms, Old Bond Street, and never did any other picture
receive such universal admiration and applause : the public papers
and periodical works teemed with long paragraphs in its praise, and
it continued to excite, for some months, the most lively interest,
attracting such numbers of spectators that the room was constantly
crowded. During the four months of its exhibition nearly twenty
thousand persons visited it.
The picture was sold by the Writer, the same year, to the Kight
Honourable Robert Peel, in whose possession it now is, forming
the nucleus of his choice collection.
Mr. Reynolds has engraved a print of it, in mezzotinto; and
there is also one in line, by Tayler, done from an old black chalk
drawing.
In closing the history of this distinguished picture, the Writer
begs to make a few observations upon its prominent beauties as a
work of art ; its claims to superiority over every other picture of
the same class ; and, lastly, its consequent value, and great utility,
in a public view, as regards the improvement of the arts in this
country. In noticing the first, namely, its prominent beauties, the
Writer would refer to its deceptive roundness and apparent flexibility,
produced almost entirely without shadow, or any violent opposition;
to these is added the charm of the most perfect purity and trans-
parency of colour, of such truth and reality, that the interesting
object seems to be animated with the genial warmth of life and
health ; another of its attractions is the graceful carriage, or lady-
like pose of attitude, which give action and movement to the figure,
and contributes greatly to the imposing and delightful effect ; to
these incomparable qualities is united expression, the very soul
and consummation of art — that Promethean fire, that indescribable
something, which few attain and none can teach.
RUBENS. 231
Portraiture is a distinguishing characteristic of the English school ;
the acquisition of a picture possessing the unique heauties of the
Chapeau de Paille would therefore be a public desideratum ; not
only as a model for young and rising artists, but also for those who
stand at the head of the profession. This opinion is confirmed most
unequivocally, first, by the repeated visits of eminent artists, when
the picture was publicly exhibited ; and, secondly, by the strong
desire which many expressed for permission to copy it ; and, lastly,
by the very visible improvement which some have since made in
portraiture. It would be invidious to name those who have had the
good taste to incorporate some of its beauties in their works ; nor is
it indeed necessary, as the discerning connoisseiur must have observed
them.
If, then, a transient sight of this picture has produced such bene-
ficial effects, how much good might be expected, if it were con-
stantly at the service of artists to study and copy.
812. The Holy Family. In this composition the Virgin is
placed in the centre, wearing a dark scarf on her head, which
casts a tender shadow over her face ; the infant Saviour stands
naked, all but His loins, on a pedestal, covered in part by her
mantle, and is sustained by His mother with both hands, while
His left hand is extended, and His attention directed to St.
John, who is seated naked on the knee of Elizabeth, his hands
joined, and his countenance, expressive of fervent affection,
is towards the Saviour ; St. Joseph is behind the Virgin, with
his left hand placed on the base of a column, observing with
emotion the interesting scene. This superb production is en-
titled to the highest commendations for the excellence of its
composition, the beauty of its colour, the finishing, and the
admirable sentiment which pervades thesubject; but that which
claims the warmest admiration is the naked St. John, than
which nothing in art can be more beautiful, for colour, sweet-
ness, and expression : the Virgin is distinguished by elevation of
character, and a luminous effect over the countenance, similar
to that which is so much admired in the Chapeau de Paille ;
the infant Saviour, however, is by no means equal to the rest
232 RUBKN8.
of the picture, and it is here very evident that the artist
laboured under the trammels of painting a portrait, probably
that of the son of the party for whom the picture was done.
4 ft 2 in. by 3 fL 1 vru—Y,
This picture formerly adorned the Imperial Gallery at Vienna,
and is inserted in the catalogue of that collection, in 1784, page 122,
from whence it was removed by order of the Emperor Joseph II.,
and presented to the Chevaher Burtin, at Brussels, as an acknow-
ledgment for some services which he had rendered that monarch.
During the late war this picture was obtained of the Chevalier for
the sum of 3000Z., by Mr. de la Hante, who imported it to England,
where it met with the same cold reception that many other fine
works have ocasionally experienced ; and, instead of recompensing
the spirited purchaser with a fair profit, it remained some time on
his hands, and he ultimately sold it to an impostor, through whom
he lost all the money. It afterwards became the property of Mr.
Huybens, a picture dealer ; at whose failure, in 1823, it again
passed into the hands of Mr. de la Hante, through Mr. H. Philips,
for the sum of 1500Z. (a sum greatly below its value), and was im-
mediately sold to M. Lapeyriere ; and in his collection it was for
the last time sold, in 1825, at Paris, for 64,000 /«., 2560Z.
Now in the collection of M. Boursault.
813. Minerva, with her -^gis, repelling the Harpies of
War and Discord from the Throne of James I. A masterly
sketch for part of the ceiling at Whitehall.
IfL 3 J iri by 1 ft 9 t».-— P.
Collection of Benjamin West, Esq. 1820 155 (/8.
814. An Allegorical Subject, allusive to the Union and
establishment of Peace between England and Scotland, re-
presented under the similitude of two females holding a triple
crown, which Britannia has brought them, over the head of an
infant (Charles I.) ; two angels, bearing the arms and crown
of Wales, soar above their heads ; and under the foot of the
child is a pile of armour and warlike weapons, to which Zephyr
RUBENS. 233
is putting a blazing torch. This is a free bravura sketch,
designed for part of the ceiling at Whitehall.
2 //. 8 in. by 4 /L 4 «n.— P.
Collectionanonymou8,atMr. Stanley's, 1822 QOgs.
Now in the collection of Edward Gray, Esq.
815. The Eape of the Sabines. This bold political
event is with great propriety represented in the Forum of
the newly-erected city of llome. Romulus, the chief, is
seated upon an elevation on the left, giving the previously-
concerted signal to his soldiers ; the foreground is occupied by
three distinct groups : that in the centre is composed of two
females ; one of them, by her attitude, expresses despair, the
other is calling upon the gods for succour against the violence of
three soldiers, one of whom has turned round to assist a com-
rade, who is encountering the struggles and resistance of two
other women. The third group consists of a soldier on horse-
back, who is exerting his utmost strength to raise a fine lusty
Sabine woman on his horse, and is seconded in his efforts by a
soldier on foot, while a third holds his spirited charger. The
second distance on the right exhibits an assemblage of about
fourteen young women, mounted on a platform, whom the
sudden assault has thrown into confusion. The detail of this
group presents a variety of interesting expressions and graceful
forms, from amongst these several Romans are rudely select-
ing wives. In the distance the artist, anticipating as it were the
splendour of the city, has introduced a triumphal arch, and a
building in the form of the Pantheon ; and in this part also the
military games, which, together with other ceremonies and
exhibitions were the plausible pretexts for inviting the young
Sabine women to the city, appear to be going on. This
excellent production, although but a matured study, is painted
in the artist's most attractive and delightful manner, com-
bining a sufiSciency of detail with the most masterly freedom
and spirit, and such a redundancy of expression as leaves it
without a parallel, excepting in his own works. The fastidious
234 RUBENS.
critic may censure the propriety of the costume, and the bulky
size of the females in the foreground ; but these are trifling
objections, too inconsiderable to deserve notice, when compared
with the beauties which pervade every part of the picture.
The ardent genius of Rubens rendering rapidity of execution
indispensable, hurried him far beyond the trammels of dull
calculation or critical correctness.
5 ft, 6 in, by 7 ft, 9 in, — P.
Martinasi gave an indifferent print after this picture in 1770, at
which time it was in the possession of Madame Boschaerts, at
Antwerp. The distinguished connoisseur, ChevaUer Verhult, was
so desirous of obtaining it, that he offered the owner 1000 double
sovereigns, or 17,850 ^>. (1696/.), for it.
Sir Joshua Reynolds, in his Tour through Flanders, in 1781,
observes that this picture was then for sale at the price of 22,000^.,
2200/. It subsequently became the property of J. Julius Anger-
stein, Esq., from whose representatives it was purchased with his
entire collection for the National Gallery. Now worth 3000 gs.
WHITEHALL.
816. The Ceiling of the Chapel of Whitehall, formerly the
Banqueting-House, was painted by Rubens in 1630. It is
divided into nine compartments, each of which is adorned with
a picture alluding to the prosperity and good government of
King James I. The subjects are as follows : —
The centre piece, which is oval, represents King James
seated on clouds, with a globe under his feet borne up by an
eagle, the symbol of power ; on his left is a female typifying
Justice, whom he is receiving under his protection ; on his right
is another female, probably intended to personify Scotland, with
a smoking censor in her hands, emblematical of the offerings
of a grateful people; a third female with a book, allegori-
cally representing the Law, is behind her ; ten infant and two
youthful angels float in the air above, two of the former are
descending with the symbols of royalty, others of them are
RUBENS. 235
WhiiekalL
sounding trumpets or bearing wreaths, while the two latter
have the emblems of Peace and Commerce in their hands.
This piece is termed the Apotheosis of King James.
The second centre compartment exhibits King James
habited in royal robes, seated on a throne ; on his left is
Bellona, grasping a thunderbolt ; and before him an armed
figure, with the torch of Discord in his hand, is kneeling ;
from these the king is turning with horror and disdain towards
two females who are embracing, and personify Peace and
Abundance; in front of them is Mercury pacifying the
demons of war, Envy and Mischief, by the touch of his
caduceus ; two angels, bearing a chaplet, are floating buoyant
in the air over the king's head.
A sketch for the above was sold in the collection of Sir Joshua
Reynolds. — See p. 199.
The third centre compartment. The king, advanced in
years, is represented sitting on a throne with a sceptre in his
hands, which he extends towards an infant (intended for
Charles I.), who is supported by two females, personifying
the two kingdoms of Scotland and Ireland ; while Britannia,
who is behind, holds, in conjunction with the two former, a
regal crown over his head. A quantity of armour lies in
front to which Cupid is applying a lighted torch, and on this
side of the king are two allegorical figures. Two angels,
flying above, bear the royal arms of the United Kingdom.
A sketch for the above was sold in the collection of Sir Joshua
Reynolds. — See p. 199.
On each side of the centre picture are friezes, composed of
numerous cupids with cars, one of which is drawn by lions,
the other by a bear and a ram ; these are preceded by angels,
bearing clusters of fruit and sheaves of corn, while others are
loading the cars with fruit, or guiding the savage animals ;
all these exemplify the prosperity and good government of
England.
236 RUBENS.
WkitehalL
The remaining four pictures allegorically represent the
Virtues of Kingly Power. Good Government is repre-
sented by a female with a bridle in her hand, and Sedition
under her feet ; Wealth and Honours by Apollo (bearing a
likeness of the king), with a cornucopia in his arms, from
whence the regal symbols, and abundance of gold, are
showering forth ; Avarice, with her bags of money, is under
his feet ; Strength is indicated by Hercules, destroying the
monster Envy with his club ; and Wisdom is personified by
Minerva, driving away Sedition.
The whole of the preceding series was engraved in 1720, by
S. Gribelin. Lucas Yosterman, jun., has also engraved the centre
part of the Apotheosis, and the two friezes.
The figures in these pictures are of a very colossal size, the infants
in the friezes being above nine feet high, and the rest> of necessity,
are of progressively similar proportions. These capital works of
Eubens were painted at such a period of his life, and imder such
favourable circumstances, as to leave little doubt that they once pos-
sessed all the beauties of his best productions ; but whether these
beauties have been swept away by the ignorant cleaner, or concealed
by the pencil of the presxunptuous painter, it is impossible, in the
situation in which they now are, to decide ; if, however, by good
fortune, they are only obscured by the dirt that has accumulated
from smoke and dust, and are in a state capable of being restored to
anything like what they must once have been, they would form a
glorious set to augment the national collection.
Mr. J. T. Smith, in his history of Nollekens and his Times, in
reference to these pictures, observes, " I consider it but fair, for the
high reputation of Eubens as a colourist, to state, that this picture
has been restored, repainted, and refreshed, not fewer than three
times. In the reign of King James II., 1687, Parry Walton (a
painter of still life, and keeper of the king's pictures) was suffered
to retouch this grand work of art, which then had been painted sixty
years, as appears by the Privy Council book, in which Mr. Parry
Walton's demand, of 2121. for its complete restoration, was considered
by Sir Christopher Wren as very moderate and reasonable. Mr.
RUBENS. 237
Whiteliall.
Cipriani retouched it a second time ; and, last of aU, Mr. Bigaud
was employed to refresh it."
The original designs for the ceiling pictures above described was
formerly in the collection of Charles I., and are noted in the
catalogue of that monarch's effects, No. Y., p. 161.
1 ft. 3J in. by 1 ft. 10 im—C.
HIS MAJESTY'S COLLECTION.
817. La Prairie de Lacken. A hilly landscape, beautifully
diversified with clusters of trees, a pool of water, cattle, and
figures ; most of the latter are distributed on the right and
front, and consist of two women, one of whom has a basket of
fruit on her head, the other is busy with a milk-can ; near
them are a cow lying down, and a number of pigeons feeding
on the ground ; a little retired from these are a bull and four
cows, one of which a woman is milking ; in the opposite side
stands a barrow full of vegetables, and beyond it is a man
watering his horse in a pond ; a church is seen on a hill in
the distance. This excellent production, which is deservedly
reckoned one of the best works of Bubens in this class of
art, was among the pictures left by the artist at his decease,
and descended in the family, with the Chapeau de Faille, to
M. Van Havren, at Antwerp, from whence it was imported
into England by Mr. de la Hante, about the year 1821, and
sold by him to His Majesty.
2 ft. 10 in, by 4/f. 1 tn.— P. Worth 1200 gs.
Engraved by Van Uden, and also by J. Neefs.
Exhibited in the British Gallery in 1826 and 1827.
818, The Interior of a large open Cow-House, with a com-
pany of six peasants (consisting of three men, a woman, and
two children) assembled round a fire in the middle of it ; in
238 RUBENS.
His Majesty's Collection,
the left aie two women, one of whom has a basket the other
a can, and beyond these are nine cows standing in their stalls,
and two women engaged in milking ; in the opposite side is a
man leaning on a stick, with his dog by his side ; two horses
and a colt are near him ; the open side and end of the cow-
house exhibit a view of some cottages and the adjacent
country, seen under the effect of a snow-storm.
Engraved by Clouet.
This picture was formerly in the possession of Madam Spranger,
at Antwerp.
Exhibited in the British Gallery in 1819.
A picture, corresponding in description with the preceding (size
^ft by 7 ft, — C), is inscribed in the catalogue of the Duke of
Buckingham's collection, No. 3, p. 15; published in 1758.
819. Diana and two Nymphs, naked, reposing upon a l>ank
after the fatigues of the Chase. The goddess reclines her back
against a tree, and one of the nymphs is recumbent by her side;
the remaining one is more retired in the left ; a broad drapery
suspended across the retired scene, serving for a shelter, is
raised by the intrusion of two satyrs, who are gazing with
avidity upon the sleeping beauties ; the implements of the
chase, and a great variety of game, are distributed about the
foreground. This picture is the joint production of Rubens
and his scholars.
It is finely engraved in mezzotinto by R. Earlom.
Pictures representing similar subjects occur in the Munich,
Vienna, and Madrid Galleries.
820. A Landscape ; offering an extensive view over a fertile
country, of a broken and undulating surface, enlivened with
cottages and distant hamlets, and intersected by a winding
road, and a stream of water flowing towards the front between
rugged banks, from which rise clusters of trees. Among the
various figures which are passing over a hilly road in front,
are a man with a cart laden with vegetables, preceded by a
RUBENS. 239
His Majesty's Collection,
woman on horseback and a man riding an ass, at whose side
is a man on foot, carrying a fawn on his back. Several cows
and a flock of sheep are in advance of them; and in the
right, and close to the front, are a man and a woman
descending a steep bank to the road.
This picture is etched by Van K easel ; and engraved by Browne,
entitled, ** Going to Market."
Exhibited in the British Gallery in 1819.
A picture, corresponding in description with the preceding, is
inscribed in the catalogue of the effects of the Duke of Bucking-
ham's collection, No. 1,^. 15; published in 1758.
6 ft by 7 ft 7 tn.— C.
821. An Equestrian Portrait of Archduke Albert. The
duke is represented uncovered, clad in armour, and wearing
a broad white ruff round his neck, holding a baton in his
right hand, and mounted on a beautiful gray charger, with
long flowing mane and tail. This is a superb production.
\2ft. by 9/f.— C. {about.)
Exhibited in the British Gallery in 1821.
There was an equestrian portrait, styled the Duke of Alva, sold
in the collection of Sir Lawrence Dundas, Bart., in 1794, for 120 g«.
Sft 4t«. by 6/r.— C.
822. St. Martin dividing his Cloak with the Destitute. The
saint, clad in brilliant armour, and wearing a black cap decked
with feathers, is mounted on a powerful gray horse, and is in
the act of dividing with his sword a scarlet mantle between
two poor men, one of whom is seated in front, with his back to
the spectator, holding the garment; the other, seen in a profile
view, clothed in a pale yellow vesture, is bending in gratitude
for the gift ; beyond these are a tall woman with long black
hair, holding a child in her arms, and having another child by
her side. The saint is accompanied by two horsemen, who
are on his right, a little retired; the nearest of these has a fine
military countenance and black hair (uncovered), and rides a
240 RUBENS.
His Majesty's Collection.
bay horse ; the head only of the second is seen, wearing a
helmet ; beyond these is part of a building ; the rest of the
background is composed of a clouded sky.
8 /if. 4 in, by 7 ft. 10 tn.— C. Worth 3500 gs.
Engraved by Chambers.
This picture was brought from Spain by Mr. Bagnol.
The approximation of some few of the early pictures by Van
Dyck to those of Rubens, renders it almost an impossibility to
define with certainty their several works; and in the present
instance it is rendered more difficidt, in consequence of the
existence of an altar-piece of precisely the same composition as the
one above described, excepting that the woman and two children
are omitted therein, which, from the period of its production, has
ever been considered a genuine work of Van Dyck. In reference
to the present picture, which is, in truth, a noble effort of art, it is
the Writer's opinion that the composition and the greater portion
of the figures are by the hand of Rubens, and that the horse,
woman, and children are chiefly by Van Dyck. — Vide the same
subject in the catalogue of that master's works.
Exhibited in the British Gallery in 1822.
823. Portraits of Sir Balthasar Gerbier and his Family,
consisting of his lady and nine children.
1fLhy\0ft.—O.
Engraved by Mac Ardell, R. Brookshaw, and W. Walker.
This picture having formerly been attributed to the pencil of
Rubens, has induced the Author to notice it in this Work ; but as
he considers it to be by the hand of Van Dyck, it will be found
more amply described in the catalogue of that master's pictures.
Exhibited in the British Gallery in 1820.
824. Philip IV. of Spain, mounted on horseback. The
monarch, apparently forty-five years of age, is seen in a three-
quarter view ; he wears a yellow hat decked with a white
feather, and is clad in brilliant armour chased with gold, and
a dark gray silk mantle ; he has on buff gloves, and holds a
RUBENS. 241
His Majesty's Collection,
baton in the right hand, while the left curbs the reins of his
bay charger. A female, personifying Victory, bearing a chaplet
of laurel over his head and a palm branch in her hand, is
flying behind him. The background displays a wide open
country, in a distant p6u:t of which is seen a conflict of cavalry.
8 ft 4 in, by 7 ft.—G,
A capital drawing of the preceding Monarch on horseback,
probably a study for this portrait, was sold in the collection of M.
Leniperenr, 1783. . 620 /«. 25Z.
MARLBOROUGH COLLECTION.
825. The Eape of Proserpine. This splendid composition
exhibits Phito bearing off in his arms the naked struggling
nymph Proserpine, pursued in his flight by four of her com-
panions, one of whom appears in the character of Pallas,
wearing a helmet and bearing a spear and shield ; another
female has seized the skirt of Proserpine's mantle, while the
remaining two are behind ; the beautiful car of the deity is
drawn by four fiery coursers, which are rushing impetuously
towards the ocean, on whose margin two naked nereides are
sporting, while two cupids above attend the flight of the love-
smitten god.
6 ft 8 in, by 13 /if. 3 in,—C, (about.)
Worth 3000 ga.
Etched by Soutman.
This capital gallery picture is wholly by the hand of the master,
and abounds with the several beauties peculiar to his surprising
genius in this class of subject.
826. The Flight of Lot and his Family from Sodom. Lot,
clothed in a large dark gray mantle, his hands clasped, and his
sorrowful countenance turned towards the spectator, appears to
be hurried on by an angel, who is holding his arm and pointing
VOL. II. R
242 RUBENS.
Marlhortmgh Collection,
to some distant object. On the farther side of Lot is his wife»
shedding tears of regret at their departure ; and behind him
are his two daughters, one of whom has a bundle on her head^
while the other carries a basket of silver vessels before her :
these are also accompanied by an angel. This excellent pro-
duction is painted in the artist's careful or finished manner ;
the figures are the full size of life.
6 ft. 8 in, by 7 ft. 6 in.—Q. Worth 2000 gs.
Engraved by Yosterman.
Presented by the city of Antwerp to John, Duke of Marlborough.
A carefully-finished drawing of the preceding picture, done for
the engraver by a scholar, and terminated by Rubens, in chalks, is
in the Mus^e at Paris.
13 J in. by 16| in.
827. Portrait of Parcelsus, presenting a portly counte-
nance, seen in a front view, wearing a scarlet furred cap, and
holding a book in his hand. The landscape is by the hand of
Wildens.
2 A 6 in, by 2/7. 1 in,—V, (about,)
There is a bust portrait of this person, engraved by Van SompeL
828. Portrait of Catherine de Medicis. This distinguished
person is dressed in black silk, with a broad and richly- worked
stiff frill round her neck ; she is seated in an arm-chair, with
a small muflf in her right hand, lying in her lap.
4//. 6*n. by 4/f. Z in.
This is a picture of great merit and beauty, remarkable for the^
delicacy and sweetness of its colour and the graceful dignity of its^
character.
829. A whole-length Portrait of Helena Forman. Repre-
sented in a walking position, dressed in a rich black silk gown
with white satin sleeves adorned with pearls, a beautifully-
wrought kerchief round her shoulders, leaving the bosom
RUBENS. 243
Marlborough Collection.
exposed ; a pearl necklace and other jewels and ornaments
embellish the neck and bosom ; and a black velvet cap, sur-
mounted with a tassel, covers the head ; a page, with his hat
off, is following her steps.
6 ft, 6 in, by 4 ft, 6 in,—G. Worth 1600 ga.
This very admirable portrait is finely engraved by £arlom.
830. The Eeturn from Egypt. The Virgin, clothed in
ample drapery and wearing a hat turned up. at the side, is
advancing with the infant Saviour, whose hand she holds, on
her right ; on the farther side of them is St. Joseph leading
the ass ; a palm tree stands in the middle of the picture, and
completes the pyramidal form of the composition. A carefully -
studied picture, remarkably fresh in colour and luminous in
its effect.
6/f. 8 in, by 4 /if. 6 tn.— C. Worth 1200 ga.
Engraved by Vosterman, 1620; also by Lowrie, Voet, and
Mac Ardell ; and in reverse, anonymous.
A highly-studied drawuig of the preceding, executed by a scholar,
and perfected by Eubens for the engraver, done in chalks and Indian
ink, \B in the Mus^e at Paris.
16J in, by 12 J in.
831. Full-length Portraits of Rubens, with his Wife, Helena
Forman, and Child, represented in walking attitudes. The
nearest to the spectator is the lady, whose dress consists of
black silk, relieved by a broad richly-worked white frill,,
standing up round her shoulders and leaving her bosom un-
covered ; her hair is simply tied in a knot behind ; in her left
hand, which hangs negligently at her side, is a fan ; and the
right, resting on the arm of her husband, holds a silk cord,,
attached to the chUd who precedes her. Bubens is also suitably-
attired in a Spanish dress, consisting of black silk with slashed
sleeves and body, relieved with white satin, and a cloak thrown
loosely over his left shoulder ; a large hat covers his head ^
244 RUBENS.
Marlborough Collection.
his right arm is extended, and his attention directed towaixis
his wife. The background of this superb and interesting
picture is a garden, with a temple and a fountain, embellished
with rose trees and other shrubs.
6 ft 8 in. by 5 ft. 2 tn.— P. Worth 3000 gs.
Engraved by Mac Ardell.
This picture was presented by the city of Brussels to John, Duke
of Marlborough.
Studies for the preceding portraits, on three pieces of paper, done
in a free manner, in chalks, are in the Mus^e at Paris.
832. Andromeda chained to a rock. The beautiful daughter
•of Cepheus, Kiug of Ethiopia, is represented nearly naked, in
an erecc position and front view, chained to a rock ; her lovely
•countenance strongly depicts the painful apprehension of her
fate, and her fine form seems to be trembling with dread at the
approach of the devouring monster. A cupid with a flaming
torch flies overhead, in allusion to love being the result of her
deliverance ; Perseus is seen in the distance, gliding swiftly
through the air on the fleetly-winged Pegasus.
6 ft. 6 in. hyZ ft. \ in.— P. Worth 700 gs.
833. A Bacchanalian Procession. In the centre of the
group is Silenus, staggering between a negro and a satyr ; at
his feet are three boys, with grapes and other fruit, one of them
is taking some of the clusters from the relaxed hand of Silenus,
while a playful tiger is catching at the vine branch ; these are
preceded by a fat faun playing on a pipe, and followed by two
nymphs, the nearest of whom to the spectator, almost naked, is
beating a tambourine, and at the same instant turning her wild
looks towards a young satyr who is behind her, with his right
arm encircling her waist and his left round the neck of the
other female ; a naked bacchanalian boy precedes the steps of
the nymph : a fine sylvan scene forms the background. This
RUBENS. 245
Marlborough Collection,
capital production is justly considered by all connoisseurs to-
possess a rich union of the various beauties wliich characterize
this class of subject, and a redundancy of expression and splen-
dour of colour which are not surpassed in any of his works.
7 /?. 8 in. by 9 ft 6 in,—C, Worth 5000 gs..
Engraved in mezzotinto by Hodges.
A drawing of the preceding, in chalks, heightened in white, not
wholly by the master, is in the Mus(5e at Paris.
834. Venus and Adonis. The beautiful goddess is seated
on a bank, with her arms round the neck of Adonis, whom she-
is endeavouring to detain from the chase by the most seductive-
looks and alluring embraces ; her entreaties are seconded by
Cupid, who is cliuging round the huntsman's leg, while the-
latter, with a spear in his hand and his dogs by his side, seems
eager to depart.
6 ft. hyl ft. Q in.—C. Worth 1200 gs.
A very similar composition is engraved by Tassaert.
This picture was presented by the Emperor of Germany to John,.
Duke of Marlborough.
835. The Virgin, wearing a scarlet dress and a blue memtle,
with the infant Saviour, sitting naked on a pillow and reclining
His head afifectionately on her bosom ; St. Joseph, seen in a
profile view, is on her left, a little retired from the front, view-
ing the interesting scene with lively emotion. This is a slight
picture, and very inferior to others in the collection.
3 ft. b in. by 2 ft. 6 in.—F. (about.)
Kyckman has engraved a print which closely resembles this
picture.
836. The Virgin, seen in a front view, seated, holding the
infant Saviour, who is standing naked on some drapery placed
on a table ; His face is seen in nearly a profile view, and His
left hand is laid on the back of that of His mother, while her
246 RUBENS.
Marlborough Collection,
right touches the Child's foot. The Infant is painted in the
artist's most engaging manner, both in colour and expression.
3 ft. 5 in. by 2 ft. 5^ in.— P. Worth 500 gs.
Etched by Spruyt.
A duplicate of the preceding, of very superior quality, is in the
Munich Gallery. — Seep. 64.
837. The Holy Family. The Virgin, habited in a scarlet
dress with blue sleeves, is seen in a profile view, seated, holding
the infant Saviour, naked, in her arms, and at the same time
fondly pressing Him to her bosom; the Child is placing its hand
on His mother's face ; St. John, wearing the skin of an animal
round his loins, stands in front of the Virgin's knees, looking
affectionately at the Saviour; St. Joseph, clad in a gray
mantle, is on the farther side of this group, caressing a lamb ;
and St. Elizabeth is behind the Virgin, leaning both hands on
the top of a cradle, which is placed close to the front. This is
an example of the highest excellence.
6 ft. 6 in. by 4 ft. 6 in.—C. Worth 2000 gs.
Engraved by Vosterraan, 1620; and in reverse, anonymous.
A drawing in India ink, tinted in bistre, and finished with a pen,
the work of a scholar, perfected by the master for the engraver, is
in the Mus^e at Paris.
10 J in. by 8 in.
A duplicate of the preceding picture, of much smaller dimensions,
was sold in the Poulain Collection, and is engraved in that Gallery.
(No. 86), 1780. . 11,000/*. 440/.
Sft. 6 in. by Sft. 9 in.— P. (about.)
This picture was brought to England a few years back, but did
not find a purchaser ; it was again taken to Paris, and is now in the
collection of the Chevalier Erard.
838. Three beautiful Females, in a Landscape, engaged
gathering Fruit. The centre figure, naked to the waist, is
pulling down a branch of apples ; another is taking a branch
of apricots from a cupid in the tree ; and the third has her lap
full of fruit, a quantity of which lies also on the ground, and
RUBENS. 247
Marlhoroibgh Collection,
a basketful stands at the side. The latter are painted by
Snyders.
1 ft. 6 in, hy 7 ft, 6 in,— P. Worth 600 ge.
This picture is very indifferently engraved by Michel.
839. Lot and his Daughters. The composition represents
Lot seated in front, seen in a profile view ; his eldest daughter
is sitting by his side, with her arm round his neck, and holding
a cup in her hand, which her sister, who is opposite to them,
is filling with wine. The figures are the full size of nature,
and are painted in the artist's most careful and studied
manner, combining correct drawing with admirable colour,
e ft, hy 7 ft,—C, Worth 800 gs.
Engraved by W. Leuw. *
This picture was presented by the Emperor of Germany to John,
Duke of Marlborough.
840. The Adoration of the Magi. A composition of eleven
figures, admirably grouped and possessing surprising force and
brilliancy of colour. A duplicate picture of the one formerly
in the church of the Annunciation at Brussels, and now in the
Louvre. — See pp. 49 and 115.
Sft.6 in, by 6/f. 3 in,—G. Worth 1200 gs.
841. Meleager and Atalanta. The nymph is seated, looking
affectionately at the young huntsman, who stands by her side,
presenting to her the head of the Calydonian boar, which he
is holding on her lap with one hand, while he is caressing a
dog jumping up against him with the other; behind the
female is a huntsman blowing a horn ; and a little retired
from the group is seen the harpy Envy tearing off the snakes
from her hair. The figures are seen to the knees. This
picture is painted in the artist's smooth and careful manner.
4/^. 2 in. by 3 ft. 6 in,—F. (about,)
Engraved by Bloemart. The same subject, differently composed,
is etched by Panneels. Worth 700 gs.
248 RUBENS.
Marlboroiufh Collection,
A picture, representing the same subject and composition as the
preceding, was sold in the collection of the Due de Tallard, in 1756,
669 fs, 29^.
4 ft. lOi in. by Zft. ^ m.— C.
842. Koman Charity. The venerable old man is represented
on his knees upon some straw, with his hands bound behind
him ; his pious daughter, habited in a scarlet and gray dress,
is bending down by his side ; and, while she is sustaining her
parent's life with the nourishment from her breast, looks
round towards the grating of the prison window with watch-
ful inquietude ; her infant lies asleep upon some straw, close
to the front.
6 ft. by 6 ft.—C. Worth 1 200 ga.
Engraved by Smith.
Of the several pictures of this subject noticed in this Work, the
Writer considers the preceding one to be decidedly the best, and,
indeed, entitled to the highest commendation for the fine feeling of
expression which pervades the figures. The eager cravings of
nature in the debihtated old man, and the tremulous anxiety which
agitates the affectionate child, are depicted with surprising fidelity ;
the colouring and execution are also excellent.
843. The Virgin, seated upon a lofty throne, with the
infant Saviour in her arms; before whom St. Catherine is
bowing in adoration. On the Virgin's left are St. Barbara and
St. Dominick ; and on her right are three monks ; four angels
are about the throne, one of whom is receiving the offering of
the Archduke Albert, who is kneeling in front, on the right ;
his consort Isabella, also on her knees, is on the opposite side,
with the Archduke Ferdinand of Austria kneeling at her
right. A beautifully -finished study for a large picture.
2 ft. 2 in. by 1 ft. 8 in.—?. Worth 200 ga.
844. Portrait of Eubens, with a hat on.
2 ft. 6 in. by 2 //. 1 in.—Q.
RUBENS. 249
Marlborough Collection.
This is a duplicate, by a scholar, of the excellent picture in the
King's Collection.
845. Christ blessing the Children. The Saviour, habited in
a scarlet mantle and seen in a profile view (placed about the
centre of the composition), is putting His hand on the head of
a boy, behind whom is a little girl ; and on His farther side is
a woman of a fair complexion, with a babe in her arms ; and
beside her is a man with his hand placed on his breast. On
the opposite side are three of the Saviour's disciples. The
figures are seen to the middle.
4 /if. 3 in, by 6//. 4 in. — C.
This picture is erroneously attributed to Eubens, although worthy
of his pencil : the Writer considers it to be the work of Diepenbeck.
846. Ixion embracing a Cloud in the form of Juno. Ixion
and the similitude of Juno are seated on clouds, on the right
of the picture, while the goddess herself stands naked in the
centre, with a peacock (the symbol of majesty) at her feet ;
her back is towards the deluded king, and her countenance
expresses the pleasure she feels at the deception. Behind
her a winged female, with the skin of a fox (the emblem of
cunning) over her shoulder, is raising a drapery to conceal
the pair. Jupiter, seated on Mount Olympus, is seen in the
opposite side, far retired in light ; towards whom Cupid, with
his flaming torch, is hastening.
5 ft 7 in, by 8 ft, 1 ifn.~P.
Engraved by Van Sompel.
This picture is painted in the artist's most elaborate manner,
exceedingly fresh and brilliant in the carnations ; and although the
forms of the figures are heavy, yet the drawing is remarkably cor-
rect and good. It is evidently one of his early productions, and
forms a striking contrast to the free and florid style of the four
large pictures in the same collection.
250 RUBENS.
Sold in the collection of Van de Amory, Anut. 1722, 3850^. 346Z.
It was subsequently in the collection of Sir Gregory Page
Turner, Bart. ; then in that of Welbore Ellis Agar, Esq., 1806 ; and
now in the collection of Earl Grosvenor.
847. A Hilly Landscape. In the foreground are several
harvest-people ; and beyond them is seen a waggon, drawn by
two horses, descending a hill towards the front.
1 ft, 6 in. by 1 ft 8 in. — P.
This picture is etched in Young's Grosvenor Gallery, and it is
there stated to have been the production of Rubens when he was
only eighteen or twenty years of age ; but from what source such
an opinion is derived the Writer is ignorant.
Now in the collection of Earl Grosvenor.
848. The Birth of Venus. The beautiful goddess is repre-
sented alighting on the shore from the element that gave her
birth, accompanied by nymphs, tritons, and a number of
cupids; the latter playfully sporting in the air, bearing
chaplets of flowers. The surrounding border is decorated with
Neptune and Amphitrite, Cupid and Psyche, sea nymphs,
cupids, dolphins, vases, &c. This is a spirited and delight-
fully-painted picture, en grisaille, done for a design for a
silver salver (most probably for Charles I.).
\ft.\l in. by 2 ft. 6 m.— P. {oval.)
Now in the collection of the Duke of Hamilton, at his palace
in Scotland.
The following series of eight pictures, illustrating, in suc-
cession, the life and heroic actions of Achilles, were painted
by the artist for his royal patron, Charles I., for models to be
worked in tapestry.
Engraved by Ertinger, in 1679 ; and by B. Baron, in 1724.
849. Thetis plunging Achilles into the River Styx. The
nymph, clothed in a light vesture round her loins, stands on
the bank of the stream, immersing the infant in its mystic
RUBENS. 251
waters, while Destiny, bearing a blazing torch in her hand,
and having the distaff stuck in her girdle, stands by her side,
viewing the ceremony. On each side are termini of Pluto and
Proserpine, bearing a cornice decorated with festoons.
15 in. by 12J in, — P.
850. The Instruction of Achilles. The youth is mounted
on the back of the centaur Chiron, who, while he teaches
the art of riding, is also inculcating other lessons of useful
knowledge. The termini at the sides represent Apollo and
Esculapius ; they support a cornice adorned with flowers.
15 in. by 12J in. — P.
851. Achilles discovered with the Daughters of Lycomedes.
The scene offers the court of a palace, near the entrance to
which (on the right) is a company of six females ; the centre
one of whom, elegantly attired in white satin, is struck with
seeing her companion, Achilles, placing on his head a helmet
which he has taken from a basket, in preference to the jewels
it contained, which the females are distributing among them-
selves : this martial choice has discovered the disguised youth
to Ulysses, who, with his friend, stands at the side watching the
effect of their stratagem. At the base of the termini are an owl
and a fox, emblems of wisdom and cunning. The cornice above
is decorated with festoons of fruit, among which four cupids
are playing.
17 in. by 25 J m.— P. Worth 150 gs.
This picture, which is a masterly-finished study, was purchased
at Borne, in 1829, by the Hon. George-John Vernon, in whose
possession it now is.
852. The anger of Achilles against Agamemnon. The
hero, burning with indignation, stands in the left and front,
in the act of drawing his sword to revenge the loss of his
captive, Briseis ; but is prevented from executing his purpose
by Pallas, who is cautioning him to forbear. Agamemnon,
equally enraged, is attempting to rise from his throne, to en-
252 RUBENS,
counter the youth; but is restrained by the wise Nestor.
Several other Greeks are present. The termini at the sides
represent Envy and blind Passion, with other appropriate
emblems ; the cornice is decorated with festoons of fruit and
cupids.
15 in, by 13 J in, — P.
853. Thetis receiving Arms from Vulcan for her Son. The
marine deity, accompanied by Cupid and a nymph, is stepping
from her watery element and receiving a shield from the hands
of Vulcan ; a cyclops is seen bringing forward a cuirass in his
arms, and a cupid is bearing off a helmet to a triton. The
tools of the swarthy god of the forge lie along the front. The
termini at the sides represent Jupiter and Juno ; they support
a cornice adorned with festoons of fruit and two cupids.
15 in, by 17^ in. — P.
854. Briseis restored to Achilles. The venerable Nestor,
clothed in a dark gray vest and a crimson mantle, is con-
ducting the beautiful captive to the presence of Achilles, who
is approaching from the left with extended arms to receive her;
in the intermediate space are four men, two of whom are de-
positing the presents of gold and silver vessels ; and a third,
who is apparently Ulysses, superintends the ceremony ; four
young females, one of them having a basket on her head,
accompany firiseis ; and near these is a page with three horses;
within a tent, in the opposite side, is seen the dead Patroclus,
and two females bewailing over him. The termini at the side
support a cornice adorned with festoons of fruit and four cupids.
17 in, by 25 J in,— P. Worth 150 ga.
This picture was also purchased at Bome, by the Hon. George-
John Vernon, in whose possession it now is.
855. Achilles vanquishing Hector. The Grecian hero, clad
in the splendid armour forged for him by Vulcan, is represented
combating with Hector, whom he has pierced in the neck with
BUBENS. 253
his Bpear, and the Trojan chief has sunk on his hand and knee
to the ground ; the victor is accompanied by Minerva, his
protectress and guide. The walls of Troy, with numerous
warriors on the battlements, appear in the distance. The ter-
mini are composed of Mars and Hercules, and they support a
cornice enriched with festoons of fruit and two cupids.
15 in. by 15 J in, — P. {atH)ut)
856. The Death of Achilles. The hero, wounded in the
heel by an arrow from the bow of Paris, is sinking on his knees
by the side of the altar at which he was espousing Polyxena ;
he is supported behind by one of the attendants, who, as well
as the high priest and a second attendant at the altar, is greatly
agitated by the event. Young Paris, accompanied by Apollo,
is seen at the entrance of the temple. Close to the front is a
fox devouring an eagle, an appropriate emblem of cunning
overcoming strength. The termini at the sides are Venus and
Apollo, supporting a cornice decorated with festoons of fruit
and two cupids.
15 in, by 15 J in. — P. (afxmt.)
The preceding series were probably sold and taken abroad, on
the distribution of the royal property in 1649.
857. A Female, apparently about twenty-five years of. age,
seated in a solitary Landscape. She is clothed in a gray
jacket, a white kerchief, and an ample silk skirt of a greenish
colour ; her head is uncovered and her face turned towards the
spectator ; her hands, clasped together, rest on her knee ; the
countenance and position appear to denote abandonment of the
world, and resignation to the secluded life of a Magdalen. An
empty flask lies on the ground in front, and a rich mantle is
near an old tree behind her. An admirable study for a large
picture.
2 ft, 5 in, by 2 /L ^ in. Worth 60 f/s.
Now in the Dulwich Gallery.
254 RUBENS.
858. The Assumption of the Virgin. The ascending mother
of Jesus is surrounded by cherubim, and nine angels are under
her feet.
In the Arundel Catalogue it is stated, that this picture was
painted expresselj for Lord Arundel.
Now in the collection at Wilton House.
859. A Landscape.
In the same collection.
860. The Flight into Egypt by Night. The Virgin, with
the infant Saviour in her arms, is mounted on an ass, led by an
angel ; another angel soars over their heads, bearing a lighted
torch ; and St. Joseph follows behind. A masterly-finished
study.
19 m. by 24 tw.— P.
Engraved by Marinus ; and in reverse by Galle.
Now in the collection of Sir Abraham Hume, Bart.
A similar composition to the preceding occurs in the Louvre. —
Seep. 115.
Ift,! in. by 2 /if.— P.
861. The Annunciation. A splendid sketch, representing
in rich allegory the accomplishment of all the sacred prophecies
by the immaculate conception of the Virgin, who is seen
kneeling on the summit of a flight of steps receiving the annun-
ciation from a celestial messenger, behind whom are the three
Patriarchs, with Moses, Aaron, David, Solomon, and other
precursors of our Lord ; a dove, encompassed by angels,
hovers over her head ; and in the clouds above is seated the
First Person of the Trinity, at whose right hand are two
females, the one bearing an inverted sword, the other an olive
branch, emblems of Peace and Reconciliation. On the left are a
company of angels, with the ark of the covenant and other
typical allusions ; and in the lower part of the picture are the
prophets Jeremiah and Isaiah, attended by two infant angels,
one of whom is bearing a lighted lamp ; more to the right are
seated the four Sibyllse, with their fabled books of prophecies
RUBENS. 255
cast under their feet, and their countenances, expressing faith
and hope, directed upwards. This abbreviated description is
but an outline of the composition of this magnificent design,
which, so far as the Writer has had opportunities of learning,
was never executed in large.
2 ft 1 1«, by 1 j^. 6 w.— P.
Now in the collection of Sir Abraham Hume, Bart.
862. An Allegorical Subject, representing the Grenius of
France, with the emblems of Commerce, Prosperity, and good
Gk)vemment. The principal figure is a female, seated, wear-
ing a mural crown, and holding a sceptre in one hand and a
pair of scales in the other ; a cornucopia is placed at her side,
the prow of a ship at her feet, and the eye of Providence over
her head, &c.
%ft. iin. hy ^ ft 6 m.— P.
This picture is now in the possession of Mr. Henry.
Pari8, 1827. Valued at 10,000 /«. 400/.
863. The Unbelieving Priest, and another Person, at an
Altar. The figures are about half the size of nature.
Vide Sir Joshua Beynold's Tour through Flanders, 1781 ; then
in the collectiun of Mr. Pieters.
864. Seleucus bestowing Stratonice upon his Son.
This picture, which is very highly commended by Sir Joshua
Reynolds, in his Tour through Flanders, was then in the cabinet of
M. Dasch, at Antwerp.
865, Portrait of a Lady, wearing a black veil.
866. Portrait of a (rentleman.
These are mentioned by Sir Joshua Reynolds, in his Toiur through
Flanders, in 1781 ; then in the collection of M. Dasch, at Antwerp.
867. A grand Composition, representing the Emperor
Charles V., habited in a splendid robe, with the arms of
Austria embroidered on the back, bending on one knee, and
256 RUBENS.
raising his hand in an attitude of devotion ; his crown, sceptre,
and ball lie by his side ; behind him, and also kneeling, are
Philip IV. and his queen, Elizabeth de Bourbon. In the
background are two figures (one a portrait of the artist) bear-
ing standards ; two angels hover above. The sides of the pic-
ture are bounded by large ornamented pillars, and the top by
a rich massive cornice. This colossal production is painted
on paper, in a broad free sketchy manner, and was evidently
done for the purpose of being worked in tapestry.
13/1^. by 11/^.— C.
Now in the possession of M. Perignon, Expert du Mus^e,
Parts, 1827. Price 1 0,000 /«. 400Z.
868. St. Bavon distributing Alms. This capital picture
exhibits a composition of great extent and variety. In the
foreground is a large group, consisting of women, children, and
impotent mendicants ; their attention is directed to a man,
probably intended for St. Bavon or his almoner, who stands
before them commiserating their necessities ; behind him, and
on the left of the picture, are an armed soldier on a gray horse,
and other figures. On the opposite side stand several females,
who appear interested in the scene. The second distance is
occupied by a noble building, with a flight of steps to its
entrance, before which stands St. Araand habited in pontifical
rol)es, waiting to receive St. Bavon, who is seen mounting the
steps, followed by his attendants ; these are merely the outlines
of the grouping of this excellent production. This finished
study was painted in Italy, and evidently while the modest
beauties of Venetian colouring were fresh in the artist's eye.
Several of the figures possess uncommon dignity; the handling
throughout is large and free, yet well terminated and expressive.
3 ft. 7 in. by 6/V. 5 tw.— P.
Purchased during the late war, from the Caregga Palace, at Genoa.
Exhibited in the British Gallery in 1815.
Now in the collection of the Rev. William-Holwell Carr.
Rubens afterwards painted an altar-piece, representing the same
RaBBNS. 257
subject as the preceding one, but rather differently composed and
with fewer figures, for the Cathedral of St. Bavon, at Ghent. This
is engraved by Pilsens. — See p, 36.
869. Portrait of Helena Forman when about thirty years
of age, seen nearly in a front view, with the head uncovered.
The dress consists of black silk with slashed sleeves, showing
the white silk linings; a lace frill standing up round the
shoulders, leaving the bosom exposed ; a string of pearls hangs
in a festoon in front, one end of which is attached to a black
bow on the bosom, and a black gauze kerchief falls over the
frill in the left.
2ff.,d in. by 2/if.— C. (about)
Now in the collection of the Right Honourable Lady Stuart.
870. Portrait of a Gentleman of middle age, with dark
hair and beard. The face is presented in nearly a three-
quarter view ; a full ruff adorns the neck, and a black dr«ss
covers the body. Painted in the artist's finished manner.
2 ft 5 in. hjlft.9 in.—F. Worth 300 gs.
Now in the collection of the Right Honourable Lady Stuart.
871. The Companion. Portrait of a young Lady, of fair
complexion and light hair, seen in a front view. The neck is
adorned with a full broad ruff with a serrated edge ; she has on
a black silk dress with slashed sleeves ; a rich cross, composed
of jewels, adorns the front of the bosom, and a chain falls below
it. An elegant portrait, of great purity and brilliancy of colour.
2 ft. 5 in. by 1 ft. 9 in.—F. Worth 350/.
Now in the collection of the Right Honourable Lady Stuart.
872. A Landscape, with a lofty square tower on the left ;
and on the same side, and nearer the front, is a stone bridge
over a moat. In the opposite part of the picture the view
extends over a diversified country, illumined by the last mys
of a setting sun. This is a free masterly sketch, brilliant
and beautiful.
10 in. by 13 m.— P. Worth 100 gs.
VOL. II. S
258 RUBENS.
Exhibited in the British Grallery in 1815.
Now in the collection of the Bight Honourable Lady Stuart.
873. Two Friars, habited in the Order of Benedictines.
Their thin spare visages indicate abstinence ; they are repre-
sented looking over a book, which they are holding with their
hands concealed under their mantles.
Engraved in mezzotinto by J. Spilsbury,
874. Peasants going to Market. The composition consists
of four figures, of the size of life, seen below the middle ; the
one nearest the centre is a strong man, said to be a portrait of
Rubens, with a fawn slung across his shoulders ; he is pre-
ceded by a boy carrying a dead heron and a basket of fruit ;
a woman, bearing a basket of fruit on her head, and another
full of vegetables on her arm ; and is followed by a second
female, laden with a live swan and accompanied by two dogs.
The game, fruit, vegetables, and dogs, are by the hand of
Snyders.
7/7. 3 in. by 9//.— C.
Exhibited in the British GaUery in 1818.
Now in the collection of Alexander Baring, Esq.
Sommerfield has engraved a print representing the principal
figures in the preceding, done after a picture then in the possession
of the Earl of Ailesford.
4 ft. 1 in. by 4 /if.
875. St Francis (having the signs of the stigmates in his
hands) bending in rapture over the infants Jesus and St
John, who are seated on the ground playing with a lamb.
The landscape is by the pencil of Snyders. A frog is
introduced in the foreground.
•4 ft 3 in. by 3 ft. 2 m.— C.
Exhibited in the British GaUery in 1823.
Now in the possession of Sir Alexander Creighton.
RUBENS. 259
876. Mercury, Argus, and lo, in a Landscape. Argus is
represented in profound sleep, on a bank, beneath a tree ; and
Mercury is seated near him, observing the somniferous power
of his music, and seemingly meditating the fatal blow.
1/^ 10 in, by 2 ft, 7 tn.—F.
Collection of Lord Radstock (at Mr. Christie's), 1826. 310 gs.
Bought by Mr. Emmersoii, in whose sale (by Mr. Phillips), in
1829, it was knocked down at 200 gs.
A duplicate of the preceding picture, of unquestionable originality,
is in the collection of The Baron Van Brienen Vande Grootelindt ;
and there is another in the Dresden Gallery.
877. Time disclosing Religious Truth. Time is represented
bearing in his arms a female clad in white robes ; her right
hand points upwards, as if to the source of Revelation ; and
the left is extended towards two venerable men, St. Matthew
and St. Mark, who follow her with their Gospels in their
hands, treading under foot Worldly Wisdom, personified by
Socrates; Idolatry, Superstition, Revenge, Obstinacy, and
Controversy, typified by several figures, are falling prostrate,
or flying before the power of truth, under whose feet lies a
vanquished dragon ; a lion, with a fox in his paws, denoting
Strength and Cunning, is in the centre at the bottom of the
picture, which is bounded at the sides by spiral columns
supporting a cornice. A free and spirited sketch for a design
to be worked in tapestry.
2 ft. 6 in, by 3 ft.—P, Worth 200 gs.
Collection of Lord Saye and Sele, at Belvidere.
878. Jupiter committing to Woman the Government of the
Universe. Represented by that deity seated upon the clouds,
with his arm round the neck of a female, who is clothed in
ample drapery, and at whose feet is Cupid with a globe ; an
eagle, the symbol of the god, is hovering above. A free
spirited sketch.
20 in. by 15 t/i.-- -P.
Collection of Lord Darnley, Cobham Hall
260 RUBENS.
879. A Triumphal Procession, said to be that of Henry IV.
The conqueror is mounted in a splendid car, drawn hy foui*
white horses, holding in his hand an olive branch; while
Victory, floating in the air behind him, is about to place a
wreath on his head ; the car is preceded by horsemen, who are
approaching a triumphal arch, and followed by captives with
their hands bound ; a number of soldiers, with ensigns and
banners, and musicians playing on instruments, accompany
the car, and groups of women and children are in front of the
composition. A beautiful sketch, apparently the first idea
for the picture at Florence. — See p. 148.
19 J in. by 33 tn.—G. Worth 250 gs.
Xow in the collection of Lord Daniley, 1829.
880. Portrait of the Artist, when about fifty years of age.
The face is seen in nearly a front view, with auburn hair,
mustachios, and pointed beard ; a large hat covers the head,
and the dress is composed of a black silk vest, slashed on the
breast, showing the white linen under it ; a dark cloak covers
the right shoulder, and a plain white collar adorns the neck.
Painted in an oval, which has subsequently been enlarged
into a square. This interesting picture is painted with
delightful purity of colour and careful handling, and the
expression, although placid and agreeable, exhibits the high
intellect of the painter.
2fi. 3 in. by 1/^. 8 m.— P.
Engraved by Hollar, and Anonymous, D. Haut ex.
The picture was originally in the family of a canon at Brussels,
from whom it passed into the collection of the present proprietor,
M. Schamps, at Ghent, a gentleman distinguished for his kindness
and urbanity to those who visit his collection.
Valued by the owners at 2000Z.
881. Portrait of Elizabeth Brant, when about thirty years of
age. The countenance, seen in a three-quarter view, is of an
oval form, and fair ; her flaxen hair is disposed in ringlets on
the forehead, and falls in a large cluster through a plait of the
RUBENS. 261
same on the left shoulder ; the dress is of black silk, and a
white kerchief concealing the bosom.
2 ft, 2 in, by 1 ft 8 J in, — P. (pvaX^ enlarged to a square,)
In the collection of M. Schamps, Ghent.
882. Portrait of Helena Forman, in the character of a
Shepherdess. The countenance, denoting her to have been
about twenty-five years of age, is seen in a three-quarter view ;
her auburn hair is formed into two plaits, and falls on each
side of the neck ; a straw hat, lined with purple silk and
turned up on the left side, is placed negligently on the head ;
the body, which is viewed in a side position, is clothed in
white, with a broad crimson band round the shoulders, and a
muslin kerchief partly covers the bosom ; the right hand, only
half of which is visible, holds a crook, the other is not seen.
This portrait, as well as the preceding, is painted in a broad
and smooth manner, remarkably clear and brilliant in colour.
2 ft. 2 in, by 1 ft, 8 in.— P.
Now in the collection of M. Schamps, who values the three at
6000 gs.
883. Portrait of Father Euzzola, a Monk of the Order of
Cannelites, and Confessor to the Archduchess Isabella. His
animated countenance, the features of which are small, denote
him to have been about sixty years of age ; seen in nearly a
front view ; the scanty hair on his temples is gray, as are also
his beard and raustachios ; he is clad in the white robe of his
order, and is seated in a cave, holding with both hands a
crucifix. A vigorous and admirably-painted picture.
Sft, 3 in, by 2/f. 6 in.—C, Worth 300 gs.
Engraved, anonymous, to illustrate an ancient history of the
brotherhood.
Collection of M. Schamps, Ghent.
884. A beautiful Parrot of the macaw species, exceedingljr
262 RUBENS.
brilliant in the plumage. It is represented perched on an
ornamental stone bracket. A finished study.
18 J in. by 15 m.— P.
Collection of M. Schamps.
885. St. Clotilda bestowing Alms upon a Poor Boy, who
is a cripple, and lies at her feet. Her head is adorned with
a celestial crown, and she holds a book in her hand, on which
is placed a temporal crown. A sketch.
15 J in. by 12 in.—V,
Collection of M. Schamps.
886. A Negro's Head. The countenance, which is animated
and smiling, is seen in nearly a profile view. A study,
16 in, by 12J in. — P.
Collection of M. Schamps.
887. St. John baptizing in the River Jordan. The Saviour
is represented standing in the stream, naked all but the loins,
and St. John, clothed in a sheep's skin, stands on the bank
pouring water from a shell on the Saviour's head ; on His
right are three angels floating buoyantly in the air, and hold-
ing His raiment ; a second group of three angels is above ;
and the Holy Spirit, in the form of a dove, is descending on
His head. In the left of the picture are some lofty trees, and
four men preparing to receive baptism, two of them are seated
on the bank, taking ofif their clothing ; retired from these are
two women, one of whom has a child in her arms.
13 ft. 6 in. by 22 ft. 3 in.—0.
This immense picture is attributed to Kubens, and is said to have
been done by him in Italy, in imitation of the Bolognese painters,
and an attempt at the grandeur of Michael Angelo.
It was brought to England in 1810, and knocked down, in a
public sale, at 300 gs.
. If ow-in the possession of M. Schamps.
RUBENS. 263
There is a drawing in black chalk of the preceding composition,
with slight variationSy in the collection of the Mus^e at Paris.
17^ in. by 30 in.
888. Pan and Geres. The goddess, flushed with rosy health,
is seated in the right, nearly in a profile view ; her golden
tresses are adorned with ears of com ; a scarlet mantle partly
covers her body, and a yellow robe is cast over her knees, on
which she holds the horn of abiuidance ; the rural deity, Pan, is
seated by her side, with a basket of fruit on his knees : a grove
forms the background, through an opening of which, in the
left, are seen several nymphs and satyrs. The figures are seen
to the ankles. The landscape and fruit are by Breughel.
ifi.i in. by 6 ft. 7 in.—C.
In the collection of M. Francken, at Loekeren.
889. Portrait of a Grentleman about fifty years of age, of a
strongly-marked countenance, seen in a three-quarter view,
with short hair. His dress consists of a black figured silk
vest, a white pendant rufif, and a dark cloak, which, covering
the left shoulder, is drawn across the body and twisted round
the left arm ; the right hand is placed on the hip.
890. The Companion. Portrait of a Lady, about thirty-five
years of age. Her face is presented in a three-quarter view ;
a small white cap covers her head, and a full ruff is round the
neck ; she is dressed in black silk with striped figured sleeves,
epaulettes, and lace ruffles ; the bodice is richly embroidered
with gold ornaments; a massive gold chain encircles the
waist, and is held by the right hand, while the other is placed
on a covered table. These portraits are estimable examples
of the master.
3 ft. 5 in. hy2ft.5 in.— P.
Now in the collection of M. Van Sasseghem, at Ghent
Worth 800 gs. the pair.
264 BUBBNS.
891. Portrait of a Gentleman about fifty-five years of SLge,
seen in nearly a front view, with gray beard and mustacbioe,
and scanty hair, turned back ; he is dressed in a black vest,
a mantle, which is held in front by the right hand, and a
plain white collar.
26 in. by 20 in. — P. (ovcU,)
Collection of the Chevalier Erard, at Paris.
892. Portrait of Gevartius, a jurisconsult of Antwerp. His
spare countenance, which is seen in a three-quarter view,
denotes him to have been about forty-five years of age ; his
hair is dark and scanty, and he wears a small beard and mus-
tachios ; the dress is composed of a black vest, a silk robe, and
a full white ruff; he is seated in an arm-chair, holding a pen in
his right hand, while the fingers of the left are between the
leaves of a blank book lying open on a table before him, on
which is a bust of Antoninus Pius : a portion of a library is in
the background. The artist has evidently painted this pictiu*e
under the influence of personal attachment ; it is a highly-
studied work, exhibiting the gentleman and the scholar.
4 A by 3 ft. 4 tn.— P. Worth 600 gs.
Engraved by P. Pontius.
Now in the possession of Baron Boose, at Brussels.
893. Portrait of a Lady, about thirty years of age, of a fair
complexion, seen in a three-quarter view. The dress is com-
posed of black silk, with sleeves formed of ribbons, showing the
white silk linings ; the bodice is splendidly adorned with pearls
and gold, and a brooch of diamonds and other gems ; a lace
ruflF, standing up round the shoulders, a pearl necklace, and a
rich antique gold chain, complete her costly attire.
2 A 4 in. by 1 j^. 11 J in.— P. Worth 250 gs.
Now in the possession of Baron Roose, at Brussels.
894. Portrait of a reverend Prelate, about fifty-five years
of age. Bepresented on his knees, before a table covered with
RUBENS. 265
scarlet cloth ; bis right hand is placed on his breast, and the
left holds a small book ; he is dressed in a black silk robe,
with a white lawn cope over it, and a pale yellow mantle
hangs over the left arm.
895. The Companion. A venerable Priest, about sixty-five
years of age, with gray hair and beard, of a portly countenance,
seen in a three-quarter view ; he is similarly dressed to the pre-
ceding, with the addition of an ermine cape, and is also kneel-
ing at a table covered with bright crimson cloth ; his right hand
is raised in devotion, and the left holds a rosary. The arms of
these dignitaries of the church are embroidered on the covers
of the tables. These are clear and carefully-finished pictures.
6 ft. 4 in. by 3/^. 9 in.— C.
Now in the collection of the Earl of Egremont.
896. Portrait of a Monk, with a strongly-marked counte-
nance. Represented- in nearly a front view, with gray hair
and beard, dressed in the brown habit of a Cordelier, with a
sun on his breast.
21 in, by 16 in.— P.
Collection of his Highness Prince d'Arenberg, at Brussels.
897. An Athletic Man, stooping to lift up a massive gold
vase. A study.
2 ft 6 in, by 2 ft, 4 in.— C. {ahoiU,)
Collection of his Highness Prince d'Arenberg.
898. A Bagpiper and Shepherdess. The female is repre-
sented in nearly a front view, seated on a bank, and struggling
against the embraces of an athletic man, who has one arm
round her waist while the other encircles her neck ; his brows
are bound with vine foliage, and a fur mantle covers his loins,
to the girdle of which is attached a bagpipe. The figures are
full length, and were evidently intended for portraits of the
artist and Helena Forman, In the foreground of the land-
266 RUBENS.
scape are three sheep. The figures only are by Eubens ; the
rest is apparently by the hand of Mompers.
Engraved by Avril, 1781, entitled Le Oroo-enrjambey from a pic-
ture at that time in the collection of M. Gouffier.
This picture is inserted at p. 35, being No. 297 in the catalogue
of Rubens's effects.
899. A Soman Soldier. He is clad in armour, with a
lion's skin over his cuirass, a helmet on his head, and a lance
in his left hand. The figure is of the size of life, seen to the
middle, with the back turned towards the spectator.
2 ft, 7 in. by 2 /if.— P.
CoUection of M. MuUer, . Anut, 1827. . 1550 flo. UOZ.
Now in the collection of Edward Gray, Esq.
900. David strangling a Bear. The athletic youth, who is
naked all but the loins, has seized the animal round the neck
with both arms, and is compressing it with all his force. A
dead lion lies on the left and front of the picture, and on the
opposite side is a flock of sheep, one of which lies dead. The
composition and drawing of this production are full of enei^y
and characteristic expression, and the colouring is fresh and
brilliant. It is not improbable but that the artist borrowed
the idea of the design from an antique gem. The landscape
is by the hand of Wildens, and the animals by Snyders.
7 ft 4 in. by Sft 8 in,—G.
Engraved, with variations, by Panneels.
Collection of Count Altimera, 1827 (by Mr. Stanley), 170 gs.
901. The Annunciation. The Virgin is represented on her
knees, before a little table with a book open on it, and appears
to be suddenly diverted from her devotions by the celestial
messenger, who is floating buoyantly in the air behind her,
announcing the behest of the Most High, to which she attends
with an expression of obedient humility, placing her right hand
on her bosom ; the Third Person of the Trinity, in the form of
«• '"L. _ P
RUBENS. 267
a dove, hovers over the Virgin ; two angels shower down
flowers from their hands, and a third holds up the ample
golden-coloured drapery of the announcing messenger* The
humble domesticated character of the Virgin is indicated by
a basket, in which are a cushion with a needle stuck in it, a
piece of linen, and a pair of scissors ; and a cat lies asleep by
the side of the basket.
10 ft, 7 in. by 6 /if. 2 J m.—C,
This picture is painted in the artist's free or bravura manner, in
a rich and harmonious tone of colour. It was done in Spain, for
the friend and patron of Rubens, General Leganes, the ancestor of
Count Altimera, in whose collection it was sold, by Mr. Stanley, in
1827, and bought by the Writer for 150 gs.
Now in the possession of Thomas Hamlet, Esq.
902. The Holy Trinity, or an Allegory of the Christian
Faith and Worship. The First Person of the Trinity is repre-
sented sitting on the clouds, with a sceptre in his hand ; and
the Second is in the opposite side, also seated, holding a cross ;
under their feet is a globe, borne up by three angels, and
above are three other angels amidst numerous cherubim. In
the lower part of the picture are St. John, the evangelist, who
holds a chalice in his hand and his gospel under his arm ; and
St. Paul, the apostle of the Gentiles, with his right hand
placed on the shoulder of a child, whose attention he is
directing to the mysteries of the godhead. The latter three
figures are seen to the middle.
7 /f. by 4 ft 8 in.— a
Tliis capital picture was painted for the Church of the Guardian
Angel, at Madrid.
Bought by the Writer, in a sale at Mr. Christie's, 1827. 170 t/s.
Sold in the Writer's coUection, by Mr. Stanley, 1828, and bought
by Mr. Norton, 250 gs.
Now in the collection of D. Bailie, £^.
A picture of a similar composition, but without the apostles,
occurs in the Munich Gallery. — See p. 74.
268 KUBBNS.
903. A Study of two Lions in spirited action ; one of them
is springing upon the back of the other. The upper parts
only of the bodies are seen.
1ft 6 in. by 3 ft. 6 t».— C.
Engraved by Bloteling.
Collection of the Duke of Bedford, 1827 (by Mr. Christie), 80 g9.
Exliibited in the British Gallery in 1822.
Now in the possession of the Prince of Saxe-Coburg.
904. Portrait of a Gentleman, about fifty years of age, seen
in nearly a front view, with dark hair and beard ; he is
dressed in black figured silk, a full white ruff, and a belt
round the body ; the left hand, holding a glove, rests on the
back of a chair, and the right hangs down, with the hem of
his cloak between the fingera. Dated 1620.
3fi.5in. by 2 ft. 5 in.— P. Worth 250 gs.
In the collection of Gomte Zcernini, at Vienna.
905. Portrait of Philip IV., habited in black, decorated
with the Order of the Gulden Fleece attached to a gold chain,
and a splendid collar of jewels hanging below the waist ; the
left hand is placed on the hilt of the sword.
Zft. 10 in. by 3/?. 2 in.—C.
Put up for sale by Mr. Phillips, 1828, and bought in at 200 gs.
906. The Companion. A Portrait of Elizabeth de Bour-
bon, consort of Philip IV.; she is attired in black silk,
adorned with rows of pearls and other jewels. The right
hand, with a fan in it, rests upon a covered table, and the
left holds a handkerchief.
These pictures were purchased by Mr. Murch, of Count Bentinck,
of Vaeel Castle, in Germany, in 1827. They are duplicates of the
Munich Portraits. Engraved by P. Pontius; and in small,
Viennot. — See pp. 75 and 76.
Put up for sale by Mr. Phillips, 1828, and bought in at 150 gs.
RUBENS. 269
907. Saint Michael, armed with a thunderbolt and a shield,
treading Satan under his feet ; the prostrate enemy of man-
kind lies struggling on the brink of an abyss, grasping serpents
in his hands. A slight but very masterly sketch,
25 in. by 18 J tn.—V,
Collection of the Earl of Liverpool, 1829, by Mr. Christie, 25 gs.
Bought by Mr. J. Wooding.
There is a print of the above subject, iu which Satan is seen ia a
side view. In the preceding picture he is represented in a fore-
shortened position. Engraved Ijy Melan.
908. The Fall of Phseton. In the centre of the composition
is the empty e^r of Phoebus, surrounded by figures emblematic
of the hours, and accompanied by cupids ; these, with the fiery
steeds of Apollo, are thrown into dire confusion by the mis-
guided impetuosity of the presumptuous youth. This mas-
terly-finished study has evidently been done as a design for a
ceiling.
3 ft. 2 in. by 2 ft. 5 in.—}^.
There is an etching of this subject by Panneels.
Exhibited in the British GaUery in 1823.
Now in the collection of the Earl of Mulgrave.
A picture representing the same subject was formerly in the
Palace of Brignoletti, at Qenoa.
909. A Landscape abounding with trees, and traversed in
front by a deep ravine ; towards which, and on the left side,
is a waggon descending a steep place, behind a bank. This is
a slight free sketch, on paper, probably the first idea for the
fine picture known as the Charette embourb^.
1 ft. 10 in. by 2 ft. 2 m.— P.
Collection of the Earl of Mulgrave.
910. Inspiration. Kepresented by a female, clad in a yellow
and white mantle, seated, with a large book open on her knees,
and a pen in her hand ; she appears to have just ceased writing,
and has turned her head to listen to the inspiring dictates of
270 RUBENS.
the Holy Spirit, who, under the form of a dove, is suspended
on the wing at her ear ; while an angel, bending at her side,
holds an inkstand.
17 in. by 14 in.— P. Worth 150 gs.
This is an admirably-finished study ; it was evidently designed
for the frontispiece of a book, and intended to be engraved, as the
pen is put in the left hand of the female.
^Now in the collection of William Wells, Esq., at Redleaf.
911. An Allegory of the Elements of Earth and Water.
Bepresented by a male figure leaning on a vase, and a female,
standing near him, with fruit in her lap. This is a spirited
sketch.
15 in. by 12 in. — P.
Exhibited in the British Gallery in 1815.
Xow in the collection of the Earl of Mulgrave.
There is a print of the preceding subject, composed of a river
deity, seated, leaning on a vase from which water issues, and a
naked female on the opposite side of the vase, with one arm round
the neck of the river god, and a cornucopia in her hand ; a triton,
blowing a conch, is in a river in front ; and a satyr, bringing a
basket of fruit, is seen beyond the female. Engraved by Vangelisti,
probably after a picture in the Ghigi Palace, at Rome.
This subject is also engraved by P. de Jode, with considerable
variations ; in this print the female holds the river god by the hand,
and wears a mural crown, over which an angel holds a chaplet ; the
satyr is omitted. A picture (probably a sketch) corresponding
with this description was sold in the
Collection of M. de Crozat, . . 1751. . 400 fs. 16?.
912. Dead Abel. The figure is represented naked, all but
the loins, which are covered with the skin of a beast, lying on
the ground in a fore-shortened view, the head being towards
the spectator ; a dog is approaching the body, with an expres-
sion of caution and concern : a woody landscape forms the
background, where is seen the fire still burning on the altar
of the accepted sacrifice.
^fi. 10 in. by 5 ft. 10 in.—C.
RUBENS. 271
I
Engraved by J. Heath.
Exhibited in the British Gallery in 1819.
Now in the collection of the Dnke of Bedford.
913. Three Goddesses, Juno, Minerva, and Venus. They
are represented descending on a cloud to appear in the pre-
sence of Paris. A briUiantly-coloured and vigorous sketch.
13 m. by 11 J tn.— P. Valued at 200L
In the possession of Mens. C. F. Windelstadt, at Frankfort
914. Trophies emblematic of Peace and War. The com-
position exhibits a portico, the entablature of which is
supported on the left by the harpies of Envy and Discord, and
on the right by Amity and Peace ; two pedestals which divide
the arch, are surmounted by trophies, one of which is com-
posed of the spoils and weapons of war, the other of the in-
struments of agriculture and the fruits of the earth : various
other objects allusive to the allegory are introduced.
1 ft, 8 in. by 2 //. 0 J m.— P.
Engraved by Bickham, when in the collection of General Camp-
bell ; and also by Van Thulden.
This masterly-finished study was done for a design of part of the
decorations of a triumphal arch, entitled the "Temple of Janus,''
erected at Antwerp, in 1635.
Exhibited in the British GaUery in 1822.
Now in the collection of the Marquis of Bute.
915. fiubens's Son and Nurse, in a Larder The female,
dressed in a dark gown lined with gray and a scarlet petticoat,
carrying a large silver dish, held c^ainst her side with her right
hand, is entering a larder, and extending her left to hold a
beautiful little boy, who is seated on a dresser, reaching out his
hand to take some grapes from a basket standing near him, and
at the same instant looking round to his nurse, with an in-
quiring eye, for permission ; a dish of apricots is on the dresser
272 RUBENS.
and a quantity of fruit and vegetablee lie on the ground.
The accessories are introduced by the band of Snyders.
5/f. 6 in, by 5 ft. 8 in.—C.
Engraved by R. Earlom.
Now in the collection of the Marquis of Bute.
916. Silenus with Nymphs and Satyrs. The demi-god is
represented staggering between two nymphs, one of whom is in
front, with her hand on his breast ; the other, dancing at his
side, holds his left arm, and is gaily tossing up a tambour :
while a satyr, with his left arm round her waist, is endeavour-
ing to embrace her ; two other satyrs, one of whom carries a
cupid on his shoulders, are on the farther side of the group,
preceded by a third bearing a nymph in his arms ; and on the
opposite part is a female, on the ground, bending forward and
suckling two infant satyrs.
18J in. by 26 w.— P. Worth 100 gs.
This is an excellent sketch, en grisaiUey probably the original
study for a large picture in the Hermitage, at St. Petersburg.
Now in the collection of Paul Methuen, Escj., Corsham House.
917. Portrait of the Archduke Albert.
Exhibited in the British G^ery in 1815.
In the possession of the Earl of Upper Ossary.
918. Portrait of George Villiers, Duke of Buckingham, on
horseback. In the composition are introduced several alle-
gorical figures.
Exhibited in the British Gallery in 1815.
Now in the possession of the Earl of Jersey.
919. N^roes' Heads. A masterly-finished study.
Exhibited in the British GaUery in 1818.
Now in the collection of the Earl of Derby.
920. The Discovery of Calisto.
Exhibited in the British Gallery in 1821.
Now in the collection of the Earl of Derby.
RUBENS. 273
921. Christ journeying with the two Disciples to Emmaus.
The subject is represented in a landscape, by Breughel.
2 //. 3 m. by 3 ft. 7 m.— P.
Collection of De Wit, . . Antwerp^ 1741. . 265 flo, 2il.
922. The Last Supper. A sketch en grisaille.
2 ft. 2 in. by 1 ft. 8 m.— P.
Same collection as the preceding, . . . . 265 fio. 24/.
923. Philip IV. of Spain. He is represented in nearly a
profile view, wearing a lai^e full ruff, and having the body
enveloped in a mantle. A finished study.
23 in. by 18 tn.— P.
Sold by M. Heris, at Brussels, to his Highness the Prince
-d'Arenberg.
924. Portrait of a Young Lady, about thirteen years of
age, of fair complexion and dark hair ; seen in a three-quarter
view. She is dressed in a brown frock with ribbon sleeves,
ahowing the white linings, a white kerchief, ruffles, and a pina-
fore with a bib ; the right hand holds a fan, and the fingers
of the left gently raise her apron. This is a pleasing picture,
painted with great clearness, and possessing considerable
(refinement in the drawing.
lft.4 in. by 2 ft. 6 m.— C.
Now in the collection of the Prince Talleyrand. Worth 200 g%.
925. A Wolf Hunt. This superb gallery picture is com-
posed of three figures on horseback and five on foot, attacking
two wolves and three foxes. The group presents, on the left,
a gentleman habited in the elegant Spanish costume of the
period, gracefully riding a prancing mottled-gray charger ; on
his right is a lady, carrying a hawk on her hand, mounted on a
brown horse (these two figures personate Kubens and his wife,
Elizabeth Brant) ; the third gentleman is seen in a front
view, without his hat, armed with a javelin, and arriving on a
spirited horse at full gallop ; on the same side, and nearer the
VOL. II T
274 RUBENS.
front, are two men on foot, armed with spears, attacking an
enraged wolf, which has reared upon its hind legs and seized
the point of one of the weapons in its mouth ; the other wolf is
furiously beset by the dogs ; the remaining three huntsmen on
foot, one of whom is blowing a horn, are on the farther side of
the animals ; a fox lies wounded near the horses' feet, a second
is killed, and the third is stealing off.
8/^. 1 in, by 12 /if. 5 in.—0.
Engraved by Soutman and Vander Leuw.
Energetic expression, the predominant characteristic of this
master's works, is conspicuous throughout this splendid production,
which, with the exception of the landscape (introduced by Wildens),
the Writer considers to be wholly by the hand of Kubens ; or, at
least, if Snyders assisted in the animals, the spirited and powerful
pencilling of Rubens has effectually obliterated the peculiar handling
of that artist, and given to them a spirit and animation which none
but his inimitable genius could depict. In the performance of this
picture, the artist was excited by the noblest feelings of gratitude
and friendship, as it was done expressly for his patron, General
Legranes, then commander of the artillery in Flanders, under the
Marquis Spinola, in 1612 ; from whom it descended by inheritance
to the Count Altimera, at Madrid, and from whose family it was
sequestered by the French during the late war in Spain, and trans-
ferred to the Louvre, where it was exhibited in 1 8 1 4. Similar events
restored it again to the family in 1 8 1 5. It was subsequently returned
to Paris for sale, and the sum of 80,000 fs. was the required price.
The Writer shortly after became the purchaser, at 50,000 /«., or
2000?. (1824.)
Now in the collection of Alexander Baring, Esq.
A duplicate of the preceding, of smaller dimensions, in which the
animals are by Snyders and the figures finished by Rul^ens, is in the
collection of Paul Methuen, Esq., Corsham House.
6 ft 7 in. by 9 ft 2 tn.— C.
926. A Lion Hunt. The composition consists of four
huntsmen mounted on fiery coursers, attacking a lion and
lioness ; in the conflict one of the horses has fallen, and pitched
RUBENS. 275*
its rider head foremost to the ground, and an enraged lion has
seized him on the back with his fore paws, and at the same
instant has fixed the claws of one of its hinder feet in the face
of a prostrate huntsman, who is plunging a sword into the
animal's belly ; another man lies under the horse, grasping a
broken spear ; the lioness is on the farther side of the group,
springing up at the horsemen, and receiving the points of their
weapons in her breast The whole presents a scene of extra-
ordinary action, and strong excitation of the passions.
Engraved by Soutman and Le Bas.
927. A Boar Hunt. The infuriated animal is encompassed
in a narrow pass by numerous dogs and four huntsmen on
foot; two of whom, armed with spears, have pierced the;
animal in the head ; two ladies and three gentlemen, on horse-
back, appear on the opposite side, one of them has stuck his
sword into the boar's head. The encounter is represented
near a lofty bank, and among decayed trees.
Engraved by W, V. Leuw.
A picture of the preceding composition, but in which very little
of the hand of Kubens is visible, is in the collection of Lord
Damley, at Cobham Hall.
6/f. 6 in. by 9ft 10 in.— C.
928. Atalanta and Meleager pursuing the Calydonian Boar.
This celebrated hunt is represented in the skirts of a forest,
from the right of which two well-mounted sportsmen are
arriving at full gallop towards the front, preceded by a number
of dogs, several of which are scrambling over the trunk of a
fallen ti-ee, against which the nymph Atalanta is leaning, in
an attitude indicating that she has just discharged an arrow
from her bow and wounded the boar in the head, while it was
rushing through a pool of water ; on the opposite bank of which
stands Meleager with a spear in his hand, ready to attack it.
3 ft. 8 in. by 5 /f. 6 m.— C. Worth 1400 gs.
Engraved by Bolswert.
"27 6 RUBENS.
This landscape, which is painted in a bold, free, or bravura
manner, is inscribed No. 131, in the catalogue of Rubens's effects.
Now in the possession of the Right Honourable Lady Stuart.
929. The Death of the Calydonian Boar. The composition
•consists of seven figures on foot and two on horseback ; conspi-
cuous among the former is seen Atalanta, who has discharged
an arrow from her bow, and is observing with delight that the
weapon is fixed in the animal's head; while Meleager has
sprung before her, and plunged a spear into its shoulder ; two
huntsmen, mounted on spirited horses, and armed with jave-
lins, are in the opposite side.
£ngraved by Van Kessel.
A picture of a very similar composition to the preceding is in
the Vienna Grallery. Engraved by Premier.
930. Figures and Dead Game. A fine woman, carrying a
basket of fruit before her, is approaching the front, from the
right side, accompanied by a sportsman with a hawk on his
hand, who is helping himself to a couple of figs from the basket ;
two dogs follow him ; one of them is by the side of the female,
and the other is smelling the game, which, consisting of a wild
boar, fawns, hares, pheasants, and other birds, lie in ample
abundance in the left of the picture.
6 ft. 8 tn. hy 7 ft. 4: in.— C. Worth 700 gs.
Engraved by R. Earlom, under the title of " The Fig," from the
original picture, at that time in the collection of the Earl of Thanet
Exhibited in the British GraUery in 1821.
Now in the collection of the Earl of Plymouth.
931. A Wild Boar Hunt, in a Woody Landscape. A party,
consisting of seven huntsmen on foot and four on horseback,
accompanied by a number of dogs, attacking a boar near the
trunk of a fallen tree ; several of the dogs have seized the
animal, and a party of men on foot, armed with javelins, spears,
and a pitchfork, oppose his progress ; one of the latter, in a
l'
H^r-
RUBENS. 277
scarlet jacket^ is clambering over the trunk of the tree, and
another is sounding a horn ; these are seconded in their efforts-
by two horsemen, who are on the farther side of the boar, and
one of them is piercing it in the head with a sword ; two of their
companions are galloping up from the left to the attack; and in
the opposite side is a boy holding two dogs in a leash ; through
an opening in the forest is seen a second party of gentlemen in
pursuit of wild boars. The figures and animals, although small,,
abound with action and spirited expression ; the gleams of the
evening sunshine play delightfully through the sylvan scene,,
and give force and brilliancy to the general effect.
4 ft, 6 in. by 5 ft. 6 in.— P.
This picture was purchased by a dealer, from an ancient family at
Antwerp, in 1825, for about 25,000 fs., lOOOZ., and sold to His.
Highness the Prince of Orange. Now in his Palace at Brussels.
The original sketch for the preceding picture, about the same-
size, is in the Dresden Gallery. — Seep. 82.
932. The Adoration of the Shepherds. In this composition,,
which consists of five figures, the infant Saviour, wrapped in
swaddling clothes, is lying on some straw, in a crib, and the-
Virgin kneels on the shaft of a column to uncover the Babe to
the view of a shepherdess, who is bending over Him, while a
shepherd is on his knees, worshipping the Infant; their offer-
ing, a lamb, lies bound in front.
Engraved by Panneels.
This is probably taken from a small picture, formerly in the-
Church of St. John, at Malines.
933. The Adoration of the Shepherds. The infant Saviour,,
from whom a bright radiance emanates and illumines the sur-
rounding figures, is placed in the centre ; the Virgin is seated
in front, at the head of the Babe ; and a shepherd is bending
on his knees before Him. A composition of six figures.
Engraved by Basan.
V.
278 RUBENS.
934. The Nativity. The infant Saviour lies asleep on some
straw in a crib placed in the centre, and the Virgin and
St. Joseph are on each side of it ; the former with her hands
crossed on her bosom, is bending in adoration, and the latter
expresses, by the movement of his hand, his devout afifection ;
three angels, bearing a scroll, hover above.
Engraved by Bolswert and Daull^.
This subject ie also engraved by Laurie ; and again, for a book-
print, anonymous ; Vanden Enden ex.
935. The Adoration of the Kings. In the disposition of the
groups in this picture the Virgin is seated close to part of a
building, at the side, with the naked Infant in her lap, before
whom one of the Magi is bowing, on his knees, and offering a
-cup full of money ; two others are standing on the farther side
of him ; one of them has a chalice, the other carries a casket ;
a company of four angels hover above.
Engraved by G. Frizza.
There is also a book-print of this subject^ engraved anonymous ;
Vanden Enden ex.
936. The Annunciation. The Virgin is bending on her
knees before a little table on the left, with a book in her hand ;
she appears to have been arrested in her devotions by the
sudden appearance of a celestial messenger, who stands behind
her with a palm branch in his hand ; the Holy Spirit, in the
similitude of a dove, is descending in a stream of light, and
two angels are showering down flowers from their hands.
Engraved by F. de Steen.
The same subject, engraved ; Vanden Enden ex. — a book-print
937. David, with the Elders of Israel offering Sacrifice on the
removal of the Ark from the house of Obed-edom. The cere-
mony is represented in a temple (a liberty which the artist has
taken), in the right of which, and on an elevation of some steps,
is placed a richly -ornamented brazen altar, with the victim, a
RUBENS. 279
eheep, lying on it, and on the farther side stands the high
priest, in his sacerdotal robes, invoking the acceptance of the
offering ; two venerable men are approaching the altar, one of
them, wearing a liuen ephod over a yellow robe, carries a lamb
under his arm ; they are attended by three young Levites, two
of whom have wax lights in their hands, and the third is holding
a vessel to receive the blood of the victim ; close to the front
are two children with a pair of doves ; in the opposite side are
other worshippers bringing their gifts to the altar, and beyond
them are four priests bearing the ark on their shoulders, accom-
panied by the shouting hosts of Israel.
2 ft 3 J in. by 2 /if. 10 tn.— P. Worth 500 g%,
Now in the collection of Earl Spencer, at Althorp.
This and similar sketches are the best proofs of the artist's
genius, and of all his works these are the most esteemed by con-
noisseurs. It was evidently done for a design to be worked in
tapestry, as it is terminated at the sides by pillars supporting a cor-
nice, to which four angels are attaching the border of the tapestry,
a similar way to the Loeches pictures in the Grosvenor Gallery.
938. The Virgin, with the infant Saviour in her arms. The
composition represents the Virgin, seated, and dressed in a
scarlet robe, with a gray mantle and some white linen cover-
ing her knees, on which the Infant is reclining, naked, and
extending its arms to embrace its parent, who is looking down
with maternal affection on the Babe ; her left hand is placed
under His right foot, and her right hand sustains His back ;
St. Joseph, in a blue dress, is at the side, looking over the
Virgin's shoulder at the Infant.
3 ft 8 m. by 2 ft 8 tn.— C.
Now in the collection of Earl Spencer, at Althorp.
939. The Judgment of Solomon. The king, seated on his
throne^ with a sceptre in his right hand and his left extended,
appears to be watching the issue of his trying sentence ; the
executioner stands on the left, holding the living infant by the
heel, and raising the sword to perform the king's command ;
280 RUBENS.
the real mother is prostrate before the judge ; and the pre-
tended parent stands at the side of the executioner. A com-
position of ten figures.
Engraved by Bolswert. The same subject, with variations, is-
engraved by C. Visscherj again by Viel; and there is also an
indifferent print from a picture of this subject, very erroneously
ascribed to Rubens, engraved by Car Gregori, Flor.
A sketch for the preceding picture was sold in the collection of
M. Schryvere, Bruges, 1763. . 120 /o. \\l.
12 in. by 15 in. — P.
940. The Assumption of the Virgin. A company of ten
angels and two cherubim attend the ascending Virgin ; one of
the former, with a palm branch, is giving flowers to another,
who receives them with both hands. The apostles and three
females surround the deserted tomb below ; two of the latter
are on their knees, with the winding-sheet in their hands.
This picture is very indifferently engraved by Lommelin.
941. The Assumption of the Virgin. In this composition
the ascending Virgin is borne up on clouds, accompanied by
five infant angels, who minister under her feet ; the twelve
apostles are on the top of an arch and on the steps descending-
to the tomb, in which are seen the three holy women.
Etched by Panneels.
A fine drawing, the study for the preceding, was sold in the
collection of M. Mariette, . . . . 1775. . 40/8. IZ. 10d»
942. The Virgin, bending on one knee and having her hand
placed on her breast, is interceding with the Saviour, wha
stands before her holding His cross, which an angel also-
support« ; two other angels are above.
Engraved by Van Panderen.
943. Saint Matthew writing his Gospel under the dictation
of an angel. The figures are seen to the middle.
Engraved by C. Watson.
V
RUBENS. 281
944. Bathsheba, while in the Bath ; receiving a letter from a
messenger of David.
Engraved ; attributed to Prenner.
945, Six Females visiting the Saviour's Tomb, at the en-
trance to which stands two angels, one of whom appears to be
informing them, that " He is not here, but is risen, as He said."
Engraved by Vosterman.
946. The Descent from the Cross. In the composition of
the group, Joseph of Arimathea is on a ladder, lowering the
body of the Saviour, by the help of a sheet, into the arms of
two women, one of whom is on her knees ; St. John is also
assisting on a ladder, in the opposite side.
Engraved by Waumans.
947. St. Jerome. A venerable old man, naked to the middle^
seated near some rocks, holding a crucifix and a stone in his
hands.
Engraved in mezzotinto by Latirie ; the print indicates this to be
a questionable picture of the master.
948. A Magdalen at devotion. The pious female is kneeling
on a rock, with one hand placed on her breast and the other
raised up towards Heaven, from whence a bright light descends.
Engraved, anonymous.
949. The Baptism of Constantino. The composition, which
consists of fourteen figures, exhibits the emperor in the centre,
bending on his knees with his hands crossed on his breast, and
the priest standing by his side, pouring water upon his head.
Engraved by C. Baroni ; this is a very indifferent print, and so
unlike the cotnposition of Eubens, that the Writer feels no hesitation
in pronouncing it to be erroneously ascribed. — See p, 206.
950. The Holy Family. The Virgin is seated near a
bower with the infant Saviour in her lap, whom St. John is
282 RUBENS.
amusing with a bird attached to a string ; St Elizabeth is on
the further side of the latter, with one hand round his loins ;
and St. Joseph stands behind, leaning one hand against the
trunk of a tree, and looking at the playful infants.
Engraved by Bolswert This print is repeated, in reverse,
anonymous.
951. The Holy Family. The Virgin is seated in a chair,
holding the infant Saviour with one hand round His loins and
the other under His foot, in an erect position in her lap ; the
Child, with one arm round His mother's neck and the other
placed on her bosom, is looking afifectionately in her face;
St. Ann is on the farther side of them, and St. Joseph leans
on the back of the chair, contemplating the Infant ; a cradle
stands by the side of the Virgin. The figures are entire.
This beautiful composition is admirably engraved by Bolswert
Eubens has repeated the composition of the Virgin and Child in
the preceding picture, seen to the knees only.
Engraved by P. Pontius; and again, with the omission of
St. Ann, by Alexander Voet.
952. The Holy Family. In this composition the infant
Saviour is bending on one knee in His mother's lap, extend-
ing the other leg on a cradle, and in an animated position
holds a dove, which the infant St. John, with one foot in the
cradle, is reaching out to take from Him ; St. Elizabeth is
behind the Virgin, with one hand on her shoulder, and
St. Joseph by her side, both of whom are looking earnestly at
the interesting scene. The figures are entire.
Engraved ; M. Vanden Enden ex.
953. The Virgin, wearing a celestial crown, and holding a
globe in her hand, is seated with the infant Saviour in her lap ;
His kingly power is designated by a sceptre, which He has in
His hand. The figures are seen in a front view, to the knees.
RUBENS. 283
Engraved by Bolswert ; and also, very indifferently, by Aubert
and Ganiere ex.
A similar subject is engraved anonymous.
954. The Virgin and Child, and St. Joseph. The Virgin is
seated, holding the infant Saviour round the body with both
hands, while the Babe has turned round, and is affectionately
embracing His mother ; St. Joseph is behind, with his hand on
his chin.
Engraved by G. B. Barb^.
955. The Virgin and Child, with Angels. This composi-
tion represents the Virgin seated at the foot of a tree at the
side, holding the infant Saviour, who is sitting on her lap,
with one hand round His waist ; an infant and a youthful
angel stand before Him, presenting a basket of fruit, some of
which the Saviour has taken, and is affectionately offering to
His mother ; a third angel is seen climbing a tree. The figures
are entire.
Engraved by Alexander Voet, jun.
The same subject as the preceding, in which St. John is offering
the Saviour a basket of fruit, is engraved anonymous ; Vanden
Wyngaerde ez.
956. The Virgin with the infant Saviour in her arms, who,
together with St. John, is playing with a lamb.
Engraved (oval) by Vosterman.
957. The Holy Family. The infant Jesus is caressing His
mother, and St. John, who is presented by St. Joseph, is
accompanied by a lamb.
Engi-aved by Lasne. The same composition, with the introduc-
tion of St. Ann, who is leaning on the cradle, is engraved by
Vosterman ; and repeated, anonymous.
This picture is in the Marlborough Collection. — See p. 246.
284 RUBENS.
A beautiful drawing, of a round form, done with a pen in
bistre, of the preceding picture, engraved by Lasne, was sold in the
collection of M. Mariette, .... 1775. . 1300 /«. 52/.
958. The Holy Family. The Vii^ii, with the infant
Saviour sitting naked in her lap, and St. John, with a lamb
in his arms, standing by her side ; beyond the latter is a boy,
and in the opposite side St. Joseph.
Engraved (oval) by Witdouc.
959. The Virgin, seated on a bank, holding forward the
infant Saviour towards St. John, who is held by Elizabeth
kneeling on the ground, while he amuses the Saviour with a
bird, which he holds in his hand.
Engraved, anonymous. The composition and style exhibited in
the print renders it more than doubtful that the picture is wrongly
attributed to the master.
960. The Marriage of St. Catherine. The infant Saviour,
seated on the Virgin's knees, is putting a ring on the finger
of St. Catherine, who is on the right of the print.
Engraved by Bolswert.
961. The same, with St. Catherine on the opposite side of
the Virgin, and differently composed.
962. The Virgin, holding the Infant in an erect position in
her lap ; one of His hands is placed on the back of one of His
mother's, the other is raised above His head.
Engraved by Bolswert.
963. The Virgin, seen in a front view, with a crown on
her head and a sceptre in her hand, is holding the infant
Saviour in an erect position in her lap ; one of the Child's
arms is round her neck, and His hand holds the cross of a globe.
Engraved by Bolswert.
RUBENS. 285
964. The Virgin, seen in a front view with her head
inclining downwards, is holding the infant Saviour in an erect
position in her lap by the arm ; both the mother and Child are
looking at St. John, who stands by her side with a lamb.
St. Joseph, with his hand to his face, is behind.
Engraved by Bolawert.
965. The Virgin, seated in a landscape, holding the infant
Saviour in an erect position, with one hand under His arm and
the other behind Him ; St. Joseph is by the side of the Virgin,
near a tree. Full-length figures.
Engraved by Alexander Voet.
966. The Virgin, seated, holding the infant Saviour erect
on her knee ; the Child is naked, and seen in a front view,
with one hand between the fingers of His parent's hand, the
other is on her wrist ; a cushion lies on a ta])le at the side.
Engraved by Panneels.
967. The Virgin and Child, with St John. The Virgin is
seen in a front view, seated, holding the infant Saviour in her
lap and looking at St. John, who is offering the Saviour a
basket of fruit.
Engraved by Wyngaerde.
968. The Virgin, seated, with the infant Saviour lying
(naked) asleep on her arm ; she appears disposed to place the
Child in a cradle, which stands by her side, and is in the act
of removing the clothes for that purpose. St. Joseph stands
behind, leaning on the back of the cradle.
Engraved by R. Morghen, after a picture then in the collection
of Lord Clive. If the engraver has faithfully represented the
picture, there is much more of the character of Van Dyck than
that of Rubens in the print.
969. The Virgin, with the infant Saviour standing in her lap.
This picture was sent by the grateful artist as a present to the
286 BUBENS.
Baron de Vicq, who was then ambassador from the court of
Belgium, at Paris, as an acknowledgment for the civility he had
received in consequence of the Baron's recommendation and
introduction of h\m to the Queen Marie de Medicis.
Sold in a sale at Rotterdam, . . . 1752. . 450^. 40Z.
Engraved by Bolswert.
970. The Virgin suckling the infant Saviour, who is enve-
loped in swaddling clothes ; St. Ann stands behind, looking
at the Babe.
Engraved by Paulis.
971. The Virgin oflFering the breast to the infant Saviour.
Engraved by P. Pontius.
972. The Virgin, watching the infant Saviour sleeping in
a cradle.
Etched, anonymous.
973. The Virgin, seated, wearing a celestial crown, with
the infant Saviour in her arms, whom she holds with both
hands knit together under Him, while the Child's arm is
placed on her bosom.
Engraved (oval) by Witdouc.
The same composition, with the addition of two angels present-
ing the Saviour with a basket of fruit, is engraved by Voet, jun.
974. The Virgin, having on her knees the infant Saviour,
whom she is holding under one arm.
Engraved by Lauwers.
975. The Holy Family. The Virgin is suckling the infant
Saviour, who is seated (naked) in her lap ; and St. John stands
by her knees, holding the Babe's foot with one hand, while the
other is placed on the head of a lamb. St. Elizabeth is behind
St. John, looking anxiously at the infants, and St. Joseph is
in the b«tckground.
Engraved by Witdouc.
RUBBKS. 287
976. The Holy Family. The Virgin is seated with the
infant Jesus sleeping on her breast ; St. Elizabeth stands by
her side, with her foot on a stool, holding St. John on her knee^
who, with his hands united, is looking affectionately at the
Saviour ; and St. Joseph is in the opposite side, leaning on a
pedestal. The figures are entire.
Engraved by Witdouc.
977. The Virgin, with the infant Saviour kneeling in her lap,,
and looking affectionately in His mother's face ; her arms en-
compass the Child's body, with the hands united in front-
The figure is seen to the knees.
Engraved by Bolswert, and smaller by Suyderhoef ; the latter is
copied in reverse, anonymous. A print, of precisely the same com-
position, with the introduction of St. Ann at the side of the Virgin,,
is engraved by N. Ryckman.
978. The Virgin, seated, holding the infant Saviour, who-
stands with one foot on a table and the other on His mother's
lap ; both the mother and Child are looking towards a fountain
in the opposite side.
Engraved by Bolswert.
979. The Virgin and Child. The Infant is lying on a pillow,,
and the Virgin is bending over Him, and pressing milk from
her breast into His mouth.
Engraved by Bolswert. The same composition is engraved by
Pilsens.
980. The Virgin, holding in her arms the infant Saviours-
dressed in swaddling clothes.
Engraved ; supposed by Bolswert.
981. The Virgin, with the swaddled Infant in her anns>
whom she appears to be about to embrace.
Engraved ; attributed to Bolswert.
288 RUBENS.
982. The Virgin, with the swaddled Infant in her arms, on
whose under lip His mother is putting her finger ; three angels
and four cherubim are contemplating the Saviour.
Attributed to Bolswert.
983. The Virgin, holding the infant Saviour on her knees ;
her cheek is resting on the Child's head.
Engraved, anonymous.
984. The infant Saviour caressing and embracing His
mother ; St. Joseph is behind, with a pear in his hand.
Engraved by Bolswert.
985. The Virgin with the infant Saviour in her arms ; a
part of a cradle is seen at the side.
Engraved, anonymous.
986. The infant Jesus sleeping in the arms of the Virgin,
and holding a pear in His hand.
Engraved, anonymous.
987. The Virgin playing with the infant Jesus, who lies re-
cumbent and appears disposed to hide Himself behind a veil ;
three cherubim are present.
Engraved by Bolswert.
988. The infant Saviour sleeping in the Virgin's arms, and
St. John affectionately holding His hand.
Engraved, anonymous.
989. The Virgin with the infant Saviour in her arms, and
St. John with a cross by His side ; the infants are caressing
each other.
Engraved, anonymous.
990. The infant Saviour and St John, seated on a bank
caressing each other ; near them are a cross and a lamb.
Engraved by Bolswert.
RUBENS. 289
991. The infant Saviour, with His arm ronnd the neck of
St. John ; both of them are caressing a lamb.
Engraved by Bolswert.
992. The Virgin, with the Saviour and St. Joseph, at table,
saying grace over their repast.
Engraved, anonymous.
993. The infant Saviour, seated on a cushion placed on a
cloud, holding in one hand a globe and raising the other
hand as if bestowing a benediction.
Engraved by Bolswert.
994. Samson taking the Honeycomb from the jaws of a
Dead lion.
Engraved by Galle, for the frontispiece of a book.
995. A Monk bowing in adoration before a Crucifix.
Engraved by Vanden Bergh.
996. A Youth, in an ecclesiastical dress, standing in the
position of a person speaking an oration.
Engraved, anonymous.
997. St. Gregory, habited in a pontifical robe, leaning his
head on his hand and meditating over a book.
Engraved, anonymous.
998. Saint Hiltrudis. A young female, wearing a chaplet of
flowers round her brows, holding a book in one hand and a
lamp in the other.
Engraved by Galle, 1617.
The same saint is engraved in an oval, by Thomas Galle.
999. Esther before Ahasuerus. The king has risen from his
throne, and is extending his sceptre over the fainting Esther.
Engraved by Panneels, and also by Collins. The same subject
is engraved by Wyngaerde. — See pp. 184 and 225.
VOL, II, u
290 RUBENS.
1000. The Marriage of the Virgin. The priest, with a ring
in his hand, stands on the left, attended by an assistant hold-
ing a book, and a page kneeling by his side with a torch in
his hand ; Joseph and Mary stand before him ; the latter is
in front, with her left hand on that of Joseph ; three females
are behind them ; three angels, shedding flowers upon their
heads, are flying above.
Engraved by Bolswert and Lauwers.
1001. Judith cutting oflF the Head of Holof ernes. An aged
female, her attendant, stands on the further side of her, and
four angels, hovering above, witness the heroic deed.
Engraved by Galle.
1002. Judith putting the Head of Holofemes into a sack
held by her attendant.
Engraved by Voet.
A picture of this subject is also engraved by Schroider.
1003. Nicodemus visiting Christ by night.
Engraved by Krafft.
1004. The Good Shepherd.
Engraved by Hendriex.
1005. The Last Supper. A copy, by Bubens, after the
celebrated picture by Lionardi da Vinci.
Engraved by Soutman, and copied by A. Van Rymsdyk.
1006. Christ's Agony in the Garden. An angel stands
before the Bedeemer with a chalice in his hand.
Engraved by Melar, Coget, Captain Baillie, and anonymous.
1007. Christ crowned with Thorns. "Then came Jesus
forth, wearing the crown of thorns and the purple robe, and
Pilate saith unto them — behold the man." The Saviour stands
upon the summit of a flight of steps in the presence of Pilate,
RUBENS. 29 1
who has risen from his seat ; five soldiers, one of whom is
bringing a prisoner bound, are present ; four Jews are in
front, lifting their hands in derision at the suffering Jesus.
Engraved by Bolswert, Lauwers, and Aubert.
1008. Samuel offering up Sacrifice after the recovery of
the Ark from the Philistines*
Engraved by Lommelin.
1009. Samson, while sleeping in the lap of Delilah, is
being shorn of his hair by a young man, at whose side stands
an old woman holding a candle to light him in the operation ;
an open door in the back of the room shows the armed
Philistines waiting to enter.
Engraved by Matham.
1010. The Daughter of Herodias, accompanied by a young
Female, receiving from the Executioner the Head of St. John
the Baptist on a charger. The figures are seen to the knees.
Admirably engraved, by Bolswert.
A picture of this subject is in the coUection of the Earl of
Carlisle.
Exhibited in the British Gallery in 1824.
1011 . The Daughter of Herodias, with the Head of St. John
the Baptist on a charger, accompanied by an elderly woman
with a lighted candle in her hand. Two figures, seen to the
knees.
Engraved by Panneels, 1631.
1012. The Miraculous Draught of Fishes. The composi-
tion consists of six figures, two of them are in the nearest
boat and three in the second ; the sixth man is on the shore
stooping down, and, together with all his companions, appears
actively engaged in attempting to land "the multitude of
fishes." A spirited and energetic sketch.
Engraved by Soutman.
292 RUBENS.
1013. A Magdalen, tearing her hair and renouncing the
vanities of the world.
Engraved, anonymous.
1014. A Magdalen, with her arms crossed on her bosom
and her eyes directed upwards.
£ngraved, anonymous. «
1015. A Magdalen on her knees, in a cavern.
Engraved by P. P. Rubens.
1016. The Head of a Magdalen, seen nearly in profile.
Engraved, anonymous.
1017. The Head of a Magdalen, seen in a front view.
Engraved, anonymous.
1018. A Magdalen on her knees before a crucifix.
Engraved, anonjrmous.
1019. A Magdalen, reclining her head in meditation before
a crucifix.
Engraved, anonymous.
1020. A Magdalen, bending over a crucifix, which she is
holding in her hands.
Engraved, anonymous.
1021. The Magdalen expiring, supported by two angels.
Engraved by Balliu.
1022. Saint Theresa with a dove.
Engraved by Verschuypen.
1023. A Magdalen, seated at the foot of a rock, with a
skull underneath her feet.
Engraved, anonymous.
HUBEKS. 293
1024. Saint Michael driving down the Great Dragon to
Perdition. In the composition are four angels, one of whom
has pierced the tail of the monster with a spear, while another
has seized a demon by the mouth.
Engraved by Neefs.
A similar subject, differently composed, is engraved by Voster-
man and Kagot. — See p. 61.
1025. Christ on the Cross. The head of the dying Saviour
reclines back, and the countenance is directed upwards ; dark
clouds obscure the sky, and the distance is veiled by the
shadows of twilight.
Engraved by Soutman.
1026. The same. The Saviour has yielded up the ghost,
and His head is sunk upon His breast. The city of Jerusalem
is visible in the background.
Engraved by Bolswert ; also with a light background by B, Har-
feldt ; and repeated in small, without the city, by C. Galle, jun.
1027. The same. The countenance of the expiring Saviour
is directed upwards, and the artist appears to have intended
to represent the moment when Jesus was uttering His last
exclamation. A castle is seen on a hiU in the distance.
Engraved by Bolswert.
1028. The same. Two angels are seen in the clouds,
driving down Sin and Death.
Engraved by P. Pontius ; the same, in reverse, C. Galle ex.
1029. Cain slaying his Brother Abel. The composition re-
presents Abel prostrate on the ground, and Cain standing
over him with the weapon of death in his hand.
Engraved by D. de Me3me ex.
1030. The Agonizing Sorrows of the Virgin. The Virgin
is on her knees supported by two angels, one of whom is
294 RUBENS.
drawing a sword from her breast. A cross, a crown of thorns,
and a spear, are on the ground in front.
Engraved by W. P. Leuw.
A drawing, in chalks, done by the artist for the engraver to
work from, is in the collection of Sir Thomas Lawrence, P.R.A.
1 1} in, by 7 J in.
1031. The Virgin, standing with the infant Saviour in her
arms, and presenting a scapulary to a Carmelite monk, who is
receiving it on his knees.
Engraved by P. de Jode.
1032. Saint Ignatius Loyola, while asleep, tormented by
demons.
Engraved by Audran, from a drawing by Rubens, formerly in
the collection of M. Mariette.
1033. Philemon and Baucis entertaining Jupiter and
Mercury.
Engraved by Meyssens.
1034 Venus suckling the Loves. The goddess is repre-
sented bending down with one knee on the ground, and
pressing the lips of one of the infant Loves to her breast,
which the other two are also endeavouring to obtain. A
landscape forms the background.
Engraved by Surugue and C. Galle. M. Watelet has also etched
the same, from a drawing by Rubens, done with the pen and
chalk; then in the collection of M. Mariette; sold, 1775, for
170/«., 71.
The following eighteen Saints are single figures, charac-
terized by their appropriate emblems : —
1035. St. Anthony 1040. St. Hubert.
1036. St. Anthony, of Padua. 1041. St. Ignatius de Loyola.
1037. St. Bernard. 1042. St. John the Baptist
1038. St. Francis. 1043. St. John the Evange-
1039. St. Francis de Paula. list, with a chalice.
RUBENS. 295
1044. St. Joseph. 1047. St. Paul.
1045. St Joseph, and the infant 1048. St. Agnes.
Jesus holding a branch 1049. St. Agatha,
of lilies. 1050. St. ApoUonia.
1046. St. Joseph, having in 1051. St. Theresa.
his arms the Saviour, 1052. St. Ursula,
who is crowning a saint.
The whole of the preceding are engraved ; Vanden Enden ex.
1053. St. Catherine leaning on a broken wheel, and hold-
ing a sword in her hand. A half-length figure.
Engraved by B. Bolswert and Panneels.
1054. St. Catherine leaning on a sword, and treading
under foot a portion of a wheel ; an angel is placing a crown
on her head.
Engraved by Galle.
A similar composition, entitled "The Coronation of St.
Catherine," is engraved by P. de Jode, and copied anonymous.
The same is engraved by L. Zucchi.
1055. St. Catherine.
Engraved by Vosterman, on an outline by Rubens, done from
the antique.
1056. St. Catherine treading on a broken wheel, holding
in one hand a sword and in the other a palm branch. A
study for a ceiling.
Etched by Rubens.
1057. An Allegorical Composition, representing the Vii^in
standing upon three globes, placed on the back of St. Francis,
who is bending on his knees with the weight. The Virgin
appears to be addressing a company of monks, at the head
of whom is Philip IV. ; beyond these is seen a car in the
clouds, drawn by eagles and guided by an angel, having
three kings in it ; in the opposite side is a similar car, drawn
296 RUBENS.
by lions, containing four females, emblems of the cardinal
virtues ; in the same side, and in front, are several monks,
driving the devil headlong into the jaws of a dragon. A
finished study, done en grisaille.
I ft 10 in. hj 2 ft. 7 in.— P.
Engraved by P. Pontius, and etched by Spruyt.
Now in the collection of M. Van Sasseghem, at Ghent.
1058. Faith, Hope, and Charity, represented by three
females. The first is contemplating a cross, which she holds
up in her hand ; the second has an anchor ; and the last is
accompanied by two infants, one of whom stands on her
hand, embracing her as its protector
Engraved in a circular form by J. B. Michell, from a picture at
that time in the collection of Sir EJdward Swinburne, Bart.
1059. St. Francis de Paula mounting in the air, in the
presence of a multitude of persons, who are assembled to
witness his assent ; among them appear to be many that are
diseased and possessed of devils.
Engraved by Lommelin.
1060. The Exaltation of the Virgin. The First and
Second Persons of the Trinity are represented placing a
chaplet on the head of the Virgin, who is seated on clouds,
with an inverted crescent under her feet ; a company of five
angels, two cherubs, and the Holy Spirit, in the form of a
dove, are hovering above.
Engraved, anonymous ; Vanden Enden ex.
1061. Purgatory. In this imagined place of torment
numbers of wretched beings are represented writhing in
the fiery element ; an angel is compassionately raising one
of them by the hand ; another angel and four cherubim are
above ; and the name of Jesus, brilliantly irradiated, appears
in the centre.
This is finely engraved ; Galle ex.
RUBENS. 297
This subject is repeated by two other engravers, anonymous.
The composition of the picture is taken from one of St. Theresa
interceding for Souls, with additions and alterations.
1062. War of the Flesh and the Spirit. Eepresented by
a winged figure of a man suspended in the air, to whom a
cord is attached, which is pulled in opposite directions by
an angel and devils.
Engraved by P. Pontius.
1063. St. Dorothy, with a palm branch in one hand and
some Foses in the other.
Engraved by C. Galle.
The same saint is engraved, anonymous.
1064. St. Jerome expounding the Scriptures to three
Cardinals, who are seated near him; three angels hover
above, bearing symbols of the church.
Engraved by Galle.
1065. Saints Ambrose, Gregory, Jerome, and Augustin,
habited in pontifical robes, looking over a book.
Engraved by Van Dalen.
1066. Two Cardinals investing a third Prelate with the
mitre; a composition of eight principal figures. In the
background are the Virgin and the twelve apostles, standing
upon an elevation, and the Holy Spirit, in the form of a dove,
hovering over their heads.
Engraved by Soutman.
1067. St. Theresa with a blazing heart in her hand, and
an angel presenting her with a cup.
Engraved by Galle.
1068. Salvator Mundi. The infant Saviour is seated in
298 RUBENS.
his mother's lap, holding a globe in his hand ; the Virgin
has a crown on her head and a sceptre in her hand
Engraved by C. Galle.
1069. The Twelve Apostles, distinguished by their several
emblems.
Engraved in single figures, by C. Galle.
1070. Salvator Mundi, holding a cross ; and
The Twelve Apostles, represented by the various emblems
which usually distinguish them. Half-length figures.
Engraved by Ryckman.
These are also engraved in separate pieces, by Bolswert.
1071. Ecce Homo. A head.
Engraved by Dannoot.
1072. St. Francis. Represented in a front view, kneeling
on the ground, with his hands extended, receiving in the
palms the stigmates.
Etched ; attributed to Rubens.
1073. Ecce Homo. The Saviour is represented naked to
the waist, with His hands bound behind Him, and a crown
of thorns on His head ; on His left stands a Jew, pointing at
Him with his finger in derision ; and in the opposite side is
a soldier, lifting a robe to cover Him. The figures are seen
to the middle.
Engraved by Galleus and Lauwers.
1074. St. Augustin, habited in pontifical robes, with a
crosier in his hand, standing on the seashore, and looking
with fixed attention at an infant, who is seated on the sands
with a shell in its hand.
Engraved by Neefs and Alexander Voet.
1075. The Death of St. Anthony. A composition of seven
RUBENS. 299
figures, two of them are kneeling at the foot of the dying
monk's couch.
Engraved by P. Clouet.
1076. Bathsheba seated by the side of a fountain, attended
by a young female, engaged in wiping her feet, and an old
woman, who is holding her robes.
Engraved by Thomassin.
This subject occurs in Rubens's Catalogue, pp. 31 and 171.
1077. Lot and his Daughters. Lot is represented sitting
on the farther side of one of his daughters, with his arm round
her neck, and an empty cup in his hand ; his second daughter
stands at a little distance from them, squeezing out the juice of
grapes into a cup.
Engraved by Goelmans.
1078. The same Subject In this composition Lot is seen
in a front view, sitting between his two daughters, on one of
whom he has both hands ; she is holding a cup, which her
sister is filling with wine.
Engraved by Swanenburg.
1079. The same Subject. Lot is here represented in a
profile view, sitting with a cushion at his back, and his daughter
is on his farther side, assisting him to hold a cup, wliich his
second daughter is filling with wine.
Engraved by W. P. Leuw. — Seep, 247.
The latter picture is in the Marlborough Collection.
1080. Danae receiving the Golden Shower.
Engraved by Krafft, on an outline of Rubens, after Titian.
1081. Venus with Cupid sleeping on her bosom.
Engraved by Krafit, on an outline of Rubens, after Georgione.
300 RUBENS.
1082. The Judgment of Midas. A composition of four
figures.
Engraved by Pilsens.
1083. Jupiter seated on a cloud, with Juno by his side ;
she is leaning on his shoulder. This is probably a study for a
group in one of the Luxembourg pictures.
Engraved by Panneels.
1084. Diomedes and Ulysses approaching the temple of
Minerva, hand in hand, to carry oflf the Palladium.
Engraved by Vosterman, jun.
1085. A Satyr, with his brows bound with vine branches,
carrying a quantity of fruit before him, and accompanied by
a female playing on the castanets ; a faun has a cup in one
hand and with the other is squeezing out the juice of grapes
over the head of the satyr. The figures are seen to the knees.
Engraved by Carol Faucij, from a picture then in the possession
of Thomas Lewis, Esq., 1763.
1086. A Drunken Silenus, supported by a Satyr and a
Faun ; the former is behind him and the latter by his side.
Engraved (on wood) by Jegher and by Bolswert.
1087. Hercules exterminating the Demons of Envy and
Discord.
Engraved by Jegher, on an outline drawn by Rubens.
1088. Satyrs and other Figures in a Cave, in which a great
quantity of gold and silver vessels, consisting of dishes, vases,
cups, and flagons, of great variety and richness, is displayed ;
in the right and front is a satyr reclining £isleep, with his arm
over the neck of a panther, and a great abundance of grapes
lying at his side ; beyond him is a bacchante drinking out of a
RUBENS. 301
cup into which a female is squeezing the juice of grapes ; in
the background are a couple courting.
Engraved by Wyngaerde.
1089. A Satyr seated on a bank squeezing out the juice of
grapes into a v£ise ; a tiger lies asleep in front, while another
is springing up a tree after the fruit.
Engraved by Vosterman.
1090. Bacchus, with his brows bound with vine branches,
supported behind by a Satyr, and on his right by a Faun,
who is pulling him along ; near the latter is a tiger, and at a
little distance off are two bacchantes, each bearing a thyrsus.
21 J m. by 28^ m.— P.
Engraved by Suyderboef,
A picture of this composition was sold at Mr. Christie's, 1829.
1091. A similar composition to the preceding, omitting
the tiger and nymphs.
Engraved by Bolswert, from a drawing by Rubens.
1092. Diana and her Nymphs, accompanied by dogs, in
pursuit of a stag and a fawn.
Engraved by Goupy.
1093. A Huntsman, armed with a spear and assisted by
dogs, attacking a wild boar and her young ones.
Attributed to Rubens, and engraved by Le Grand, in the Le
Brun Gallery.
1094. The Nuptials of Thetis and Peleus on Mount Pelion.
The couple are represented at table in company with the
gods and goddesses ; among whom is seen Jupiter giving the
apple of discord to Mercury.
Engraved by Wyngaerde.
1095. Minerva protecting a naked Female and her Children
802 RUBENS
(one of which is at the breast) from the rapine of War. A
composition of twelve figures.
Engraved by Henriques, from a picture then in the collection
of M. Langlier.
A study for the precetling is in the Louvre.
1096. The Queen of Sheba before Solomon. A composition
of ten figures.
Etched by Spruyt, from a sketch by Rubens. — See pp. 16 and. 184.
1097. Neptune and Amphitrite. The deity, with a trident
in his hand, is seated, with Amphitrite standing by his side
taking pearls from a shell, which is held by a triton, while a
cupid is adorning her wrists with pearls. Several animals,
emblematical of the power and sovereignty of the deity, are
in the composition.
Engraved by Schmuzer, after a picture in the collection of the
Count Schonburn, at Vienna.
A duplicate of the preceding is in the collection of Lord Lyttleton.
1 098. A Boy eating Raisins.
Engraved by Spikbury.
1099. A Young Bacchus. The face, which is seen in a
front view, presents a merry countenance ; a branch of vine
is bound round the brows, and the fur of an animal covers
the shoulders.
1 //. 8 in, by 1 ft. 6 in. — P. (about)
Engraved by C. Watson.
This beautiful little production is now in the collection of the
Marquis of Bute.
1 1 00. Apollo pursuing Daphne. The nymph, with extended
arms, endeavouring in vain to escape from her pursuing lover,
is being metamorphosed into a laurel tree. A sketch.
Engraved by Panned s.
1101. Boreas bearing off Orithya in his arms.
Engraved by Spruyt, from a sketch.
BUBENS. 308
1102. iBneas seeking his Father Anchises in the infernal
regions.
Engraved by Vosterman.
1103. An Allegory, allusive to the Peace and Prosperity of
a State. The composition consists of fifteen figures, in the
centre of which is a female representing Commerce, seated
with a caduceus in her hand ; she is supported by two other
females, bearing the symbols of Justice and Strength, while
Victory hovers over her head with a wreath in her hand.
Engraved by Eyiihouedts.
1104. Time, with a rod in his hand, chastising Idleness and
applauding Industry. The former is represented by a miser-
able man lying on the ground, with a female in black weeping
over him ; and the latter, by a man with a spade in his band,
while on the farther side of him is Fame proclaiming his
merits.
Engraved by Couchet.
.1105. The Grand Sultan on horseback, accompanied by
several officers, also mounted, and a number of persons on foot.
Engraved by Soutman.
A drawing of the preceding in chalks, and finislied in bistre, is
in the British Museum.
1106. A naked Female grinding colours; evidently incul-
cating that Art should represent Nature simply, free from aU
meretriciousness.
Engraved by Galle.
1107. Cupid and Psyche. The nymph is represented naked,
with a lamp in her hand, looking with fatal curiosity at her
lover, who lies asleep on a couch.
Engraved, anonyraous.
1108. The Augustan Gem. This precious antique cameo
represents the Apotheosis of Augustus, who is received among
the gods. Tiberius, his successor, surrounded by nobles,
304 RUBEKS.
occupies the centre of the compoBition, and the conquered
nations, personified by several figures lying prostrate at their
feet, form its base ; the whole consists of twenty-five figures.
12 in. by 10 in. (stated to be.)
Engraved after the drawing, by R. N.
This valuable production of antiquity was, at tlie time Rubens
drew it (in 1625), in the holy chapel at Paris.
1109. Two Busts of Warriors. One of them is seen in a
profile view, with bushy hair, and clad in armour.
Engraved by Gillis.
1110. Mars and Venus. The warrior is bending on one
knee at the side of the goddess, who is seated on the right,
taking his sword from his side; three cupids are engaged
emoving his armour, and a fourth is mounted on his horse.
Engraved very wretchedly, anonymous ; A. V. Hoom ex.
1111. Mutius Scaevola before King Porsenna, holding his
hand in the fire of an altar, for having failed in his attempt
to slay the king. A composition of seven figures.
Engraved by Schmuzer, from a picture then in the collection of
Prince Kaunitz.
1112. An Allegorical Subject, composed of five females;
the middle one is seated, and holds a wreath ; a second is on
her knees, leaning on an elbow-chair, with a chaplet in her
hand ; a third is trimming a burning lamp ; a fourth has a
book, and the remaining one appears to be meditating ; two
angels, one of whom is sounding a trumpet, are above.
Etched anonymous, but ascribed to Rubens.
1113. An Allegorical Subject, representing Abundance,
composed of three angels bearing a cornucopia.
Engraved, anonymous.
The same subject, differently composed, is engraved, anonymous.
RUBENS. 305
1 1 14. Famine, an Allegory.
Engraved in a spirited manner, anonymous.
1115. A Triumphal Arch, decorated with the Arms of Spain.
Towards the right is Prince Ferdinand in cardinal's robes,
to whom a bishop is presenting a paper, and another priest
appears to be addressing him ; he is conducted by Minerva,
and followed by females representing Justice, Peace, and
Plenty; a fourth female, personifying the Seventeen Provinces,
lies prostrate at his feet.
Engraved by Bolswert.
1116. A Gipsy telling the fortune of a Lady, whose pocket
a yoimg urchin is at the same time picking.
Engraved, anonymous.
1117. Neptune and Minerva disputing which of them shall
name the city of Athens. Various decorations, allusive to
Pope Urban VIIT., surround the centre subject. A design
for the title-page of a book.
Engraved by P. Pontius.
1118. St. John baptizing our Saviour in the Eiver Jordan.
A composition of two figures only.
Engraved by Panneels and Lommelin.
KrafEt has engraved this subject from a picture similarly composed
to the above ; in this the bole of a tree is in the centre of the pictxire,
and in the preceding there are three trees close to the side.
1119. Juno transferring the Eyes of Argus to the Tail of the
Peacock. The goddess, clothed in a crimson vest, has de-
scended from her golden car accompanied by Yenus, who stands
on her right with the head of Argus on her knee, from whose
forehead she is removing the eyes, and placing them in the
hands of Juno, who is at the same time transferring them to the
tail of her favourite bird, two of which are near her receiving
the splendid addition to their plumage, and three playful cupids
VOL. II. X
306 RUBENS.
are assisting in the metamorphosis ; the body of Argus lies
•extended in the left and front of the picture. The latter figure
is painted with studious care, and a profound knowledge of art.
9/f. by 12//.— C.
This capital picture was purchased from the Duiazzo Pakice at
•Genoa, and imported by Mr. Buchanan.
Exhibited in the British Gallery in 1823, and then in the
possession of T. Gent, Esq.
Now in the gallery of Mr. Yates, for sale.
1120. Soldiers carousing in front of a Country Inn. The
■composition is formed of thirteen figures of both sexes, and
•exhibits a scene of mirthful revelry and beu^chanalian excess.
— See p. 75.
Etched by F. Vanden Wyngaerde.
Purchased from the Colonna Palace, by Mr. Eirvine, for Mr.
•Gordon.
1121. The Entombment.
Purchased by Mr. Ervine from the Colonna Palace.
This picture is described by Mr. Buchanan as a small but very
l9eautiful example of the master, and was sold by him to Thomas
Duncombe, Esq., for 400 gs.
1122. Mars and Venus. The interior of a large subter-
raneous building, in the forepart of which are the god and
goddess; the former, clad in armour, stands with his arm round
lier waist, while she is extending her arms to remove his
helmet; several cupids are also assisting to disarm the warrior;
•armour and military weapons are distributed about the place.
Engraved by J. T. Avril, 1778, entitled Mars au Retour de la
Ghierre,
Nothing but the circumstance that the name of Bubens is
attached to che print, has induced the Writer to notice so wretched
a composition.
1123. Hebe, seated naked on some drapery, holding a cup
to an eagle, the symbol of Jupiter.
Engraved (oval) by Panneels.
mm^mmmmmammmmtimmam^mmmmmms^mmmmt^BBs^
RUBENS. 307
1124. Venus sitting naked on some drapery, viewing her-
self in a gla^ss held by Cupid, while an elderly female is
occupied dressing her hair ; a quiver and arrows lie on the
ground in front.
Engraved by Panneels, 1631.
1125. Portrait of the Archduke Albert. The face is seen
in a three-quarter view ; a full white ruff adorns the neck,
and the dress consists of a black figured silk, relieved with
small gold buttons and a chain, to which is suspended the
Order of the Golden Fleece ; the right hand rests upon a
covered table, on which is his hat, and the left is close to the hilt
of his sword. This picture was painted about the year 1610.
3 ft. 10 in, by 3 ft 1 tn.— C.
Exhibited in the British Gallery in 1822.
^'ow in the collection of Earl Spencer.
] 126. Portrait of Don Ferdinand, Infant and Cardinal of
Spain, and Governor-General of the Low Countries. The face,
which exhibits that of a man about eight-and-twenty, is seen
in nearly a front view ; he is habited in his cardinal robes,
consisting of a scarlet cap, and a cape and gown of the same
colour; the left hand holds a book, and the right hangs
negligently at his side. This excellent portrait was painted
in Spain, about the year 1628.
3 ft. 6 in. by 2 ft. 9 in.— C.
Exhibited in the British Gallery in 1822.
Now in the collection of Earl Spencer.
1127. Portrait of Sir Theodore Turquet Mayeme, a
Physician.
Formerly in the Anmdel Collection, and now at Cleveland House.
1128. Thomas Howard, Earl of Arundel and Surrey, when
about fifty years of age. Seen in a three-quarter view, with a
florid complexion, black bushy hair, beard, and mustachios; he
is clad in a brilliant armour, girt with a blue sash; the right
^
308 RUBENS.
hand, wearing a gauntlet, holds a staff, and his helmet is
placed on a table behind him. This is a work of the highest
excellence of the master.
4 /f. 2 tn. by 3 ft 4 in. — C. {about.)
Exhibited in the British GaUery in 1818.
Now in the collection of the Earl of Warwick.
An excellent portrait of the preceding Earl, head size, is in the
collection »of the Duke of Argyll, and a whole-length portrait of
the same nobleman is said to be at the Grove.
1129. Portrait of Titian's Mistress. A copy, by Bubens,
after Titian.
Exhibited in the British Gallery in 1823 ; then in the possession
of W. Cartwright, Esq.
1130. Thomas Howard, Earl of Arundel. His expressive
countenance is seen in a bare three-quarter view ; the hair,
both of the head and beard, is dark and bushy ; he is dressed
in a mantle doubled with fur, and wears a plain pendant
collar ; a medal, attached to a ribbon, is suspended in front.
Engraved, in an embellished oval, by Houbraken.
Exhibited in the British Gallery in 1824.
Now in the collection of the Earl of Carlisle.
1131. A Daughter of the Artist, when about seven years
old, with fair complexion and light hair, the head inclining
on one side ; she is dressed in a black silk frock with slashed
sleeves, relieved with white linen, and a muslin kerchief and
apron ; her right arm leans agednst a tree, and the left hangs
down at her side. A slight and freely-painted picture.
2 ft, 4 in. hy I ft. 9 in.—G.
Formerly in the collection of Mr. Richardson, the painter, and
author of an excellent work on art, and subsequently sold to
General Skipton and Captain W. Hamilton.
Now in the collection of Earl Spencer.
1132. A Girl and two Boys. The former has a bushy head
of hair, and is seen in a front view, carrying a basket of cherries ;
RUBENS. 309
the boys, who are dressed in imitation of soldiers, are amusing
themselves with guns on their shoulders.
Engraved by Exshaw, from a picture then in the collection of
P. Eyver, at Amsterdam.
A picture corresponding with the above description is in the col*
lection of the Marquis of Bute.
1133. Portrait of Pope Urban VIII. ; done for a frontis-
piece to the Pope's poetical works.
Engraved, anonymous.
1134. Portrait of Isabella d'Este, a Countess of Mantua.
Painted by Rubens, after a picture by Titian, and attributed in
the engraving to Yosterman.
1135. Portrait of a Warrior clad in armour, and wearing a
mantle over his shoulders.
Engraved, anonymous.
1136. Portrait of Ferdinand, GrovQrrior of Belgium, clad in
armour and mounted on a spirited charger, with the figure of
Fame flying behind him, and placing a wreath of laurels on his
head. The battle of Nortlingen is represented in the distance.
Engraved by Vander Does.
1137. Portrait of the same Prince, also on horseback, with
an eagle towering over his head, and in the distance is seen a
Fury hurling down destruction on the rebel army.
Engraved by P. Pontius.
1138. An Equestrian Portrait of the preceding Archduke.
In the collection of His Majesty.
1139. Another. Bepresenting the Prince mounted on a
prancing bay charger, with a female grasping a thunderbolt,
accompanied by an eagle (the emblem of Power). The Prince
wears a large hat, and is clad in armour, holding a baton in his
right hand. A skirmish of cavalry is seen in the distance.
ift^hySft OJm.— P.
Formerly in the collection of the Marquis of Bristol. — Seep. 76.
310 RUBENS.
1140. A full-length Portrait of the same. Eepresented
clad in armour, grasping a baton in his right hand, and having
the left on the hilt of his sword.
Engraved by Jegher.
1141. A three-quarter Portrait of the same ; wearing a large
hat decked with feathers, a broad plain collar with lace
edgings, and a baton in the right hand.
Engraved by Neefs.
The same, without the hands, is engraved by Silvestre.
The popularity of the Archduke Ferdinand, after the victory of
Nortlingen, and his consequent triumphal entry into Antwerp^
doubtless occasioned a considerable demand for his portrait, many
of which were executed by scholars, and finished by Rubens.
1142. Portrait of Cosmo de Medicis. Eepresented in a
profile view. (Oval.)
Engraved by Vosterraan.
1143. A Portrait of Lorenzo de Medicis.
Engraved, in an oval form, by Vosterman.
1144. Portrait of Pope Leo X.
Engraved, in an oval form, by Vosterman.
1145. Portrait of the Cardinal Bellarmin. Represented
sitting at a table in his study.
Engraved, by Bolswert.
1146. Portrait of a Man with short hair and a beard.
Engraved in an oval form, anonymous.
1147. Portrait of a Gentleman, done en grisaille.
Engraved by Jegher, on an outline by Rubens.
1148. Portrait of the Marquis of Castel Rodrigo.
Engraved by P. Pontius, and copied in reverse by A. Does*
P. Pontius has also engraved a second print o£ the same person.
RUBENS. 311
1149. Portrait of a Lady, the mother of the preceding person-
Engraved, in an embellished oval, by P. Pontius.
1150. Portrait of John Van Havre, represented in a three-
quarter view, with a square-shaped beard, and full ruflF round
the neck ; a close black cap covers the head.
Engraved, in an embellished oval, by C. Galle.
1151. Portrait of the Count Olivares, Duke of St. Lucar, in.
an oval composed of palms, and decorated with two angel&
seated at the sides of the pedestal, and various other sym-
bolical ornaments ; among these, and at the top, is a star
encircled by a snake.
28 in, by 23 in. {about.)
Engraved by P. Pontius, and in small by Galle, jun.
The picture from which these prints were engraved is now in the
collection of the Duke of Hamilton. It is beautifully painted eiv
grisatlley and evidently done for the purpose of engraving.
1152. Portrait of a Doctor of Louvain. The face is pre-
sented in nearly a front view, with a short thick beard, and
the hair of the head turned back, a plain white collar
surrounds the neck, and a black mantle covers the shoulders.
Engraved by Coelmans.
1153. Portrait of Leonard Lessius, a celebrated Jesuit,
author of a book entitled De Justitice Jure.
Engraved by C. Galle.
1154. Portrait of Edward Lupus, a distinguished musician
of the chui*ch at Lisbon.
Engraved, anonymous.
1155. Portraits of F. Marcellinus de Barca and Heliodorus
de Barca, two Monks.
Engraved, in oval forms, on the same plate, anonymous.
312 RUBKNS.
1156. Portrait of Mutius Attendulus, called Sfortia, pre-
sented in a profile view, with a cap on his head.
Engraved, anonymous.
1157. Bust Portrait of an English Minister.
Etched, in an oval form, by Rubens.
1158. Portrait of Emanuel Sueiro, a Knight of the Military
Order of Jesus, represented in a front view, with a broad full
rufif round his neck, and a body clad in armour ; the right
hand is placed on a book, and the left on the hilt of his sword.
Engraved by P. de Jode, 1624.
1159. Portrait of the Emperor Cbarles V., clad in a suit of
rich armour, grasping a sword in his right hand and having
the left placed on his hip.
Engraved, after a copy by Rubens from Titian, by Yosterman.
1160. Portrait of Van Dyck, dressed in a Dutch habit.
This picture is inserted No. 116, p. 11, of the Catalogue of
James II. 's Collection, and attributed to Rubens.
1161. Portrait of Charles of Austria, son of Philip III.
Represented in a profile view, clad in armour.
Engraved, in an oval form, by P. de Jode.
The same is engraved in a circular form, for the frontispiece of
a book of medals printed at Antwerp.
1162. Ferdinand II.
Engraved in an oval, surrounded with emblematical figures, by
Parerga.
The same is also engraved for a work on medals, anonymous.
1163. Portrait of Charles de Longueval.
Engraved in an oval form, and embellished the same as the
preceding, by Vosterman.
RUBENS. 313
1164. Portrait of a Cardinal. Bepresented sitting in his
study, with one hand placed on his breast and the other hold-
ing a rosary ; his attention is fixed on a looking-glass, held by
a monk, in which is reflected the stigmates of St. Francis.
Engraved, anonymous.
1165. Portrait of the Baron de Vicq, Ambassador from the
Court of Belgium to France.
1166. Portrait of the Lady of the preceding persoufikge.
These pictures were afterwards in the collection of M. Vanden
Brande, 1776. — See Life of the Artist.
1167. Two Portraits, a Lady and a Gentleman.
19 in, by 14 in. — P.
Sold in the collection of the Prince of Orange Nassau, 1757.
Amgt. . 205 flo. 18Z.
1168. An Equestrian Portrait of the Due d'Albe. The
face is presented in a front view, a morion helmet covers the
head, and the body is clad in armour ; the right hand poises a
baton on the saddle, and the figure is gracefully seated on a
prancing bay charger ; the lines of a fortification and the sea
are seen in the distance. A finishe 1 study for a large picture.
4 //. 2 in. by 3 //. 4 m.— C.
Now in the collection of the Earl of Radnor'.
1169. A whole-length Portrait of a Son of the Artist, when
about eight or nine years of age. The face is shown in nearly
a front view, with long flowing hair ; the dress consists of a
gray doublet and hose, slashed sleeves, worked in gold and
relieved with white linen ; a scarlet cloak hangs behind, and
ribbons of the same colour adorn the knee-bands ; the left
hand hangs negligently by his side, and the right holds his hat,
which is decked with a plume of feathers. A masterly-
finished sketch.
Sft. 1 in. by 2 ft. 2\ in.—?.
Schiavonetti has engraved a print, after a drawing of the pre-
ceding youth.
Now in the collection of the Earl of Radnor.
314 RUBENS.
1170. Portraits of a Lady and four Children (said to be
those of the Duke of Buckingham's mistress and her three
children, the fourth child being a son of the painter). The
lady, dressed in a tawny yellow embroidered skirt, with white
body, sleeves, and kerchief, and a cap, is seated with an infant,
whose head is seen in a fore-shortened view towards the spec-
tator, lying in her lap; the youngest girl, wearing a dark
dress with slashed sleeves and white pinafore, stands in front,
leaning her right arm on her mother's knees ; the second girl
stands close to the latter, in front of her parent ; and the fourth
child, a youth of about fourteen years of age, is on the farther
side of the latter girl, reaching out his hand to put aside a
curtain ; a parrot is perched on the back of the lady's chair.
b ft, 6 in. by b ft, 9 in.
Engraved by W. Walker. — See Van Dyck^s Works,
Purchased at the Earl of Radnor's sale by Mr. Scawen, in whose
sale it was again disposed of, and bought by S. Gideon, Esq., for
500Z. On both occasions it was attributed to Van Dyck; it
certainly partakes of the style of both masters, and is probably
their united work. The portraits represent the wife and three of
the children of Sir B. Gerbier, and is a repetition of the principal
group, in a family picture of that gentleman.
In the collection of His Majesty.
1171. Portrait of a Lady, in the character of Cleopatra^
with a serpent attached to her bosom, and holding a cup in
her hand.
Engraved by Neefs.
1172. Maximilian, Archduke of Austria. His oval coun-
tenance denotes him to be about fifty -five years of age, with
long mustachios and short beard ; he is dressed in a black
figured vest, a ruff, and a furred mantle, with the impression
of a large cross on the shoulder, and a cross suspended to a
chain round his neck.
Engraved by Vosterman, and in an oval reversed, by Meyssens ;
again, in an embellished oval, by Suyderhoef.
RUBENS. 3 1 5
1173. Portrait of Ferdinand, Count Palatine of the Ehine
and Duke of Bavaria.
Engraved, in an embeUished oval ; de Jode, ex.
1174. Portrait of Gilbert de la Marche, Bishop and Prince
of Liege ; with a bald head, and habited in a richly-wrought
cope.
Engraved by Van Schuppen.
1175. Philip III. of Spain.
Engraved, in an oval, embellished with the arms of Spain and
other devices, by Meyssens.
1176. Portrait of the Archduke Albert, Governor of
Belgium. Seen in a front view, with a full ruflf round his
neck and habited in a richly-worked dress ; his right hand ia
on the hilt of his sword.
Engraved by MuUer.
1177. Portrait of the Archduchess Isabella, seated in an
arm-chair, with a fan in her hand ; her dress is of the most
splendid description. Painted in 1615.
Engraved by MuUer.
1178. The same Lady.
Engraved, in an oval form, embellished with the figures of two
infants and various ornaments, by Lauwers.
1179. The same Lady.
Engraved in an oval on a pedestal, and surrounded with the
signs of the Zodiac, by Galle.
1180. The same Lady, in the dress of an Abbess, embellished
with ornaments ; and two angels at top holding a chaplet over
her head.
Engraved by P. Pontius.
1181. The same Lady, without the hands.
Engraved, anonymous.
316 RUBENS.
1182. The same Lady, dressed in black, leaning on a vase,
with a parrot perched on a shrub near her.
Engraved in mezzotinto, by Miller.
1183. Portraits of the Archduke Albert and the Arch-
•duchess Isabella.
Engraved in an oval border, embellished with palm and laurels,
•done after a drawing for a medal.
1184. Portrait of the Archduke Albert. Represented in a
profile view, with a hat in his right hand and the left on the
hilt of his sword ; he is habited in a bla,ck dress relieved with
gold buttons, and a broad ruff round his neck. The figure
•appears to be standing at a balustrade, on which are written
the name and title of the person.
Collection of Thomas Emmerson, Esq., 1829, (not sold) 92 gs.
1185. Companion. Portrait of the Archduchess Isabella.
The face is seen in a front view, with the head inclining a
little on one side. The dress is composed of a broad full
white ruff round the neck, a beautiful figured black silk robe
with six rows of large pearls, a splendid cross, and the Order
of the Virgin suspended in front ; a rich tiara of pearls and
other jewels adorns the head. The right hand holds a fan,
and the left is placed on a balustrade, on which are written
the name and title of the person.
ifi.2 in. by 3 ft 6 in,—C.
Engraved, in one of the triumphal arches, by Van Thulden.
These portraits are above the size of nature, and are painted in a
broad, free, and masterly manner, and were evidently done on some
pubUc occasion ; they are said to have formerly adorned the Town-
House at Brussels.
Collection of Thomas Emmerson, Esq., 1829, (bought in) 78 gs.
1186. Portrait of Elizabeth Brant. Her fair countenance is
seen in a three-quarter view ; she has large dark eyes and
auburn hair ; the dress is composed of dark gray silk, with a
I
RUBENS. 31 r
collar of the same standing up behind the head, and relieved'
by a white lace frill; the bodice is decorated with gold
braiding, buttons, and a triple row of chain of an antique form
set with jewels, part of which is held by the right hand ; a.
gold chain also adorns the neck. A highly-finished and
beautifully-coloured production.
2/f. IJ in. by 1 ft ^ w.— P.
This picture was formerly in the possession of M. Van Havren^.
at Antwerp, in whose collection it formed a suite with the Chapeau
de Faille, and a Portrait of Helena Forman (see p, 160), and of
whom it was purchased by Mr. Buchanan, for the sum of 8000 /i».,
about 320/.
Now in the collection of T. B. H. Owen, Esq., in which it is.
styled a portrait of Helena Forman.
1187. Portrait of Helena Forman, in the character of a.
Shepherdess, wearing a straw hat decked with a bunch of
corn, and a flower placed negligently on the head ; the bosom
is exposed, and the right hand holds a boquet and sustains a
crook across the shoulder.
Engraved by Pether, in 1769. The same engraver produced,
two other prints, of smaller dimensions, and in reverse. Done after
a picture at that time in the possession of B. Bates, Esq., of
Aylesbury.
1188. Portrait of the same Lady. This diflfers only from
the preceding in the head being covered with a kind of turban,,
decked with com and wild flowers ; the fingers of the left*
hand are placed on the naked bosom, and a crook reclines^
across the right shoulder.
Engraved by Elliot, from a picture at that time in the pos-
session of Mr. Bradford. A portrait of this Lady is also engraved
by Dickenson.
1189. A full-length Portrait of a Lady in an erect position,,
wearing a large ruff round her neck.
Engraved, anonymous.
318 RUBENS.
1190. The Head of an old Man.
Engraved from a drawing, anonymous.
1191. The Head of an Infant, with a cap on, decked with
plumes of feathers.
Engraved by Bloteling. The same head, seen in a profile view,
is engraved by the same artist.
1192. The Head of a Man. Apparently a study for the
paralytic, in the subject of " Christ healing the Sick."
Engraved by Bloteling.
1193. Portraits of four of Eubens's Children. The compo-
sition represents the eldest boy handing along his eldest
sister, followed by a girl, who is holding the hand of her
little brother while riding a hobby-horse. The children are
Attended by two maid-servants, one of whom carries a basket
of fruit under her arm.
Engraved by Tassaert, after a miniature picture, then in the
•collection of His Majesty, done by Fruytiers, from a capital picture
«aid to be by Rubens.
1194. Portraits of three of Rubens's Children. One of
them, a boy, is riding a large dog, which his sister holds by
the collar ; the youngest child is playing in a go-cart.
Engraved, in mezzotinto, by Mac Ardell.
1195. A View of the Escurial and surrounding Country.
This solemn and majestic edifice occupies the projecting
acclivity of a mountain on the left ; it is sheltered in the rear
by the lofty crags which overtop the building, and, by com-
parison, render this immense pile a diminutive object. From
this point the view stretches itself far away in long perspective
over a wide and spacious valley, bounded at the sides by lofty
mountains, over whose summits roll volumes of clouds, which
•either float along their broken and arid sides or are driven by
RVBENS. 319
currents of wind across the valley, where, mixing with rising
vapours, they obscure the view of still more distant objects.
3 /f. 4 in. by 6 ft 5 in, — C.
Cumberland, ui his Anecdotes of Spanish Painters, describes with
admirable force and clearness this extraordinary building and its
adjacent landscape ; he observes, " that Philip having made a vow,
upon the victory of St. Quintin, to dedicate a church and monastery
to San Lorenzo, he began, in the midst of a sohtary and frightful
desert, to displace the rocks, and compel them to take the shape of
an edifice." — "As a monastery it is vast and awful, fitly calcu-
lated to entomb the living and the dead ; as a palace, it is justly
emblematic of its founder, who, on the siunmit of the superincum
bent mountain, was accustomed to sit and survey his rising fabric
in silent contemplation and delight." He adds, "the furious gusts
of wind that occasionally sweep from the impending mountains
surpass description : the Escurial is placed in the eddy of these
furious gusts; neither man, nor beast, nor carriages, can stand
before them ; and to escape its effects, a subterraneous passage is
cut through the ock under the area of the court, for a communi-
cation with the own." The long residence of the artist at the
court of Madrid must have afforded him frequent opportunities of
viewing this magnificent scene under the varied influence of raging
storms and tranquil sunshine; and the excellent picture above
described exhibits it under its most solemn and gloomy aspect.
Now in the collection of the Earl of Egremont
A picture, representing a similar view to the above, was sold
in the collection of Richard Cosway, Esq., R.A., by Mr. Stanley, in
1821, and bought by Messrs. Woodburn, for 44 gs.
2 ft, 1 in. by 3 ft, 1 in,—F,
A third, belonging to the Rev. Edward Balme, was exhibited
in the British Gallery in 1819.
A f oiurth, attributed to Rubens (but in reality is a capital picture
by Mompers), is in the collection of the Earl of Radnor.
7 ft. by 10 ft. (about.)
A fifth occurs in the Dresden Gallery. — See p. 82.
This reduplication of the subject may be accounted for from
Mompers (an excellent landscape painter) having taken copies of
320 RUBENS.
the original (yarying them in size and effect) under the eye of
Rubens, who afterwards retouched them, and thereby rendered
them worthy of his name.
1196. A Landscape, intersected by a stream flowing towards
the front, the banks of which are overgrown with bulrushes
and other water-plants. A cottage upon the summit of a hill,
with a cluster of trees before it, is seen in the middle distance
on the right ; and a second house, partly concealed by trees,
appears in the middle, but more remote from the spectator.
In the foreground are two women and two men ; one of the
former is milking a cow, while the other is busy with the
cans; the men appear to be engaged in conversation with them.
Engraved by L. Van Uden.
1197. A Landscape, of an oval form, with a single figure of
a female seated in the middle, upon some drapery spread upon
the grass, leaning her head pensively on her hands ; two sheep,
grazing on the bank of a river, are at a little distance from her.
Engraved by Coelmans.
1198. A Woody Landscape, with a laige company of men
and women, several of whom are dancing to the music of a
bagpipe.
Engraved by Charpentier.
1199. A hilly Landscape, with a high road on the right, at
the side of which are three peasants, one of whom is seated
near a post.
Engraved, anonymous.
Although this print ascribes the picture to the pencil of Rubens,
it has much more the character of being by Teniers the elder;
the two preceding are also doubtful productions of the master.
1200. A Landscape, intersected by a stream flowing by the
side of a high bank, upon the summit of which are four lofty
trees, these stand in the centre of the view ; a second cluster
of trees is at the side, and upon a bank in front are three cows.
RUBENS. 32 1
one of them lying down. The rays of the sun, darting from
behind a cloud, illumine the distant hills.
Engraved by Dankaerts.
1201. A Hilly Landscape, with a large umbrageous tree
standing in the middle, by the side of which are passing a shep-
herd and a flock of sheep, preceded by two men on horseback
and another on foot ; on the other side of the tree a bubbling
cascade flows toward the front-ground, beyond which are seen
richly wooded uplands ; while in the opposite side the view
opens over a fine fertile country.
1 fL h\ in. by 2 ft 1^ tm—F.
Engraved by Major.
1202. A View, looking over meadow grounds, divided by a
deep ravine, through which flows a stream round a bank, form-
ing the foreground ; a single tree placed across the brook serves
for a bridge, beyond which a man on horseback is descending
a bank to water his steed.
Engraved by Bolswert.
1203. A View, extending over an open flat country, diversi-
fied with clusters of trees and a winding stream flowing to the
front-ground on which a man is watering two horses ; beyond
him is a woman pouring milk from a can into a pail, and close
to her are two cows and a calf. In the opposite side is a woman
carrying a can on her head and a basket in her hand, descend-
ing a hill, at the side of which sits a peasant playing on a pipe.
Engraved by Bolswert.
1204. A Landscape, with a large hill on the left, various
architectural ruins at its side, and excavations under it. A
shallow stream flows over the front-ground, through which are
passing two women carrying baskets of fruit, followed by a man
driving three cows before him.
Engraved by Bolswert
VOL. n. Y
322 RUBENS.
1205. A Landscape, exhibiting a wild sequestered scene,
composed of a bold broken hill, occupying a large portion of
the view ; its sides and summit are covered with bushes and
lofty trees, and its base encompassed by a stream overrun with
bulrushes and other aquatic plants. On a bank, in the left and
front of the picture, are two women, one of whom has a can on
her head and a basket under her arm ; the other, wearing a
scarlet skirt, is getting up water in a pail ; behind them are
three cows, one of which is rubbing its head against a tree ; the
view on this side is bounded by a thick grove of trees.
2//. 6 in. by 3//. 6 tn,—V, Worth 700 gs.
Engraved by Bolswert.
This very admirable production is of the highest quality and ex-
cellence, grand and powerful in its effect, and beautiful in the ter-
mination of its detaU.
Imported from Holland by Mr. Emmerson, in 1818, and now in
the collection of Jeremiah Harman, Esq.
1206. A richly- wooded Landscape, traversed by a winding
stream, which flows along the front, and is crossed on the left
by a rustic bridge ; near which stands a herdsman leaning on a
stick, tending a flock of nineteen sheep that are browsing on
a sloping bank skirted by a thick wood of young trees ; passing
among which, in the distance, are seen a huntsman and dogs ;
in the right side, and close to the front, is a cluster of trees
growing on a bank.
2 ft, 2 in, by 3 ft
. Engraved by Bolswert.
Collection of the Due d'Orlc^ans, Fa)^^ 1749.
Exhibited in the British Gallery in 1819.
This beautiful landscape is now in the collection of the Earl of
Carlisle.
1207. A Landscape, with an ancient ch&teau on a hill in the
left, and an old bridge and a well ; on the same side, but
nearer the front, is a man watering two horses near the
RUBENS. 323
bridge ; in the opposite side lie some trunks of trees, beyond
which is seen a cottage surrounded by clustering groves ; a
brilliant sunset lights up the marshy valley in the centre.
Engraved by Bolswert.
There is a copy of this' print, in reverse, by Yan Tienen ex.
1208. A Landscape, with the ruins of a castle or convent
upon a rugged hill in the right, and a rapid stream flows
obliquely to the foreground in the opposite side, through
which three females, preceded by a fourth carrying a basket
of fruit on her head, are preparing to pass ; a man, leaning
on a stick, tending five goats, is on the farther bank of the
water in the second distance, beyond whom are three
travellers and a laden ass.
Engraved by Bolswert.
1209. A Bald Mountainous View, with a castle upon the
summit of a distant hill, surrounded by an irregular wall
extending down the side of the hill ; the foreground exhibits
bold rocky masses broken by chasms, among, which grow a
few stunted bushes, and near these are two goats browsing
upon the scanty herbage ; at some distance ofiF, on the right,
are a man on horseback and another on foot, driving a flock
of sheep ; and beyond these are several buildings, and a river
flowing through a valley.
Engraved by Bolswert.
1210. A View over an open flat country, chiefly composed
of meadow lands, intersected in parts by dwarf hedges ; the
foreground presents a marshy soil, with a pool of water on
the right ; and another, in the opposite side, with trees grow-
ing on its banks ; in the centre and front are a man with a
basket at his back, and a woman with one on her arm and
another on her head. A farmhouse, and the steeple of a
church, are seen in the distance.
Engraved by Bolswert.
324 RUBENS.
There is a copy of this print in reverse, and instead of the two
peasants, in the foreground, is introduced the Holy Family return-
ing from Egypt.
1211. A Landscape, exhibiting a similar view to the pre-
ceding, but varied with a few scattered trees and bushes, and
the introduction of a cottage or farmhouse in the distance ; a
naiTOW stream, flowing between banks, extends along the fore-
ground ; on the left of which are two women, one of whom
carries a rake, the other has a basket of fruit on her head,
these are near three trees growing by the water side. In the
opposite part of the picturp are three hay ricks, a team drawn
by two horses, and a man at work stacking hay. The centre-
ground is illumined by the light of a brilliant rainbow.
Engraved by Bolswert.
This picture was exhibited in the British Gallery in 1815, and
was then the property of J. Graves, Esq.
1212. A Landscape, representing a fertile country of a
broken and undulated surface, varied by numerous small
bushy trees, and a narrow stream formed to drain the
meadows, and obliquely dividing the foreground. In the left
side, and front, is a shepherd, seated on a stone, playing on a
pipe ; his dog stands by him, and his flock are browsing near ;
beyond these are two trees and a little bridge, and still
farther stands a farmhouse with a tower, and a church is
seen in the distance. A glowing sunset disseminates its
cheering light and warmth throughout the rural scene.
I ft. 8 in. by 2 ft. 9 m.— P. Worth 600 gs.
Engraved by Bolswert.
It may be said generally of this master's landscapes, that if they
do not surprise us into admiration, they never fail to create delight
when contemplated with patient attention ; this delightful example
of his pencil fuDy justifies the observation.
Now in the collection of the Right Hon. Lord Farnborough.
A picture, very similar in description to the preceding, is inserted
in Desanfan's catalogue in 1802, valued at 105 gs. — Seep, 200.
RUBENS. 325
1213. A Landscape, presenting on the right an open meadow,
in which are twelve cows and four women ; three of the latter
are milking, and the fourth stands with a pail on her head ; a
farmhouse is seen at the extremity of the field ; this part is
divided by a stream running obliquely to the left side and
front, close to which are two sportsmen, one of whom is firing
at some ducks ; on the farther side of the water the country
offers a richly-wooded scene.
Engraved by Bolswert.
1214. A View on the Sea Coast, represented under the effect
of a raging storm, attended by flashes of lightning and heavy
rain ; the right offers an extent of open sea, bounded in the
middle distance by lofty mountains, at whose base appears a
fortified town, and vessels riding at anchor near it. The fore-
ground and middle distance are composed of a low rocky shore,
on which grow a few stunted trees, sheltering two buildings
resembling convents. The left side and front rise to a rocky
hill, over which are passing a man and a woman, bending
under the violence of the storm.
Engraved by Bolswert; and also by Le Moitte, when in the
collection of the Count de Bruhl.
1215. A Shipwreck, taken from a description in the third
book of the iEneid. The view exhibits a lofty rocky mountain
(the Strophades), on the summit of which stands a blazing
beacon, and around its base beats the turbulent and boisterous
ocean, whose violence has dashed a vessel against the rocks.
Only two mariners remain on board of the sinking ship ; a
third, thrown upon the shore, is seen clinging to a broken tree ;
while a fourth has climbed up a bank, and is assisted by a man
kneeling at the side of it. In the left are five men who appear
to have escaped from the storm and are engaged in making a
blazing fire ; beyond these are two others hastening towards
the coast. A rustic bridge in the centre crosses a ravine leading
to a pass, formed between the rocks, to ascend the m^^untain ;
326 KUBBKS.
on the farther side of which appear a fortress and the masts
of vessels riding at anchor. The sublime and awful effect
which pervades the scene is finely relieved by the breaking of
the morning light, contrasting with the dense black clouds
which hang over the sea, and the blazing fires, whose lurid
flame sparkles through the gloom.
2/<. by 3 ft 3 in,—C, on P.
Engraved by Bolswert, with additions and alterations.
Now in the collection of Thomas Hope, Esq.
1216. A Landscape, with a Farmhouse and a Hermitage.
The occupants of the latter are introduced in the foreground,
apparently in conversation with two peasants.
Engraved by Van Uden.
1217. A landscape, with Cattle and Figures.
Exhibited in the British Gallery in 1815.
Now in the possession of Lord G. Cavendish.
1218. A Landscape, with some rising ground in the left,
the sides of which terminate abruptly with broken banks, from
whence rise, at intervals, several large trees ; three cottages
are on the summit of the hill, beyond which the view ter-
minates with woods ; in the opposite side are four men who
appear to be busy with a loaded waggon, the horses of which
and the driver, who is mounted on one of them, are at a little
distance off; a pool of water occupies the centre of the fore-
ground, and two logs of timber lie on the left.
Engraved by Van Uden. In some of the prints the picture is
attributed to Van Uden.
The following Drawings, with many others noticed
IN THIS Catalogue, were sold in the Collection of
M. Mariette, 1775.
1219. A Study of bushes and trunks of trees.
18 in, by 24 in.
Done from nature iu colours, 120/«. 5Z.
RUBENS. 327
1220. Four small Drawings of subjects relating to the life
of St. Ignatius.
1221. A Pen Sketchof the Defeatof the Armyof Sennacherib
by the destroying Angel. 19/«.
1222. A View of the Vegetable Market at Antwerp, with
several women, who are busy with fruit, &c. A lady, followed
by her maid, is approaching a stall.
Done with a pen, washed in bistre. 315 /«. 12/. 10a.
Collection of Prince de Conti, . . 1777. . 280 >. lU,
1223. An Altar, near which is a Genius uniting Painting
with Nature. A tablet, surmounted with the prow of a ship,
and supported at the sides by figures personifying Abundance
and Good Government.
Done with a pen, washed in bistre. 26 /«.
1224. Time overcoming Death, the Destroyer of all things.
Done in black chalk, washed in India ink, for a title-page. 131 fs.
1225. A Composition of fifteen figures, of which the Saviour
and the Virgin are the principal ones.
Done in bistre, heightened with white ; for a title-page. SO fa,
1226. A Trophy of the Arras of Vanquished Nations.
Done for a title-page to a history of the CsBsars. Engraved by Lasne.
1227. View of a Village in Flanders, in the middle of
which is a wood hovel.
A pen drawing, washed with indigo. 147 /». 6/.
1228. View of a Hamlet in Flanders, with a river in the
foreground, in which cavaliers are watering their steeds, and
cows are drinking. 140 fa, 5/. 10«.
328 RUBENS.
1229. Portrait of Tobias Strinmer, a German painter. Two
termini, supporting an entablature, decorate the sides.
Done in bistre, heightened with white. 50/8. 21.
1230. Portrait of Lucas Van Leyden.
Done in a similar manner to the above. 36 /k
1231. Portrait of Philip IV., drawn in profile for a medal.
On the same paper is a penitent holding a crucifix, with the
head of a man, and a female asleep on her arm. 49 fs.
1232. The Saviour in Glory, surrounded by Saints.
Done at Rome, after a picture by Raffaelle.
1233. Jacob and Esau.
A superb drawing by EafiPaelle, finished by Rubens ; pen wash.
141 fg. 5Z. 10«.
1234. The Bape of the Sabines. After Polidoro, by Kubens.
Done in a pen wash, heightened with white. 140/«. 51. 10«.
1235. The Vision of Ezekiel, after Raffaelle; and
The beautiful figure of Ganymede, after Michael Angelo.
The former done in red chalk ; and the latter a pen drawing,
mixed with black chalk. They were retouched by Rubens, on a
design of Julio Clovio. 60/«.
1236. A whole-length figure of a Pope, accompanied by two
saints and an angel; the latter carries a mitre; the Third
Person of the Trinity appears above. On the same sheet is a
drawing of a dying Magdalen, supported by two angels, with
a glory of angels above ; the* latter is by Diepenbeck. A
third drawing, of a woman with a dog, is on the sheet 72 fs.
1237. Ten sheets, containing various Studies.
Done with the pen and black chalk. 131 fs.
RUBENS. 329
1238. The Head of a Female.
A beautiful drawing in black chalk.
Collection of the Duke de Tallard, 1756. . 160/«. 6Z.
1239. The Martyrdom of a Saint.
A pen drawing, tinted.
Collection of M. Lempereur, . . 1783. . 240 /«. 9/. 10«.
1240. A Landscape.
Done in India ink wash.
Same collection, 240 /«. 91.108.
1241. The Head of a Man.
Done in red chalk. 9J m. by 7^ in.
Collection of R. de Boisset, . . . 1776 65/3?.
1242. Two Drawings. ^The Elevation of the Cross, and
Melchizedeck giving Bread and Wine to Abraham.
The former is a tinted drawing, and was the property of Treiste,
the Bishop of Ghent; the latter came from the Collection of
M. Jabach.
Collection of M. Crozat, .... 1741. . 256/*. 10/.
1243. A Lion in Kepose.
A drawing in chalks, washed in India ink.
Now in the British Museum.
1244. Portrait of a Siamese Priest. He wears a large
loose robe and a plain high cap, and is represented standing
with his hands in front.
1245. A Siamese Ambassador, in a similar dress and
position to the preceding.
The artist is said to have drawn these portraits when about to
leave England.
Engraved by "W. Baillie, when in the collection of John
Barnard, Esq.
330 RUBBNS.
1246. Albert Rubens, when a youth about thirteen years
old ; seen in a front view, wearing a cap decked with a
feather.
Engraved by Schiavonetti, from a drawing then in the collection
of R. Cosway, Esq., R.A.
1247. The Martyrdom of a Saint (probably St. George).
The martyr is represented on the summit of a hill, bending on
one knee, with his hands bound before him ; he is attended
by a female friend, who is binding up his head with a napkin,
while the executioner stands on his left with a sword in his
hand, and three soldiers are on the right awaiting the per-
formance of the sentence ; near the front are a young woman
with an infant in her arms, and a young man supporting her ;
and behind these are an old man and woman, and a young
female and two children ; all these appear to be deeply
affected by the approaching death of the saint. On the
opposite side are two soldiers, clad in armour, and a horse.
Three angels are seen descending, bearing the rewards of
martyrdom. This is a beautiful drawing in colours, done
with great freedom and energetic expression ; evidently the
first study for an altar-piece.
28 in. by 20^ in.
Now in the collection of Sir Thomas Lawrence, F.R.A.
1248. Augustus, Livius, Grermanicus, and Tiberius, at-
tended by soldiers, erecting a trophy.
A drawing after a cameo in the collection of the Emperor of
Germany; engraved, anonymous.
1249. Grermanicus and Agrippina, mounted in a car drawn
by Centaurs.
Engraved, anonymous, after a drawing by Rubens, done from a
cameo.
1250. The Triumph of an Emperor, who is mounted in a
RUBENS. 331
car, the wheels of which are passing over the dead bodies of
his enemies.
Engraved (oval), anonynious, after a drawing by Rubens, done
from a cameo.
1261. Three Heads, after cameos, viz. Agrippina, between
two cornucopias, from which are issuing the heads of two
infants, her children ; of the other two heads, one wears a
helmet encompassed by a wreath of laurels, the other a diadem.
The two last are engraved, anonymous, of a round form.
1252. Six Heads, uiz, Tiberius, crowned with oak and
having a shield before his breast, two heads of young Romans,
Mecsenas, a female wearing a helmet shaped like an elephant's
head, and Pallas.
Ovals, done after antiques ; engraved, anonymous, on the same
plate.
1253. Four Heads (the faces are all represented in profile),
via. Germanicus Caesar, C. Caesar Augustus, Solon, and
Socrates.
Done after antiques ; engraved, anonymous, on the same plate.
1254. Four Heads, viz. Plato, Nicias, Pallas, and Alex-
ander Magnus.
Done after antiques ; engraved, anonymous, on the same plate.
1255. A Plate with twenty-four ovals, sixteen of which
contain medals of Julius Caesar.
Done after antique medals ; engraved, anonymous.
1256. A Swan seated on her nest, composed of reeds and
bulrushes, in a sequestered landscape. A brilliant and
spirited sketch, designed to be engraved for a book.
332 RUBENS.
1257. A Bust of Plato placed in a niche.
Done from the antique in marhle ; engrayed hy Vosterman.
1258. A Bust of Seneca.
Done after the antique in marble ; engraved by Vosterman.
1259. A Monument erected to commemorate an achieve-
ment of I^althazar-Charles, son of Philip III. of Spain, for
having killed in the chase a bull and a wild bgar, in 1626. It
is composed of a pedestal containing a long inscription, sur-
mounted by busts of Minerva, Diana, and Mercury ; on one
side is a young prince with a gun in his hand, accompanied
by a huntsman, and on the other is a page holding the skin of
a lion, on which is emblazoned the arms of Austria, A dead
bull and a boar lie in front.
Engraved by C. Galle.
1260. A Nymph reclining in the arms of a Triton upon a
dolphin, and attended by two cupids.
1261. The same Subject. The triton has his back to the
spectator.
1262. A Satyr, seated on a rock, holding a goat attached
by the neck to a string, with which an infant is playing ; three
other infants are also in the group.
1263. A Syren, seated on a seahorse, holding an infant in
her arras, and accompanied by three cupids sporting around
her.
The ])receding four compositions were apparently designs for
borders of salvers to be made in silver.
Engraved by Van Kessel ; and anonymous.
1264. A Series of twelve Ikisis, drawn by Eubens after the
antique in marble, and engraved about the year 1638, viz.
Sophocles, Socrates, Hippocrates, Scipio, and Nero, engraved
RUBBNS. 333
by P. Pontius ; Democrites, Plato, M. Brutus, and Seneca, by
L. Vosterman; Uemosthenes and Cicero, by Witdouc; and
Julius Caesar, by Bolswert.
The following six subjects are engraved anonymous, after
drawings by Eubens, when at Borne, done to illustrate a
work written by Philip Eubens, entitled Antue'tyice ex O^fficind
Plaivtiniana, 1608, viz.: —
1265. A Female wearing the Koman Toga.
1266. A Chariot Eace in the Circus.
Drawn from an antique bas-relief, near the gate of Pope Pius.
. 1267. Two Figures wearing the Eoman Tunic.
Drawn after antique statues in marble.
1268. The Head of a Priestess, seen in profile, with a cap
on. At the side is another cap of a priestess.
1269. A Frieze, composed of the instruments used in
sacrifices and a cap of a priestess.
1270. A Medal of Faustina ; and on the reverse a subject
alluding to an establishment formed by that princess for the
education of young females.
The following wbrb engravbd, after Designs by
Eubens, for Frontispieces and Vigneties for Books.
1271. An Architectural Elevation, decorated at the sides by
termini of Mercury and Minerva supporting a cornice, and the
figure of Juno attended by an eagle and peacock. Dated 1618.
1272. A Tablet containing the title, above which are Saint
Augustin with a blazing heart; Saints Innocent, Zozimus,
334 RUBENS.
Boniface, and Celestinus, treading under foot Pelagius, Celes-
tius, and Julien, and their works.
Engraved by C. Galle. The same plate, with the title altered,
was afterwards used to an edition of AugustinuA Jarisenitu*,
1273. An Architectuml Elevation, decorated on one side by
a statue of Moses, and on the other by that of a prophet.
Upon a tablet above are a globe and the emblems of the
Trinity, and below is a bas-relief representing Christ giving
the keys to St. Peter.
Engraved, anonymous. Dated 1620.
1274. A Pedestal, surmounted by a female personifying
Flanders. The figures of Mercury and Ceres are at the sides,
and a representation of the rivers Scheldt and Lys is below.
It is doubtful whether the design of this was by Eubens.
Engraved by P. de Jode.
1275. An Angel delivering Captives is on one side of an
oval tablet, and on the other is an Angel destroying Heretics
with a thunderbolt ; the upper part is adorned with a portrait
of Pope Pius V.
Engraved, anonymous. Dated 1640.
1276. An Architectural Elevation, at the summit of which
is a female with two flambeaux emblematic of Theology, and
on each side are termini, supporting symbolical emblems of
ancient and modern laws.
Engraved by CoUaert. Dated 1617.
1277. A Monk of the Order of Benedictines, and the
Author of the Book. Eepresented on his knees, offering to
the Saviour and the Virgin his work, which is supported
by four females, emblems of the cardinal virtues; other
allegorical figures, allusive to the subject, are introduced.
Engraved, anonymous. Dated 1632.
1278. Solomon, habited in ample robes, offering on his knees
his book of Eccleaiastes (which is supported by two angels) to
RUBENS. 335
the DiviDe Wisdom, represented by an irradiated female seated
on a throne in the clouds. The background exhibits Paradise,
and there is in front a cavern, the limbo of purgatory.
Engraved by C. GaUe. Dated 1634.
1279. A Pedestal, on each side of which are St. Peter and St.
Paul, and on its summit is a female representing the Church,
with an open book in one hand and a triple cross in the other ;
two angels with frankincense are at either side ; below the
pedestal are the arms of Gregory XV. In the second edition
of the book the arms of Pope Urban VIII. were substituted.
Engraved by T. GaUe.
The same composition, with the introduction of an oblong tablet
instead of the arms, for a book. Dated 1621.
1280. A Title, inscribed on the skin of a cow, held up by a
lion and an eagle. The head of a cow is placed in the centre ;
above which is seated the author, around whose neck Fame is
placing a chain of medals ; on his right is an angel with an open
book ; at the sides, in the lower part, are St. Augustin with
a book, and St. Francis holding a burning heart. The original
sketch, done on paper, eii grisaille , is in the Writer's posses-
sion. Value 20 gs.
Engraved, anonymous. Dated 1628.
1281. An Architectural Elevation, composed of four Corin-
thian colunms, surmounted by Moses with the tables of the law-
Engraved, anonymous. Dated 1616.
1282. An Architectural Elevation, with a pedestal in the
centre, on the summit of which is seated Moses with the table
of the laws : to the pillars at the sides are attached four medal-
lions containing subjects relating to Jewish history, and in the
lower part is Moses surrounded by the children of Israel.
1283. A Title-page, surrounded by the Twelve Apostles,
each of whom holds a book, and on every respective book is
336 RUBENS.
inscribed a passage from their holy works ; the symbol of the
Trinity is above.
Engraved by C. Galle. Dated 1625.
1284. A Subject from the Apocalypse of St. John. The
Deity seated, surrounded by the twenty-four Elders, under
whom are the four Evangelists.
Engraved by E. dalle. Dated 1627.
1285. A Drapery, supported by two Angels. On one side
is St. John the Baptist ; on the other St. Theresa ; and the
name of (Jod is inscribed above.
Engraved, anonymous. Dated 1620.
1286. A Pedestal, surmounted by a figure of the Saviour
with a cross ; at His feet are two females impersonating Faith
and Beligion.
Engraved by C. Galle. Dated 1617.
1287. A Triumphal Arch, composed of four Corinthian
columns, and surmounted by a globe, which two figures of
Victory are crowning with wreaths.
Engraved, anonymous. Dated 1631.
1288. On one side of this Title-page is a figure personating
Time drawing Truth from a well, and on the other, Time
plunging Envy into one. The pedestal is surmounted by
Cybele caressing two lions.
Engraved, anonymous.
1289. A Drapery, supported by two Angels, at the sides of
whom are St. Peter and St. Paul ; and in the under part is a
female, the emblem of the Church, with a blazing torch, from
which several angels are lighting other torches.
Engraved by L, Vosterman, Dated 1624.
RUBENS. SST
1290. A Title-page, surrounded by a number of Saints of
both sexes, and surmounted by a figure of the Virgin. In the-
lower part are three infants on a cloud.
Engraved, anonymous. Dated 1619.
1291. A Pedestal, surmounted by an eagle with a thunder-
bolt in its talons. On each side are trophies, and in the
lower part are two grifi&ns supporting arms.
Engraved by Lasne. Dated 1618.
1292. A Pedestal, on the summit of which is a female,,
allegorically representing History, seated with a blazing torch >.
in her hand, illuminating a globe. At the sides are Mars 6uid
the Qoddess of Peace. Cybele and a river-god are below.
Engraved, anonymous. Dated 1623.
1293. The Temple of Janus, the door of which is burst
open by Bage, Discord, and Envy. A drapery is attached to-
the transom of the door, on which is inscribed the title of
the book.
Engraved, anonymous. Dated 1623.
1294. A Pedestal, at the top of which is seated the Virgin,
with the Saviour in her arms. Her attention is directed to
the Archduke Albert, who is bending on one knee before her ;
two angels with a crown and manacles are at his side, and
below him is an angel kneeling, with a globe and fetters in
her arms. In the opposite side of the pedestal stands St..
Francis, offering a burning heart to the Saviour.
Engraved by C. Galle. Dated 1640.
1295. The Infanta Isabella embracing the Queen, her
mother. On their right are emblematical figures holding
crowns ; and on the left is an angel pointing to a hand, which
holds a wreath of laurels.
Engraved by C. Galle. Dated 1632.
VOL. II. z
338 KUBBNS.
1296. This Title-page is the same as No. 1292, excepting
that History, instead of a torch, holds the arms of Spain,
which occupy the place of the glohe,and below is an escutcheon.
Engraved, anonymous. Dated 1625.
1297. An Architectural Elevation, at the sides of which
are Abraham and St. Francis; above are the Deity, with
Moses and Aaron on his right, and several monks on his
left ; in the lower part is a female seated on ruins, allegori-
-cally representing the Holy Land.
Engraved, anonymous. Dated 1639.
1298. The same as No. 1293, retouched. Dated 1640.
1299. A Pedestal, surmounted by a statue of Julius Csesar,
i?7ith a ball in one hand and the Genius of Bome in the other.
At the side are Constantine the Great, and Bodolph,
Emperor of Grermany.
Engraved by C. Galle.
1300. A Female leaning upon an oval tablet, with a comu-
•copia in her left arm, and holding a pair of scales with her
Tight hand ; a grotto forms the background.
Engraved, anonymous. Dated 1615.
1301. A Bustic Portico, with the termini of Tacitus and
Seneca at the sides, surmounted with a medallion, containing
A portrait of Justus Lipsius, and embellished with various
allegorical figures, allusive to Philosophy and Politics. In
the lower part are four other emblematical figures.
Engraved by C. Galle. Dated 1637.
1302. An Oval, at the top of which is a figure of Commerce,
with a caduceus in her hand, and at her sides the signs of Libra
and Leo ; at the sides of the oval are figures personating the
RUBENS. 339
Earth and Abundance; and in the lower part are Ignorance
and Superstition bound in chains.
Engraved by C. Galle. Dated 1617. In subsequent editions
the head of Justice or Commerce is covered with a veil.
1303. A Pedestal, at the top of which is a figure represent-
ing Religion, with a cross in one hand and a mitre in the other ;
:at her side are two angels, one of whom has a flambeau, and
tlie other the symbol of Eternity ; at the sides of the pedestal
•are females personating the Jewish Ceremonies and the law
of Truth ; Envy and Superstition lie bound in front.
Engraved by Collaert. Dated 1622. This plate was subse-
•quently adapted to another book.
1304. A Tablet, surmounted by a bust of a Female wearing
-a. castellated crown, with the emblem of Eternity round her
neck, and having the eye of Providence over her head ; two
angels are at the sides, and on the right and left of the tablet
-are Mercury and Minerva joining hands. A bas-relief of
infants at play decorates the lower part.
Engraved, anonymous.
1305. A Pedestal, surmounted by a figure of History, hold-
ing a flambeau in one hand and writing with the other. On
•one side is Mercury attaching a banner to a palm tree, and in
•the other a female suspending medals to a laurel tree. The
•rape of Europa is represented at the bottom*
Engraved by C. Galle. Dated 1640.
1306. A Bustic Arch, at the top of which is Samson finding
the honeycomb in the jaws of a dead lion. The portrait of
Pope Urban VIII., already noticed, belongs to this book.
Engraved by C. Galle. Dated 1634.
1307. The Saviour appearing to Mary Magdalen in the
^Garden. Behind these figures are two palm trees, whose
340 RUBBNS.
branches unite, and serve for a seat to two infants, who
support the arms of some lady.
Engraved, anonTmous. Dated 1617.
1308. A Pedestal, adorned with two genii ; one of whom is
playing on a lyre, and the other on a double pipe.
Engraved by Theodore Galle. Dated 1622.
1309. A Tablet, at the sides of which are Victory with a
palm and a chaplet, and Mars with a sword and spear. The
arms of the Infant of Spain, with various emblems, adorn the
upper part.
Engraved by Marinus. Dated 1635. The same plate was
adapted to a French edition of the same work.
1310. An Elephant carrying a Tower, containing several
armed soldiers, preceded by a hero in a two-horse car, and
attended by two soldiers clad in complete armour.
Engraved by C. Galle. Dated 1636.
1311. The same as No. 1279, with this exception, that the
arms of the popes are covered with a tablet
Engraved by Hangelet. Dated 1621.
1312. The same as No. 1313. Adapted to another work.
Dated 1620.
1313. A Pedestal, surmounted by a figure personifying
Eome crowned by Victory ; in the lower part is a wolf, the
emblem of that city, and captives chained to trophies.
Engraved, anonymous. Dated 1617. The same plate was
adapted to the preceding work in 1620.
1314. An Oval, surmounted by the arms of Spain, with
Hercules and Pallas at its sides ; in the lower part is a female,
personifjring the city of Breda, seated on a heap of arms, and
a starved female, with looks of despair, clinging round her neck»
Engraved, anonymous. Dated 1626.
RUBENS. 341
1315. A Pedestal, with a figure of Fame seated on its
summit, and at its sides are Mars and Minerva ; within a
cavern, in the lower part, are Bemus and flomulus in the act
of being suckled by a wolf ; and at the sides are two river
deities.
Engraved, anonymous.
1316. A Bishop holding a tablet, on which is inscribed the
title of the book. St. Peter and St. Paul, with Faith, Hope,
and Charity, complete the group. The symbol of the Trinity,
and a glory of cherubim are above.
Engraved by C. Galle. Dated 1633.
1317. A Pedestal, surmounted by a figure of the infant
Saviour holding His cross ; at the sides are two females, one
of whom holds a burning heart, the other a flambeau.
Engraved, anonymous. Dated 1630.
1318. A Laurel Tree, to the branches of which are attached
the armorial bearings of the Chigi family ; at the foot of the
tree, on one side, is seated Apollo, and on the other Mercury.
Engraved, anonymous. Dated 1654.
1319. A Portrait of Philip IV., crowned by two genii; the
vanquished dragon lies at his feet.
Engraved by J. Neefs. Dated 1639. Although the name of
QuelinuB is attached to the print, connoisseurs have thought proper
to insert it among the works of Rubens, from a belief that it is
his composition.
1320. A Stone, surmounted by the Saviour bearing His
cross, and inviting three of His disciples to carry their crosses
also; in the lower part is a medallion of the sign whicli
appeared to Constantine.
Engraved, anonymous. Dated 1635.
1321. A Globe, on which are represented the cities of
Louvain and Prague ; Justice, upon a cloud, appears above.
342 RUBENS.
between the signs of Leo and Libra ; and near tbe^e are a
sword and an open book.
Engraved by C. Galle.
1322. A Title-page surrounded with infants, intermixed
with fruit and various armorial devices. The Nassau arms,
are above.
Engraved, anonymous.
1323. A Tablet, surmounted by a bust, the head of which
is covered with drapery and crowned with laurel, and a
chain of medals is suspended round the neck ; on one side
are figures of Time and Death, precipitatiug the heroes of
antiquity into the cavern of oblivion ; and on the other side
are Mercury raising up their statues from the cavern, and
Hercules giving a bowl of money as a reward to Industry.
Engraved by C. Galle.
1324. On one side of this Title-page is Apollo placing his
lyre on an altar, and in the other is a Muse watching over
the infant Hesiod, while sleeping in a cradle ; at the same
time bees are depositing their honey on the child's lips.
Engraved, anonymous. Dated 1632.
1325. An Escutcheon, supported on one side by a figure
indicating Policy, and on the other side by Abundance.
Engraved by C. Galle. Dated 1624.
1326. An Architectural Portico, of the Doric order, at the
sides of which are Zeno and Cleantes ; in the lower part are
three medallions of Seneca and Epictetus; in the centre Honour
and Virtue ; and above are three other medals, inscribed with
the names of Pallas, Hercules, and Ulysses. In the first
edition, published in 1605, the bust of Seneca was seen in
profile; and in the second, of 1615, it was altered to a three-
quarter face. This change is attributed to Rubens, as the
second edition was revised by his friend, Justus lipsius ; the
best of the composition is considered to be by another hand»
RUBENS. 343-
1327. Upon the summit of a Pedestal, on which is inscribed
the title, is seated Philip IV., receiving the homage and offer-
ings of La Franche Compt^, represented by a female on her
knees, at whose side is a figure of Plenty.
Engraved by C. Galle. Dated 1638.
1328. The same as No. 1324, adapted to another book.
1329. A Pedestal, at the sides of which are St. Peter and
St. Paul, and on its summit is a figure denoting the Church,
surrounded by cardinals and bishops; and at its base are-
figures representing Heresy and Discord boulid.in chains.
Engraved, anonymous. Dated 1623.
1330. An antique Altar, on the farther side of which is a
Genius, with one hand placed upon a figure of Nature, while
with the other he is receiving some of the implements of
painting from Mercury.
Engraved by C. Galle. Dated 1634.
1331. A Pedestal, surmounted by a triform bust of Minerva
and Mercury. Upon a scroll on the left is seated a figure of
Minerva; and on the other side a female, representing
History, writing a book,
Engraved by Galle. Dated 1636.
1332. A Drapery held by two Angels, who are sounding
trumpets, at each side of which respectively stand St. Peter
and St. Paul ; in the centre, above, are the Iamb and the
book with seven seals ; a female, representing the Church, is
seated below, with a book in one hand and a torch in the
other ; around her are four angels with flambeaux, and before
her are bending the four quarters of the globe, personified by
that number of figures.
Engraved by Vosterman. Dated 1623.
1333. A subject composed of a Female wearing a crown
:344 RUBENS.
and holding a sceptre, seated on an elevation, surrounded by
six other females, each of whom have mathematical instru-
ments in their hands ; in front is seated a genius with a
sextant and compasses in his hands ; two other infants with
similar instruments are on each side of .a tablet below.
1334. A rustic Portico, to which is attached the skin of an
ox with the head* in the centre, surmounted by an owl; in a
niche below stands a sack, from the mouth of which money
is falling out ; the utensils for painting are hung against the
wall. On the skin is inscribed, Petrus Patdus Rvhens
delineavit. P. Pantitts sculp.
1335. An Oval, at the sides of which are St. Peter and
St. Paul; in the upper part are the Trinity and a large
-company of saints and angels ; and at the base of the oval
are seen Moses and Aaron.
EDgraved by C. Galle. Dated 1632.
1336. A Drapery attached to a rustic niche, at the sides of
^hich are St. Paul, the hermit, and St. Anthony ; and below
these are St. Paula and St. Eugenia, on their knees, before a
death's head ; Elijah and St. John are above.
Engraved by J. CoUaert. Dated 1617.
1337. An Inscription only.
133^. An Architectural Elevation, composed of pilasters of
the Corinthian order, and decorated with statues of St. Paul
and St. Anthony; at the four augles are escutcheons, on
which are represented the prophet Elias, St. John the
Baptist, St. Eugenia, and St. Euphrosyne.
Engraved by C. Galle. Dated 1628.
1339. A Drapery attached to a rock, within a cavern of
^hich are seated St. Paul, the hermit, and St. Francis ; and
BUBENS. 345
at the sides are three females and an angel ; Elijah and
St. John the Baptist are on the top ; and in the lower part
are the Magdalen and Mary of Egypt.
Engraved by C. Galle.
1340. An Escutcheon, sunrounded by a chain, to which is
suspended a cross ; upon the top of the escutcheon is placed a
crown, and at its sides are Mercury and a figure personifying
Gk)vemment, which support a pediment. In the lower part
are several escutcheons with devices on them.
Engraved, anonymous.
1341. A Portico with spiral columns, in the centre of
which is a pedestal, decorated with a bas-relief bearing the
Austrian arms and surmounted by a pyramid, to which are
attached armorial devices.
Engraved, anonymous.
1342. A Female, seated on a pedestal, looking sorrowfully
at a tablet supported by several angels; other angels are
above, bearing a level and a balance.
1343. An Elevation, of rustic architecture, before which is
held a drapery, by the Archduke Albert and the Archduchess
Isabella ; and upon the summit of the elevation is a warrior
on horseback, accompanied by two angels.
Engraved, anonymous.
1344. A Pedestal, on which is inscribed, Deo Fads V,C.L.,
Joan Oevariius JuriscormUtvs, &c, ; and on the top jof it is an
architectural niche, within which is placed a bust of the
author, Gevartius. On one side of the pedestal stands a
figure of Justice with the balance, and on the other side
Prudence, or Wisdom.
Engraved by Lommelin ; and Rubens del.
1345. An Architectural Elevation, with a tablet in the centre,
346 RUBENS.
supported at the sides by an elderly female, with the tables of
the law and a rod in her hands, and a young female wearing
a crown, and holding a chalice and a book ; these personify
the Old and New Law. At the top is seated the Deity, with
a sword, whom two angels are worshipping ; and at the base
are three ovals, with scriptural subjects.
Engraved, anonymous.
Besides the preceding title-pages (several of which are doubtful
as to their being the designs of Rubens) there are also eleven
others, which some connoisseurs attribute, but with very little
reason, to his pencil.
Vignettes.
1346. The six following subjects were done to embellish
a Book on Optics : —
1. A Figure representing Philosophy, seated, and apparently
conversing with three little genii ; a globe, a sphere, and some
books are by its side.
2. Several Genii, occupied in dissecting an eye, which they
have taken from the head of a Cyclops ; a Philosopher, seated,
with a pen in his hand, is observing the operation with great
attention.
3. The same Philosopher, looking through a magnifying
glass at two little balls, which two genii are showing him.
4. The same Philosopher calculating, with a theodolite, the
height of the Colossus at Rhodes, while a genius who is behind
him is making the same observation.
5. The same Philosopher, leaning on a table, observing the
effect of the intersection of rays of light, which are made to
pass through holes in a board ; the rays are produced by two
lamps, held by a genius.
6. The same Philosopher, bearing on his shoulders a celestial
sphere, while a genius, flying over with a flambeau, produces
a shadow on the ground which two genii ai-e examining.
The whole of them are engraved by J. B. Barb^.
RUBENS. 347
1347. The Arms of the Duke of Bavaria ; the escutcheon
is supported by an eagle and a peacock, grasping flambeaux
in their talons, and surmounted by a star.
1348. An oval Tablet, supported by St. Peter and St. PauL
A mitre and cross keys adorn the upper part.
1349. The same as the preceding.
Engraved by Jegher.
1350. A Hen sitting on her Nest ; above is a burning lamp ;
at the two sides are a cock and an owl, and the heads of
Mercury and Minerva.
Engraved by C. Galle.
1351. The same as the preceding, of a smaller size.
Engraved by A Voet.
1352. A Tablet, decorated with cornucopias and garlands^
A Globe, crowned with a wreath of laurels, and surmounted
by the face of the sun.
Engraved by Collaert.
1353. The same.
Engraved in reverse, anonymous.
1354. A Tablet, in the centre of which is a pelican, and in
the background is St Francis receiving the stigmates.
1355. A Tablet, decorated with a wreath of laurels, and a
hand holding a compass entwined with a label, on which is
written, Lahore et Constantid; the tablet is supported by
figures of Hercules and Constancy.
Engraved by G. Galle.
1356. The same.
Engraved on wood, by E. Jegher.
348 RUBENS.
1357. A Bodk, containing twenty pages of progressive
studies of the human figure, and of cows and horses ; Dejanira
and the centaur Nessus, and Love subduing a centauc On
the title-page, which represents the skin of an ox, is inscribed
P. P, Bvhens delineavit. A. Voet, P. Pontius, sculp.
1358. A Set of Studies of Lions, in four sheets.
Engraved by Bloteling.
1359. A Study of Lions.
1360. Two Tigers eating Eaisins.
This and the preceding are engraved by Hollar.
1361. A combat of Dragons, Serpents, and other monsters.
Engraved, anonymous ; N. Visscher ex. This etching has been
attributed to Rubens.
1362. Count Caylus has etched a number of studies of de-
tached portions of pictures by Bubens.
1363. A Set of thirty-one Heads, studies of diflTerent char-
acters, to which is affixed a title-page, inscribed JReceuil de
Titea (TArUoine Van Dyck, tiroes du Cabinet de M, de Crozat,
et gravies par M. C, de C, (Comte de Cayltui), 1735.
Basan observes, "that these are improperly attributed to Van
Dyck, with the exception of two, which he has introduced in his
picture of St. Augustin ; the whole of the others are indubitably by
Rubens, who has employed most of them in many of his pictures.*'
The Writer of this Work thinks it very probable that Van Dyck
copied these heads from pictures by Rubens, at the time he was
under that master. Twenty-seven of these heads, on four sheets of
paper, were sold in the distinguished collection of M. Mariette.
1775. . 541 /«. 22/.
1364. An Antique Bit for a Horse, around which are several
angels in attitudes of devotion.
RUBENS. V 349
This Print was done for a book entitled Le Voyage du Prince
Ferdinand^ Infant d'Espagne. Although the name of Bubens is
attached to the print, it is doubtful whether he made the drawings
The bit here represented, which was formerly in a collection at
Milan, is said to have been made by order of Constantine, from
one of the nails from the cross of the Saviour.
1365. A Collection of architectural Designs of Palaces and
Public Buildings, chiefly taken from edifices at Genoa, was
published in two parts, at Antwerp, in 1622, under the direc^
tion of the artist himself. The book contains one hundred
and thirty-nine prints, and is entitled Falazzi di Oenim, da
Pietro Paulo BuberuL
The three following Portraits were inserted in a Catalogue
of the Pictures at Easton Neston, the seat of the Earl of Pom-
fret ; published in 1758 : —
1366. Lewis (or Lodowick Stuart), Duke of Bichmond.
1367. Frances, Duchess of Bichmond.
1368. James, Duke of Bichmond.
The following thirteen Pictures were in the splendid collection
of the Duke of Buckingham, and formed part of the extensive
purchase he m^ade of Bubens, amounting to the swm of
10,000^. A large portion of this valuable collection was sent
to Antwerp, in 16^7, for sale ; s&veraJ of them were bought
by the King of Bohemia for his Oallery at Prague, and are
now at Vienna ; others u^ere selected by the Elector of Bavaria,
and are now at Munich,
A large Piece, being a Landscape, full of figures, horses,.
and carts.
5 A by 7 ft. 7 in.
This is probably the one now in His Majesty's Collection. —
See p. 238.
350 RUBENS.
A Picture of the Queen Regent of France, sitting under a
canopy.
\ft. 9t». by 2/f.— P.
Thid was probably a portrait of Marie de Medicis seated on a
throne, receiving the homage of France. — Seep, 125, No. 418.
A Piece representing Winter, wherein there are nine figures.
4Aby 7/if.
Now in His Msgesty's Collection. — See p. 237.
Another large Piece, wherein are several gods and goddesses
of the woods, and little Bacchuses.
5/f. 4i«. by 7/f. 6 in.
This is probably the picture now in the Munich Grallery. — See
p. 63, No, 179.
Another ditto of Cymon and Iphigenia. There being in
this picture three naked women and a man in a landscape.
1 fL 6 m. by \0 ft, 9 t n.
Now in the Belvidere Palace, at Vienna. — See p, 98, No, 321.
A Fish Market, wherein our Saviour and several other large
figures are painted.
'9/f. 3 in, by 13/«. 9 t».— C.
The Writer has no knowledge of this picture.
ft
A Wild Boar Hunt, wherein several huntsmen on foot and
onjhorseback are represented.
bfl, 6 m. by 6/f.— C.
A Landscape, with the effect of Evening.
2 ft, by 2 ft,
The Head of an Old Woman,
1 ft, 8 in, by 1 ft, 4 in.
Medusa's Head.
2 ft. 6 in, by 4 //.
This is probably the picture now at Christ Chim^, Oxford.
BUBBNS. 351
A Naked Woman with a Hennit.
\ft by 2 ft, 6 in.
Now in the Vienna Gallery.— ^/See No, 313, p, 97.
The Duchess of Brabant witli her Lover.
3/if. by 2/^. 6tn.— P.
Now in the Vienna Gallery. — See No. 289, p. 90.
The Three Graces with Fruit.
3/f. by 2//. 6tn.
N.B. — Sir James Thornhill bought this picture at Paris, which
was sold after his death. — See pp. 31, 137, and 150.
The follomng Subjects are inserted in the Gaialogue of
Hecquet, and, for that reason ordy, are they noticed hy
Basan, to whose work the Writer is greatly indebted for
mtich informcUion, and as Basan has thought proper, for the
gratification of the curious, to recapitulate them, the same
motive has ivduced the Writer to follow his example, and
the Connoisseur may then judge for himself.
Six emblematical subjects, viz : —
1. Two Infants, one of whom has its arm round the other's
neck ; one of them has spectacles on, and a pair of spectacles
in his hand, and is looking at a fly.
2. Two Infants, one of them has' a flambeau and the other
a pair of bellows, and is before a chimney, whei*e stands a. cup
containing burning hearts.
3. Two Infants, driving a yoke of oxen in a plough ; in the
distance are four figures and three houses, on one of the latter
are pigeons.
4. Two Infants, seated on a quiver ; one of them holds a
parasol, and the other has a fan in his hand ; a cloud obscures
the sun.
5. Minerva, armed with a spear and a shield, accompanied
352 RUBENS.
by two children, one of whom holds a toy, the other a bow ;
an owl flies above.
6. Two children, each of whom holds a pot by the handle,
into which one of them is pouring water ; a bow and quiver
lie in front. These six emblems are exceedingly rare.
^ The preceding six subjects are engraved, anonymous.
The following twenty-one Allegorical Subjects are without
either the name of the painter or the engraver, and are also
exceedingly rare : —
1. A Female, representing Policy, holding another fefmale
at her feet^ by the hair of her head ; Time, who is in the
background, appears to be quitting them.
2. Policy detaining Mars, who appears disposed to destroy
a city, personified by a female seated on a heap of arms,
crowned by Victory.
3. A Female, accompanied by dogs, in pursuit of Love,
whom she has caught in a net ; another woman follows her,
blowing a horn ; in the front are a dog with a quiver in his
mouth ; a bow is on the ground.
4. A King on his throne, reclining in the arms of Pleasure,
while Fame is sleeping, and angry Wisdom appears disposed
to abandon him.
5. A King seated on his throne between Peace and War,
which are distinguished by their respective attributes.
6. A King, driven from, his throne, beholding the burning
of a city.
7. Two Heroes playing at some game ; a landscape forms
the background, in which is seen Fame conducting Love.
8. Two Warriors at. table under a Tent; a page is pouring
out liquor for them, and the youngest is fastened by a chain
to a female representing Wisdom.
9. A Female seated on an elevation, with a table near- her,
on which is a quantity of books and a sphere ; she is giving
a melon to a young man.
10. Janus and Policy. In the background is a cavern
RUBENS. 353
enclosing Time, and all the evils which accompany him ; a
serpent, emblematic of Eternity, seals the door.
11. Policy with Fortune fastened to her wheel. An archi-
tectural background.
12. Indiscretion, in the character of Pantaloon, dancing on
a cord, between Hope and Fear; these two passions are
represented by a hare and an anchor.
13. A Theatre, in which Heavenly and Earthly Love play
alternately their parts. The former is showing a death's head
to the spectators ; the latter, attended by Folly, appears to be
praising the virtues of some nostrums which he holds, and
which a young person from the crowd seems desirous to taste.
14. Love delivered from captivity by two Females, repre-
senting Gaiety and Sentiment.
15. Love escaping from Ijabour and the control of Duty
and Subordination. The latter is represented by a female
seated with a bridle in her hands and a ferula at her feet.
16. Love, blindfolded, turning his back on Virtue, and
running to the brink of a precipice.
17. Love in the arms of Death. At a little distance, to
the right, are four skeletons drawing Love in a oar ; and on
the opposite side are four others cutting Love to pieces.
18. A Female and a young Man embracing before a
looking-glass.
19. A Female in bed receiving an Infant who is quitting an
egg-shell ; by her side are Venus and Love ; in the background
is Love elevated upon an altar, and several people adoring him.
20. A Man, enticed by Love and Folly, is detained by an
Infant, which a woman holds in her arms.
21. A Shepherdess seated at the foot of a tree, weeping
over a head which she holds on her knees ; the body lies near
her ; Time and two other figures appear to be consoling her.
The following have still less claim than the preceding to
be attributed to Rubens, being also without either the names
of painter or engraver : —
VOL. II. 2a
354 RUBBNS.
1. An Eagle, covering a young one with her wings.
2. An Eagle, whose wings are covered with escutcheons bear-
ing the arms of Austria and Spain. Four young eagles are look-
ing steadfastly at the sun, in the centre of w^hich is a chalice.
3. An Eagle, holding in its beak the arms of the Cardinal
Infant of Spain, in one of its talons a chalice, and in the
other a blazing sword.
4. An Eagle, armed with a thunderbolt, combating a Lion.
Allegorical subjects relating to the Eucharist : —
1. An Altar, on which is placed a chalice, at the side of
which are two figures, emblems of the bread and wine, which
seem to be vanishing.
2. An Angel, whose head is reflected in a broken mirror.
3. An Angel, with a flambeau, at which three other Angels
are lighting torches. *
4. Three little Angels, one of whom is depicting the arch
of Union, a second the emblem of Invitation or Proposal, and
the third the Paschal Lamb. The elements of the sacrament
are seen above, surrounded with a glory.
A set of four emblems without signatures : —
1. Fortune presenting, in emblems, several Cities to an
Infant, who is armed with a cuirass.
2. Amphion raising the walls of Thebes by the music of
his Lyre.
3. A Trophy of Arms, erected in the centre of a number
of warriors.
4. A Rainbow.
1. An Escutcheon, containing a table on which two hands
appear from under a cloud, and are marking geometrical lines.
2. A Coffer on a table, which a hand, appearing from under
a cloud, is opening.
RUBENS. 355
3. A Tablet, in the centre of which is an open book with
the words In Scriptvrd Veritas appearing on its pages.
4. A Vine surrounded with armorial Bearings; to its
branches are attached mitres, crowns, and instruments relat-
ing to the church ; at the sides are two angels pressing the
juice of grapes into a chalice.
ADDENDA.
1369. Portrait of a (Jentleman (probably of a Genoese
ambassador to the court of Spain) when about sixty years of
age, of a thin countenance, represented in a three-quarter
view, with scanty beard, mustachios, and gray hair. He has
on a marone-colour silk bonnet with full lappets at the sides,
edged with gold lace, and rich silk robe of the same colour ; a
full ruff adorns the neck, and the Order of the Golden Fleece,
appended to a gold chain set with jewels, is suspended in
front ; the left hand rests on the top of a cane, and the right
is concealed under the dress. The background is composed
of curtains ; the upper one, being of a tawny yellow, crosses
the picture, and is attached to a pillar at the side. This
excellent portrait was painted by the artist in Spain.
4 ft 3 J in. by 4 ft 1 in. — C.
Now in the collection of Sir Henry Bunbury, Bart.
1370. Portrait of a Monk, styled the Confessor of Eubens.
He is habited in the dress of the Order of St. Francis.
3 /if. 6 in. by 2 ft. 6 in. (about.)
Now in the Doria Palace, Rome.
1371. Portraits of a Lady and Gentleman. The former is
distinguished for its brilliancy of colour and admirable finishing.
4/f. by 3 ft. 4 in.—C. (about.)
Now in the Doria Palace.
SCHOLARS AND IMITATORS
OF
RUBENS.
In recording the names of those able scholars and coadjutors
whose talents and exertions have so much contributed to the
fame of Eubens, it seems but just that the lustre which adorns
his name should shed some of its glories on those who have had
so large a share in the furtherance of his great works, and
whose skill in the executive part of the art approached so near
to his as to be often mistaken for his actual performance.
Among these the following are the most eminent.
Anthony Van Dyck, whose pre-eminent talents, when in
the school of Rubens, not only placed him at the head of his
fellow-students, but also acquired for him the honourable title
of the prince of his scholars ; his accomplished skill in the
system of his instructor, accompanied by his own natural
genius, enabled him to imitate to such perfection the style and
manner of his master, that in one instance he is said to have
deceived even his penetration ; it may, therefore, readily be
conceived that, with such an assistant, little more than the
conception or sketch of the master was necessary to the pro-
duction of a work worthy of the name of the principal.
Justus Van Egmont. He was also a scholar of Rubens,
and is recorded to have been one of his most active pupils, in
forwarding many of the large altar-pieces produced at that
period, and also the splendid series of pictures illustrative of
the life of Marie de Medicis. Very little is known of this
painter after he quitted his master ; some biographers stating
SCHOLARS AND IMITATORS. 357
that he died young (and in this opinion the Writer is dis-
posed to coincide) ; others state that he went to Paris, and
became an assistant to Simon Youet. A few portraits only
are all that the Writer has seen of this painter's authenticated
works, and these were very inferior to those of his master's
productions of a similar class.
Theodore Van Thulden. Few of Rubens's scholars
deserve more honourable mention than this painter, whose
decided predilection for the art procured him, at an early
age, admittance into this eminent school, in which he soon
distinguished himself by the facility of his handling and a
remarkable aptitude in imitating his instructor ; his talents
were, therefore, in constant exercise, either in copying or
forwarding large works; his ready hand could adapt itself,
with equal success, either to large or small pictures. He
possessed a more universal genius than most of his con-
temporaries, and painted history, battle-pieces, conversations,
merry-makings, and landscapes; he also introduced figures into
the pictures of other artists, such as the interior views of
churches by Neefs, the landscapes by Wildens and Mompers,
and the game-pieces by Snyders. He appears to have retained
the friendship and occasional employment of Rubens, and was
one of the principal artists engaged by him in executing his
splendid designs for the triumphal arches erected in honour of
Ferdinand, in 1635. These are freely etched by his hand, in
a set of thirty-one plates ; he also etched about ninety plates,
after pictures and designs of his own. His original works,
however, bear no comparison to the excellence of his master's,
whose defects he always exaggerated, his forms being heavy
and his drawing incorrect ; nor is his colouring less defective,
from the frequent predominance of pinky tones, and the violent
reflexes of colours. He was born at Bois-le-Duc, in 1607, and
died in 1676, aged sixty-nine.
Abraham Van Dibpsnbbce. The genius of this artist
358 SCHOLARS ANT) IMITATORS.
was first developed by his skill in painting on glass, but he
soon discovered that this pursuit was both limited and un-
certain in its results; he therefore quitted it to enter the school
of Rubens, where his genius received a suitable direction, and
his zealous study and application were attended with corre-
sponding success. Like the rest of his fellow-students, his
pencil was soon made available by the intelligent lessons of his
instructor, and the examples of those around him. The
superior education he had previously received, and a journey
made to Italy, gave him advantages of which he early exhibited
proofs, by a ready invention, which, added to a perfect know-
ledge of drawing and great dexterity in handling, enabled him
to surpass most of those in the same school with himself. His
historical productions, both in large and small, are very
numerous, as are also his designs for frontispieces of books and
vignettes ; these latter are painted in a free sketchy manner,
approaching the style of his master, with this difference, how-
ever, that his forms are more meagre, his composition less
united, and his expression very inferior. Upon the whole, his
general style and colouring approach nearer to Van Dyck*s
than to those of liubens. He was born at Bois-le-Duc, in
1607, and died in 1 675, aged sixty-eight.
Jacques Jordaens. This excellent painter was born at
Antwerp, in 1594, and became a scholar of Adam Van Oordt,
whose vicious conduct and brutal manners disgusted Bubens,
and corrupted Jordaens. Upon quitting this master he entered
the studio of Eubens, under whom he acquired a style of
painting and colouring which approaches very near to those
of his master, and ultimately proved, by numerous original
productions, that he inherited a genius of no common order.
There can be little doubt that, had he received a suit-
able education and been properly initiated into the science
of the art by his first instructor, he would have become an
artist of great eminence. This opinion is supported by many
excellent historical pictures, composed in a style little inferior
SCHOLARS AND IMITATORS. 359
to that of Rubens, and painted with a power of handling
and brilliancy of colour second to no one ; neither of these
qualities, however admirable in themselves, can compensate
for the ignoble expressions and vulgarity of forms which
appear in most of his works. One of his grandest produc-
tions is in the House in the "Wood, at the Hague ; it repre-
sents a triumphal entry of Frederick William Prince of
Orange. Another capital work by his hand is in the chapel
at Blenheim — a Descent from the Cross. He died in 1678,
aged eighty-four,
PaiER Van Mol. That the works of this painter are so
little known must be attributed, in a great measure, to their
being frequently ascribed to Rubens, of whom it is said he
learned the art of painting, and was for many years employed
by him in forwarding his works. The original pictures of
Van Mol are coarse imitations of his master's, possessing
all his defects but none of his beauties. He was born at
Antwerp, in 1580, and died at Paris, in 1650.
Cornelius Schut. This artist was born at Antwerp, in
1600, and became a disciple of Rubens, and ultimately one of
his most eminent scholars, possessing a poetical genius and a
ready invention, he was enabled to imitate the historical and
allegorical compositions of his master. He painted many
large pictures for churches and public buildings; among these
may be enumerated the cupola of Notre Dame, at Antwerp,
" the Martyrdom of St. George," now in the academy of the
same city, and an Assumption, formerly in the church of the
Jesuits at Ghent. His latter pictures have a greater resem-
blance to the style and colouring of Van Dyek than to that
of his master. He died in 1660, aged sixty.
John Van Hobck. He was one of the many pupils and
active assistants of Rubens, and is mentioned as being an
artist of considerable abilities. On quitting his master, he
travelled to Italy for improvement ; and on his return, was
360 SCHOLARS AND IMITATORS.
invited by the Emperor Ferdinand II. to Vienna, where he
received constant employment for his pencil, and painted
many altar-pieces for churches in that city and at Prague,
and also numerous portraits ; but although the school from
whence he imbibed his knowledge of painting may be traced
through his works, they are too far removed from the style
of his master to be mistaken for them.
Simon de Vos. This excellent disciple of Eubens was
bom at Antwerp, in 1603 ; he commenced his studies at an
early age, and from the period of his entering the school was
influenced by a laudable ambition to imitate his master's
works, in which he ultimately became an accomplished adept.
He painted both history and portraiture with considerable
success, particularly the latter, in which he was greatly
admired for the clearness and brilliancy of his colouring, and
the extraordinary neatness of the finishing; and it may justly
be said of him, that not any one of the school possessed
greater capability of imitating deceptively the easel pictures
of his mEister. In the Academy at Antwerp is an excellent
picture by his hand, representing the Adoration of the Magi.
There is also an ex-voto, possessing great merit. Sir Joshua
Reynolds, in his Tour through Flanders, very highly com-
mends his portraits. He died in 1662, aged fifty-nine.
Petek Soutman. a name rendered more familiar to the
amateur by the production of many excellent engravings
after Rubens than by pictures in his style; he, however, learnt
the art of painting in this school, and practised it occasionally
during his life. His works consist chiefly of portraiture,
many of which are in Germany and Italy; these partake of a
style and colouring between Rubens and Van Dyck. He was
born about the year 1590, and died in 1653, aged sixty-three.
Deodato Delmont. He was bom in 1581 ; his family
being peraons of opulence, gave him a liberal education, and
SCHOLARS AND IMITATORS. 361
in accordance with the bias of his inclination, placed him
under the care of Eubens, with whom he travelled to Italy,
where he distinguished himself by his talents in architecture
and painting ; he was subsequently employed many years by
the Duke of Nieubourg, who conferred on him the honour of
knighthood. He died in 1634, aged fifty-three.
Samuel Hoffman. This painter was born at Zurich, in
1589; after studying the art for some time in his own
country, he travelled to Flanders, and found means sufficient
to enable him to enter the school of Eubens ; he appears,
however, to have possessed but very moderate abilities, and
rose to no distinction by his subsequent works, which con-
sist of history, portraiture, and objects of still life. He died
in ] 648, aged fifty-nine.
Erasmus Quellinus. The pursuit of painting was an
ulterior choice with this artist, who, to a certain age, had
followed the study of natural philosophy, in which science
he rose to the honour of a professorship in the college of his
native city. An insurmountable propensity for drawing
induced him to vacate the distinguished situation which he
had previously acquired, and to place himself under the
tuition of Rubens : with such an instructor, seconded by his
own zealous application, he attained considerable eminence
among his contemporaries; and being gifted with a quickness
of invention and great facility in execution, he was enabled
to produce a vast number of pictures, both of a large and a
cabinet size. The greater part of his works, both in the
drawing and colouring, approximate nearer to Van Dyck*8
than to those of Eubens. Many of this master's pictures are
totally destroyed, in consequence of their having been painted
on the brown Italian ground so much in vogue at that period.
He was born in 1607, and died in 1678, aged seventy-one.
Francis Woutbrs. He was a disciple of Eubens, in
whose school he distinguished himself for his taste in land-
362 SCHOLARS AND IMITATORS.
scape painting, and he waa consequently more engaged in
that department than in any other; he did not, however,
neglect the study of the figure, of which he attained a
sufficient knowledge to paint historical subjects of a small
size: but his chief delight was in representing forests and
sylvan scenes, which he painted with a broad free pencil and
a fresh verdant tone of colour, and usually introduced in
them subjects taken from Heathen Mythology, such as
Diana and her nymphs, Pan and Syrinx, Venus and Adonis,
&c. : these are painted in a style and colour exactly like his
master's, to whom they are occasionally attributed. This
artist visited England in 1637, where he was appointed chief
painter to the Prince of Wales, afterwards Charles II., and
subsequently becaaie Director of the Academy at Antwerp ;
his death was prematurely caused by the accidental discharge
of a gun, in 1659, when he was forty-five.
John Thoma^s. This painter was also numbered among
the scholars of Rubens; possessing considerable abilities,
he distinguished himself by the production of many clever
historical works, all of which mark distinctly the school from
whence he acquired his knowledge. A desire for improvement
induced liim to accompany his friend and fellow-student,
Diepenbeck, to Italy, and he ultimately settled in Germany,
where he had the honour of being appointed principal painter
to the Emperor Leopold, with a considerable pension. He
executed a few etchings in a free and spirited manner ; they
show to advantage his style and manner of composing. He
was born at Ypres, in 1610, and died in 1673.
Nicholas Vander Horst. He was born at Antwerp, in
1598 ; having worked a few years in the school of Rubens,
and made a journey to Italy, he found himself sufficiently
qualified to exercise his profession. He settled at Brussels,
and painted history and portraiture ; but none of his works
rise above mediocrity. He died in 1646, aged forty-eight
William Panneeils. Whatever may have been the talents
SCHOLARS AND IMITATORS. 363
of this painter, whose name is registered among the pupils of
this transcendent school, he is only known to the connoisseur
by numerous spirited etchings, done from pictures (chiefly
sketches) by Eubens. He was a native of Antwerp, and bom
about the year 1600.
Matthys (or Mathius) Vandkn Berg. He was a disciple
of Rubens, but did not arrive at any distinction as an original
painter, having chiefly occupied himself in copying or imitating
his master's works. He was born in 1615, and died in 1687.
David Teniers, called the Elder. Were it not that writers
have uniformly classed this artist among the scholars of Rubens,
the little similarity existing between their works would never
have occasioned such an opinion. He was bom at Antwerp,
in 1582, and died in 1649.
Theodore Boeyermans. He was instructed in the art of
painting by Rubens, under whom he obtained some reputation
for his skill in drawing, and subse<iuently produced several
historical compositions, which were greatly admired ; he pos-
sessed considerable dexterity in handling,and could with facility
adapt his pencil to painting figures, either of a large or small
size, by which means he became frequently useful in embellish-
ing the pictures of other artists with figures, particularly the
landscapes by Grenoels ; architectural views, by Van Dalen ;
and hunting-pieces by Fyt and P. de Vos. He does not appear
to have implicitly followed the manner of his tutor, his style
and colouring being much more like Van Dyck's.
IMITATORS AND ANALOGOUS PAINTERS.
Fkancis Snyders, whose eminent talents as an animal
painter render him worthy to be enrolled as one of the most
valuable coadjutors of Rubens, was born at Antwerp, in 1575,
364 SCHOLARS AND IMITATORS.
and instructed in the art by Henry Van Baelen, with whom he
appears to have learnt little more than the first principles
of painting. On quitting this master he followed the bent
of his own genius, commencing with fruit and other objects of
still life, to which he subsequently added the study of wild
animals. In this latter pursuit he was doubtless much
assisted and encouraged by Bubens, who highly appreciated
his talents, and employed him extensively for many years. To
the advantage of working conjointly with such a master, may
be attributed the excellence to which he ultimately attained in
his peculiar department of the art. Of the variety of subjects
treated by his pencil, his genius is most conspicuous in hunts of
the bear and wild boar ; in these he displayed a correct know-
ledge of the diversity of action and strong excitement exhibited
in such pursuits. The natural propensities of the dogs in the
attack, and the sturdy and sanguinary resistance of their oppo-
nents, are depicted with spirit, energy, and truth. His produc-
tions of this kind are exceedingly admired ; but in a representa-
tion of the nobler animals he was evidently less successful : his
lions, however accurately delineated, frequently required the
hand of Rubens to give them the fire and ferocity of expression
characteristic of that quadruped ; and it does not appear that
he ever attempted to portray the horse. The most estimable
works of this artist are those in which are incorporated the
figures of Rubens, and those which were painted during that
artist's life. In the absence of that great painter, he had
recourse to the assistance of Van Thulden, Wouters, Boeyer-
mans, and other artists of the school. It is but just to observe
that the reputation of Snyders is sometimes injured by the
imposition of pictures by his pupils, Jurian Jacobz and Peter
Boel ; but those of a third scholar, Paul de Vos, are occa"
sionally worthy the name of Snyders. He died in 1657'
aged seventy-eight.
John Wildens. A name so frequently associated with that
of Rubens, that nothing more need be said to prove that he
SCHOLARS AND IMITATORS. 365
was an excellent artist. No mention is made by whom he was
taught the art of painting, but his works show that nature was
the source from whence he acquired his best information. His
landscapes (to which he exclusively confined himself) exhibit
every variety that nature oflfers in mountain and vale, wood
and water, composed in a grand style, and admirably adapted
to the diversity of subject with which they are usually adorned
by the pencil of Rubens and Snyders. If subjects of the
chase are represented, the scene shows a wild and sterile
country, finely relieved by a bright sky and an agreeable
dispersion of sunshine and shade; but if intended for the
residence of Pan and other fabled beings of the poets, then
appears the thick Arcadian groves, and the rich luxuriant
vine. To an invention ever ready and appropriate, he added
the most masterly freedom of handling and rapidity of execu-
tion. His colouring is rich and transparent, and at all times
skilfully harmonized with those of his coadjutors. His talents
must have been in almost constant requisition by Rubens
and Snyders, although he occasionally assisted Diepenbeck,
Lang Jan, and other painters of the school. He was born at
Antwerp, in 1584, and died in 1644.
Lucas Van Uden. He had the advantage of being the son
of a painter, and was consequently instructed at an early age
in the several rudiments of the art; having properly acquired
these, he then made nature his constant study, and by that
means attained a degree of excellence which places him among
the best landscape painters of that period. With Rubens,
every man of genius was admired and respected, and he seems
to have taken a peculiar pleasure in promoting a union of his
own with their works, which he effected so skilfully that those
pictures appear to be the production of one and the same
hand. The landscapes of Van Uden usually represent hilly
scenery finely diversified with wood and water, enlivened by
the setting sun, or the partial gleams of that luminary. His
pencilling, particularly in the foliage of his trees, is tender and
delicate; his colouring exceedingly transparent, and well
366 SCHOLARS AND IMITATORS.
adapted for the back -grounds of Eubens's easel pictures ; and,
when so employed, he imitated the broad free touch of that
master with admirable success. This practice, united to his
own suitable style, gave him the means and facility of copying
and imitating the landscapes by Rubens more deceptively than
any other artist of that school. Van Uden was born at
Antwerp in 1595, and died in 1660.
JOSSB (or JoDOCUS) MoMPERS. That an artist possessing
the superior talents of Mompers should have escaped the
notice of the early biographers, can only be explained by
supposing that, like many writers of this class, they more
frequently borrowed from others than quoted from their own
knowledge of the subject. He is supposed to have been bom
about 1589; and as his style and manner of painting resembles
those of Louis Vadder, it is very probable that he was first
instructed in the art by that master. His pictures generally
represent bold mountainous views, intersected by ravines or
deep valleys ; these are painted with a firm free hand, but less
transparent in colour than is usual to artists in this school, and
his works require to be viewed at a certain distance in order
to appreciate their excellence; but, when so viewed, they
present to the eye of the connoisseur a satisfactory proof
that he was an artist of real genius. Rubens saw and
admired his talents, and associated the productions of his
pencil with his own. It is the Writer's opinion that this artist
accompanied Rubens to Spain, where he assisted him in such
pictures as required a landscape background. He also copied
with admirable success the landscapes of Rubens, and could
skilfully introduce such alterations as to give them the ap-
pearance of original compositions. One of this painter's most
capital productions, representing a view of the Escurial and
surrounding mountains, is in the collection of the Earl of
Radnor; such is its excellence that it has constantly been
attributed to the hand of Rubens, and it is no injury to the
reputation of that artist to think it so.
SCHOLARS AND IMITATORS. 367
Maktin Pepin, Of this contemporary of Bubens very
little authentic information is given by biographers; neither the
master by whom he was instructed, the place of his residence,
nor the time of his decease, are correctly known. His style
of painting would induce an opinion that he was instructed by
Otho Yoenius ; be this as it may, it is said that he went while
young to Italy, where he acquired, by his talents, an excellent
reputation ; in further confirmation of this it is added, that when
a rumour was spread at Antwerp of his intended return, even
Bubens felt some uneasiness, and was heard to state, that he
(Pepin) was the only artist capable of competing with him for
the palm of superiority. All this is probably mere fiction : if
this painter had spent the greater part of his life in Italy, as
is stated, his works would unquestionably be known in that
country, and appear in the public galleries ; this, however, is
not the fact, and as there are a number of his pictures in the
Low Countries, it is much more likely that he spent a large
portion of his time there : this probability is further corrobo-
rated by the time wlien his portrait was painted in Flanders,
by Van Dyck, namely, about the year 1628. The few pictures
by his hand, which have come under the Writer's view, bear
considerable resemblance to the manner of Bubens ; one of
these, representing St. Norbert, is in the church of Notre Dame,
at Antwerp, and there are three others in the Academy of that
city. He was bom at Antwerp, in 1578, and died about 1635.
Gerard Seghers. The similarity of this distinguished
painter's works to those of Bubens consists more in the form
and similitude of the figures than in the brilliancy of the colour-
ing, but even in this particular many of his latter works are by
no means deficient ; their difiference consisting chiefly in the
shadows having a tendency to brown, and a slight d^ree of
hardness in the outlines and in the marking of the features,
with a palpable deficiency in that animated expression which
is ever the distinguishing characteristic of Bubens. Van Baelen
and Jansens were his first instructors in painting ; to improve
368 SCHOLARS AND IMITATORS.
his taste he went to Italy, where he first attempted an imitation
of the style of Caravaggio, whose broad shadows and powerful
effects were then greatly admired, and subsequently placed him-
self under the tuition of Manf redi. On his return to his native
city he exhibited his works in the newly acquired style, which
he found so little admired by his countrymen that he abandoned
it, and adopted the luminous colouring of the Flemish school,
which he ever after retained. Many of this master's best works
have been engraved by Vosterman and Bolswert. He was born
in 1589, and died in 1651, aged sixty-two.
Gaspar de Grayer. Of the many excellent Flemish artists
of the sixteenth century, none stand higher in succession to
Eubens, as an historical painter, or more worthy of commen-
dation, than de Grayer. He was born at Antwerp in 1582.
His knowledge of the rudiments of the art was derived from
Michael Goxcie, the rest he achieved by his own superior
genius. Endowed with a fertile invention, a sc»und judgment,
and correct taste, he composed and executed a vast number
of capital pictures for churches and other public buildings ;
these occupied so large a portion of his time that easel
pictures and portraits by his hand are exceedingly rare. One
of his grandest works, representing the Exaltation of the
Virgin and Infant Saviour, is in the Public Gallery at Augs-
burg, and there are several fine pictures by his hand in the
Mus6e at Brussels. His colouring is much less transparent
than that of Eubens; his handling remarkably clean and
sharp ; and his effects broad and luminous. His figures,
although admirably drawn, have too much the appearance of
having been painted after living models to be properly
historical. Rubenfe was fully sensible of the merit of this
artist's productions, and paid due homage to his talents by an
exclamation (made on viewing one of his pictures), " Grayer,
nobody will surpass you." He died in 1669, aged eighty-
seven.
SCHOLARS AND IMITATORS. 369
Having enumerated the principal scholars and imitators of
Bubens, and given a brief description of the peculiarities
which characterise their several performances, a few general
observations are necessary.
Firstly, That these pupils, while in the painting academy
of Bubens, under his guidance and correction, copied his
works with almost deceptive success, often varying from the
originals so as to produce the appearance of new composi-
tions. These pictures, whether retouched by his hand or not,
will continue to pass, as they hitherto have done, under his
name.
Secondly, It is evident that several of his scholars con-
tinued, after quitting him, to copy and imitate his pictures ;
sometimes of a smaller size than the originals, and occasionally
with variations and omissions : but these, although possessing
the colour, have neither the expression, force, nor freedom in
execution, of their prototypes ; they are nevertheless attributed
to his pencil, and it is frequently a painful task to con-
noisseurs to express a doubt as to their originality.
Thirdly, That, with the expression of a few of the early
pictures by Van Dyck, the works of nearly the whole of these
scholars are remarkable for the meagre drawing of their
figures, instead of the bold roundness of form and sweeping
outline inseparable from the genuine works of fiubens. Their
colouring also is frequently feeble, or tending to brown or
pinky gray, instead of the vigorous freshness and purity of the
master. The few that retained the nearest resemblance to his
forms and colour too frequently exaggerated his defects ; such
instances are exemplified in the pictures by Van Thulden,
Van Mol, and Jordaens.
Lastly, That with the exception of Van Dyck, Diepenbeck,
Jordaens, and Schut, the original pictures of the rest of the
scholars are defective in composition and keeping, which shows
that, however skilful they were in the executive part, the
master-mind of Bubens was the creator, director, and guide,
VOL. II. 2b
370 SCHOLARS AND IMITATORS.
in all those great compositions that bear his name. That
they could seize and embody the conception of their master
(and that frequently from slight intimations) is proof that»
though vastly inferior to him, they had some portion of his
genius ; and their occasional deviations from and alterations
of his compositions, that they would have been more dis-
tinguished as original painters, if by force of habit they had
not become his imitators.
CLASSIFICATION OF SUBJECTS
AS ABRANOBD IN THE FOLLOWING
INDEX.
OLD TESTAMENT.
NEW TESTAMENT.
HOLY . FAMILIES.
SACRED SUBJECTS, BLENDED WITH SAINTS AND RELIGIOUS
LEGENDS.
RELATING TO THE VIRGIN.
SAINTS, APOSTLES, MONKS, PRIESTS, &o. — SINGLE FIGURES
AND HEADS.
HISTORICAL.
MYTHOLOGICAL.
ALLEGORICAL, AND HISTORICAL BLENDED WITH ALLEGORY.
FANCY AND FAMILIAR SUBJECTS.
PORTRAITS.
HUNTS OF WILD ANIMALS, ko.
DEAD GAME AND LARDERS.
LANDSCAPES.
FRONTISPIECES, VIGNETTES, AND MEDALS.
INDEX.
OLD TESTAMENT.
No. Page
38. ABIMELEGH giving the Sacred Bread to David 16
42. Abraham about to sacrifice Isaac .17
346. Same subject Potsdam. 105-
379. Adam and Eve in the Garden of Eden Hague. 113
459. Same subject Eacurial. 133
592. Abigail meeting David with Presents. P. Methuetiy Esq. 170
659. Abimelech with Abraham and Sarah .187
773. Abraham sending away Hagar and Ishmael.
Earl Grosvenor. 217
912. Abel lying dead on the foreground of a Landscape.
Duke of Badford. 270
Bathsheba at the Fountain. Rubent^s Catalogue, Lot 87. 31
595. Same subject 171
944. Bathsheba receiving a Letter from David . .281
1076. Bathsheba seated near a fountain, attended by her women 299*
1029. Gain slaying his brother Abel 293-
36. David cutting off the Head of Ooliath .16
562. Daniel in the Den of Lions Duke of Hamilton. 162
580. David slaying a Lion .168
900. David strangling a Bear 266
937. David, with the Elders of Israel, removing the Ark.
Earl Spencer. 278
46. Elijah translated 17
48. Esther before Ahasuerus ib*
999. Same subject 289
643. Same subject Mr. Norton. 184
802. Same subject 225
386. Elijah fed by an Angel in the Desert . Louvre. 114
505. Same subject. A sketch 142:
374
OLD TESTAMENT.
No. P<Hfe
1235. Ezekiel's Vision. A drawing after Rafiaelle . 328
604. Hagar and Ishmael in the Desert .173
44. Joseph promoted by Pharaoh 17
132. Jonas cast into the Sea .... Malines. 46
151. Job in the extremity of his suffering, seated on a dung-
heap 54
^44 Same subject. A sketch .... Munich, 79
201. Jacob and Esau meeting .... Munich, 68
639. Same subject. A study 183
1233. Jacob and Esau. A drawing by Baffoelle, retouched
by Rubens 328
500. Israelites gathering Manna in the Wilderness.
Earl Qro9venor. 140
607. Joshua overcoming the Amalekitea . .173
1001. Judith catting off the Head of Holofemes . . 290
1002. Judith putting the Head of Holofernes into a Sack . ib,
403. Lot and his Family fleeing from Sodom . Lowore, 120
826. Same subject Marlborough. 241
839. Lot in the Cave with his Daughters . Marlborough. 247
1077, 1078, & 1079. Same subject Three descriptions . 299
40. Moses with Aaron and Urr 16
376. Melchizedeck supplying Abraham with Bread and
Wine Hesse Casael, 110
504. Same subject Earl Grosvenor, 141
641. Same subject. A finished study. Dotoager Lady Stiuxrt. 184
1242. Same subject. A drawing 329
112. Maccabees, Martyrdom of the 38
34. Sheba (Queen) before Solomon . . .16
642. Same subject A sketch Mr. Norton. 184
1096. Same subject. Composed of ten figures 302
Susapna and the Elders. Rubens's Cat. 99. 161 & 162. 31 & 33
. 598. Same subject A study
220. Same subject .
344. Same subject .
186. Samson and Delilah
1009. Same subject .
193. Sennacherib and his Host destroyed.
172
73
105
65
. 291
Munich, 66
Munich.
Potsdam.
Munich.
NEW TESTAMENT.
375
No.
1221. Same subject. A pen drawing .
194. Same sabject. A stndj
353. Serpent (Elevation of) in the Wildernees . Potsdam
461. Same subject EseuriaJ
769. Same subject . T. B. H, Owen, Esq
579. Samson slaying a Lion
939. Solomon, the Judgment of. Ten figures .
1008. Samuel offering Sacrifice on the Recovery of the Ark
130. Tobit and the Angel .... McUines.
Pagt
327
67
107
133
215
168
279
291
46
NEW TESTAMENT.
14. Angels, two. These were cut out to the form of the figure 8
1 7. Adoration of the Magi, composed of eighteen figures.
Antwerp. 9
Same subject . Rubens's Catalogue, Lot 165. 34
35. Same subject .16
113. Same subject^ composed of twenty-four figures . 39
119. Same subject, composed of seventeen figures .41
1 26. Same subject Composed of twenty figures McUines. 43
Same subject A study for ditto Marquis of Bute. 45
140 & 388. Same subject, ten figures . Louvre. 49 & 115
840. Same subject A duplicate of ditto . Marlborough. 247
154. Same subject, composed of twenty figures Brussels. 54
156 & 776. Same subject, eleven figures. Earl Orosvenor. 55 & 218
157. Same subject A study . . Van Sasseghem. 55
347. Same subject Potsdam. 106
694. Same subject A study . .195
47 2. Same subject, in which is the Portrait of Rubens. Escurial, 1 35
781. Adoration of the Shepherds 220
629. Same subject 180
714. Same subject A study. Sale of Sir Joshua Reynolds. 198
935. Same subject I'he Virgin is seated near an old building 278
45. Ascension of our Lord . Jesuits* church, destroyed. , 17
Annunciation. — See subjects relating to the Virgin.
796. Adultery, the Woman taken in J. P. Miles, Esq. 223
/
376 NEW TESTAMENT.
No. POffe
24. Adoration of the Shepherds. A basket of eggs and
two fowls. . . . . I . .12
672. Same subject A stady for ditto . .190
117. Same subject, composed of eleven figures ... 40
127. Same subject 45
162. Same subject One of the^females holds an egg . 58
170. Same subject One of the shepherds carries a bagpipe
Munich. 60
236. Same subject A study .... Munich. 77
932. Same subject The Virgin kneels on a broken column 277
933. Same subject. The Virgin sits at the head of the Infant ib,
130. Andrew (St) leaning on his Gross Malines. 46
440. Andrew (St), Martyrdom of . . Escurial. 130
441. Study for ditto . Sir Thomas Lawrence. ib.
1. Cross, the Elevation of the . Antwerp. 1
2. Studies for ditto . Jeremiah Harmany Esq. 2
1242. Cross, the Elevation of the. A drawing . . 329
41. Same subject . Ceiling of the' Jesuits church. 16
5. Cross, the Descent from the . . Antwerp. 3
614. Study for ditto 177
116. Cross, the Descent from the, composed of nine figures 40
946. Same subject 281
' 138. Same subject Liere. 48
Christ on the Cross Ruben^s Gataloffue, Lot 144. 3S
12, 85, 86, & 87. Same subject . 8. 25 & 26
122 & 128. Same subject .... Antwerp. 42 & 45
133. Same subject Malines. 4S
203. Same subject Munich. 69
596. Same subject 171
611. Same subject 174
724. Same subject Sir S. Clarke. 200
1025, 1026, 1027, & 1028. Same subject .... 295
9. Christ Triumphant over Sin and Death . . - S
515. Same subject FUyrence. 147
597, Same subject 171
757. Christ rising from the Dead. — See also Resurrection. 211
Christ discovering Himself to His Disciples at Emmaus 3$
NEW TESTAMENT.
377
172
273
46
51
52
. Brussels. 56
Amsterdam. 57 & 114
VienncL 98
. 152
. 172
. 224
. 290
No. Page
246. Christ diBcovering Himself to His Disciples at Emmaus
Munich. 79
443. Same subject 131
602. Same subject
921. Christ journeying with His Disciples to Emmaus
131. Christ walking on the Sea . . MeUines
145. Christ's Charge to Peter . Prince of Orange
146. Same subject, differently composed Van Lanckeren
159. Christ bearing His Cross to Calvary
160 & 384. Study for ditto
320. ChrisD holding His Cross .
534. Christ crowned with Thorns
601. Christ, a dead. A study .
797. Christ bearing His Cross. A study
1006. Christ's Agony in the Garden .
778. Christ appearing to Mary Magdalen. M. Six Van Winter. 219
845. Christ blessing little Children . Marlborough. 249
1007. Christ crowned with Thorns .....
27. Crucifixion on Mount Calvary . . Antwerp.
28. Study for ditto .... if . Schamps.
28. Drawing of ditto, very fine Sir T. Lawrence.
79. Crucifixion between the two Thieves (no spectators)
535. Crucifixion, a composition of several figures. Lost at sea.
393. Same subject, differently composed . Louvre.
536. Circumcision in the Temple Genoa.
20. Entombment) a composition of five figures. Antwerp.
139. Same. St. Francis and two angels are present. Brussels.
164. Same. Two persons are carrying the body
293. Same. Virgin is removing a thorn from His brow. Vienna. 91
315. Same. Virgin is closing His eyes Vienna. 97
339. Same. Two persons are bearing the body. A study
Lichtenstein.
Madrid,
The Virgin holds a napkin ....
A small picture T. Duneomb, Esq.
The Virgin, with St. John, and Mary Magdalen.
290
13
14
ib.
23
153
116
153
10
49
58
494. Same
571. Same.
1121. Same.
78. Same.
104
138
165
306
23
378 NEW TESTAMENT.
No. Page
502. Eyangelista, the four Earl Grovoenor. 141
503. Study for ditto , E. Gray, JSttq, ib.
1071. Ecce Homo. A head 298
ih.
Antwerp, 1 1
Eseurial. 137
Louvre, 115
1073. Same subject, composed of several figurea
23. Flagellation of our Lord .
488. Study for.ditto ....
389. Flight into i;gypt, by night
860. Same subject. A study . Sir A. Hume, 254
603. Herodias's Daughter showing the Head of St. John to
Herod, before a company 172
1010. Herodias's Daughter receiving the Head of St John . 291
1011. Same, with the Head in a charger, attended by a woman. 29 1
Holy Ghost. — See Pentecost.
30. Incredulity of St. Thomas . . . Antioerp. 15
21S, Innocents, Murder of the .... Munich, 72
126. John (St.) plunged into boiling oil . Malines, 44
126. John, Decollation of St. . . . . Ditto. tb,
126. John (St) baptizing the Saviour in the River Jordan.
Ditto, 44
126. John (St) in the Island of Patmos . . Ditto, 45
549. Jesus at the house of Simon the Pharisee . Russia. 157
1118. John baptizing in Jordan • ..... 305
887. Same subject. Very large . . M. Sehamps. 262
574. Joseph and Mary returning to Jerusalem in search of
their Son . 166
39. Last Supper 16
«24. Study for ditto 180
125. Last Supper. Represented in a lofty hall . 43
922. Last Supper. A sketch 273
1005. Same subject, after Lionardi da Vinci . 290
357. Lazarus, Christ raising him from the dead. Potsdam. 108
625. Study for ditto 180
130. Miraculous Draught of Fishes . Malines. 45
1012. Same subject A study 291
693. Martha and Mary, Christ with . The Writer, 194
33. Nativity Ceiling of the Jesuit^ church, destroyed. 16
NEW TESTAMENT. 379
No. Page
585. Nativity. A composition of eight figures. — See Adora-
tion of the Shepherds . 1 69
934. Same subject The Virgin bends over the Infant. Ditto, 278
1003. Nicodemus visiting Christ by night .... 290
5. Presentation in the Temple 4
Prodigal Son, near a cow-house. Ruhens^s Cat. 169. 34
804. Same picture . . . . TF. Wilkine, Esq. 226
1 30. Peter finding the Tribute-Money in a Fish. McUines. 46
130. Peter with the Keys in his hand . Malines. ib.
175. -Pentecost. Descent of the Holy Ghost Munich. 62
176. Same subject. A drawing Sir T. Lawrence. ib.
377. Peter, Martyrdom of St. .... Cologne. Ill
192. Saul, Conversion of .... Munich. 66
774. Same subject. A grand gallery picture. /. P. Milee^Eeq. 217
650, 651, & 652. Same subject. Sketches . .186
775. Same sul]ject. A finished study . Blarl Groevenor. 218
7. Resurrection of our Lord. — See aleo Christ risen^ ^c. 7
43. Same subject . . Jesuit*^ churchy destroyed. 17
71. Return of the Holy Family from Egypt. Mr. Buchanan. 21
830. Same subject, differently composed . Marlborough. 243
129. Resurrection of our Lord. A small picture . 45
5. Salutation. — See subjects relating to the Virgin . . 3
165. Stephen, Martyrdom of St. Prince of Saace-Coburg. 59
366. Saviour and St. John, when infants, at play. Potsdam. 109
990. Saviour and St. John, seated, caressing each other 288
729. Samaritan, the Good 201
798. Salvator Mundi 224
1004. Shepherd, the Good 290
37. Temptation of Christ in the Desert. Jesuits* church. 16
147. Thomas, Martyrdom of St 62
392. Tribute-Money Louvre. 116
577. Same subject. The original London. 167
945. Tomb, six women visiting the 281
380 HOLY FAMILY.
HOLY FAMILY.
No. Page
295. Holy Family reposing. Zacchariah is offering the
Infant fruit Vienna, 92
349. Same. The Infant stands on His mother's knees, St.
John and St. Joseph .... Potsdam, 106
365. Same. The Infant is hending forward to embrace St.
John Potsdam, 109
435. Same. A study in chalks, from Raffisielle . Louvre, 129
507. Same. The Infant is in a cradle caressing St. John*
Florence, 143
543. Same. The Infant stands on the knees of the Virgin.
Turin, 156
546. Same. The infants are caressing a lamb • Russia, ih,
711. Same, with St. Elizabeth . Sale of Sir J, Reynolds, 198
718. Same. A sketch .. . Sale of Sir J. Reynolds, 199
756. Same. A composition of four figures. Sir S. Clarke, 210
761. Same, with St. Joseph and St. John. Sale of J. Purling. 212
763. Same. Infant sleeps in the Virgin's arms ib,
764. Same. The Saviour is caressing St. John .213
784. Same. The Infant stands in the lap of the Virgin.
His Majesty, 221
812. Same. The Saviour stands, and St. John sits on the
knee of Elizabeth .... BoursauU, 231
837. Same. The Virgin embraces the Child, Elizabeth
leans on a cradle .... Marlborough, 246
837. Same. A duplicate of ditto . Chev. Erard, ib,
950. Same. St. John is amusing the Saviour with a bird. 281
951. Same. The Infant stands in the Virgin's lap, and St.
Joseph leans on a chair 282
952. Same. The Infant stands with one foot in a cradle,
and holds a dove ib.
955. Same. An angel presents the Infant a basket of fruit 283
956. Same. The Infant and St. John play with a lamb . ib,
958. Same, The Infant sits in His mother's lap, and St.
John has a lamb 284
959. Same. Virgin holds the Infant to St. John . . ib.
HOLY FAMILY. 381
No. Page
975. Holy Family reposing. Virgin suckles the Infant,
and St. John stands by her 286
976. Same. The Infant sleeps in His mother^s arms, and
St John and Elizabeth are by . . 287
989. Same. St John stands on the knees of the Virgin,
holding a cross 288
964. Same. The Infant stands, and, with His parent, is
looking at St John 285
967. Same. St. John is offering the Saviour some fruit ib.
970. Same. The Virgin suckles the Infant, and St Anne
is near them 286
631. Virgin and St Anne adoring the Saviour . .152
20. Virgin holding the Infant erect on a table. Antwerp. 1 1
83. Virgin with the Infant standing by her side. A
parrot . AfUiverp. 24
183. Virgin holding the Infant on a table Munich, 64
836. Same. A duplicate . Marlborough. 245
205. Virgin with the Infant in her arms, surrounded by
angels Munich. 69
345. Same, encircled by a multitude of angels. Potsdam. 105
391. Same. A duplicate .... Louvre. 116
390. Same, surrounded by flowers Louvre. 115
445. Same, with the Infant in her arms .131
458. Same, with angels, in a landscape . Eacurial. 133
609. Same, watching over the sleeping Infant . .174
701. Same, with the Infant in her arms .... 196
794. Same. The Infant stands naked in His mother's lap.
SirM.Sykee. .223
835. Same. The Infant sits naked on a pillow . .245
957. Same 283
938. .Same. The Infant extends His arms to embrace His
mother Earl Spencer. 279
953. Same. The Virgin holds a globe and wears a crown 282
1068. Same 297
963. Same. The Infant stands in her lap ... 284
954. Same. The Virgin has both her hands round the
Infant's body 283
382 RELATING TO THE VIRGIN.
No. Page
962. Virgin. The Infant stands in His mother's lap, with
one hand raised 284
965. Same. Virgin seated, in a landscape ; the Infant stands 285
966. Same. The Infant stands, and has one hand between
His parent's fingers %b,
968. Same. The Infant sleeps in His mother's lap ih.
969. Same. The Infant stands in His mother's lap . ib,
971. Same. The Virgin offers the breast to the Infant . 286
972. Same. The Virgin watches over the Infant sleeping
in a. cradle ih,
973. Same. The Virgin wears a celestial crown, and the
Infant's arm is on her bosom , , , . ib.
974. Same. Tha Virgin holds the Infant under one arm ib,
917. Same. The Infant kneels in His parent's lap, and looks
in her face 287
978. Same. The Infant stands with one foot in a table tb. .
979. Same. The Infant lies on a pillow and the Virgin
bends over him »6.
980. Same. The Infant lies swaddled in His mother's lap . t^.
981. Same. The Virgin is caressing the swaddled Infant . ib.
982. Virgin with the Infant in her arms ; her finger ia on
His lip 288
983. Virgin caressing the Infant ib.
984. Infant caresses His mother ; St Joseph holds a pear. . ib,
985. Virgin with the Infant on her lap ; part of a cradle at
the side ib.
986. Infant sleeps in His parent's arms, and holds a pear ib.
987. Infant is playing with His mother .... ib.
988. Infant sleeps in His mother's arms, and St John holds
His hands ib.
992. Virgin with the Infant, and St Joseph, at table . 289
RELATING TO THE VIRGIN.
72. Annunciation. The angel bends on one knee. Marlborough. 21
322. Same subject. The Virgin and angel are seen in a
profile view Vienna. 99
RELATING TO THE VIRGIN. 38S
No. Po^^
385. Annunciation Amsterdam, 114
684. Same subject. A sketch 192^
901. Same subject. A basket and a cat in front
Thomas Hamlet, Esq, 266>
936. Same subject. The Virgin has a book in her hand 278
6. Assumption of the Virgin. Very splendid. Atdwerp. 6'
47. Same subject. A ceiling picture . .17
70. Same subject. Twelve angels are under the Virgin's
feet BruBBels, 20*
762. Study for ditto .... His Majesty. 212
'141. Aissumption. The Saviour is seen above. Augsburg, 50*
172. Same subject Munich. 61
148 & 324. Same subject. The Virgin kneels on a cloud
Lichtenstein. 53 & 100
149. Study for ditto .P. Rani&r, Esq. 53
284. Assumption. A large company of angels . Vienna. 88
359. Same subject. A sketch .... Potsdam. 108
516. Same subject A drawing . Floretice. 147
582 & 586. Same subject. A sketch 168 & 16^
631. Same subject Sale of Pauwels at Brussels. 181
649. Same subject. A sketch 186*
698. Same subject. A fine study. Sale of John Webb, Esq. 195
858. Same subject .... Earl of Pembroke. 25'!
940. Same subject. Ten angels and two cherubs- . 280
941. Same subject Five angels, &c ih.
3 1 . Coronation of the Virgin by the Holy Trinity, Brussels. 1 5
49. Coronation of the Virgin. OeUing of the Jesuits* church. 17
446. Conception, the immaculate Madrid. 131
573. Coronation of the Virgin 165
352. Exaltation of the Virgin .... Potsdam. 107
1060. Same subject. In the presence of the Holy Trinity 296
54. Mary (the Name of) surrounded by angels 17
81. Virgin, with the Infant in her arms, appearing to
St Francis 24
Virgin encompassed with Flowers. Rubens^s Gat., 249. 34
608. Virgin's Statue, adorned by infants with festoons of fruit 173
384 SAINTS, APOSTLES, MONKS, &C.
No. Page
942. Virgin interceding with the Saviour, who stands before
her 280
1000. Virgin, the Marriage of the. Several figures and angels 290
1030. Virgin, pierced with a sword, supported by two angels 293
SAINTS, APOSTLES, MONKS, PRIESTS, Ac.
50. Athanasius, St. A ceiling picture, destroyed 17
51. Anne (St.) and the Virgin. Ditto . . . . »6.
67. Same subject Ditto . . . . ift.
61. Augustin, St. . Ditto .... ih.
303. Same Vienna. 95
64. Ambrose, St. A ceiling picture, destroyed . . 17
135. Agnes (St.) with a Lamb 48
285. Andrew (St.) with his Cross Vienna, 88
265. Apostle. A bust^ seen in profile Dresden, 84
530. Apostles, the Twelve. Single figures. Fonntfr/ya^^ome. 152
1069. Same, with their various designations . . 298
1070. Same, with the Saviour. Half-length figures . ib.
52. Basil, St. A ceiling picture, destroyed .17
35 1 . Barbara (St. ) ; a palm branch in her hand and a swoid at
her feet Potadam, 106
1. Catherine (St.) with a palm branch and a sword in her
hands 2
57. Catherine, St. A ceiling picture, destroyed 17
1053 to 1056. Same, variously represented. . . 295
5. Christopher (St.) bearing the Infant on his shoulders 4
55. Cecilia, St. A ceiling picture, destroyed
Rubens'a Catalogue, Lot 93. 17 & 31
58. Cbrysostom, St Ditto, ditto 17
137. Clara, St 48
295. Clara & Albert (Sts.), with Albert & Isabella. Vienna, 91
1063. Dorothy (St) with a palm branch . . .297
1. Eloy, St Whole-length.— Door to No. 1. . . 2
65. Eugenia, St A ceiling picture, destroyed . 17
136. Francis (St) receiving the Stigmates • . '48
875. Same subject . . . . Sir A, OreigJUon, 258
SAINTS, APOSTLES, MONKS, &a 385-
No. Page-
1072. Francis (St.) receiving the Stigmates . . .298
528. Francis (Stw) kneeling on a Bank . Florence, 152
873. Friars, two, reading a book together . . .258
56 & 66. Gregory, St. A coiling picture, destroyed . 17
997. Same, leaning his head on his hand, meditating . 289
George (St) on horseback. Ruberu's Gatdlogue^ Lot 155. 3$
222. George (St.) slaying the Dragon Munich. 74
460. Same Escurial. 133
135. George (St.) with the vanquished Dragon under his feet 48^
700. Same 196
5. Hermit) with a lantern 4
998. Hiltrudis (St.) wearing a chaplet of flowers 28^
7. John (St.) the Baptist, standing in an attitude of address 7
20. John (St) the Evangelist, seated, looking up at an Eagle 11
59. Jerome, St A ceiling picture, destroyed . .IT
305. Same Vienna, 9&
442. Same 131
542. Same, with a Lion 155>
947. Same. He holds a crucifix aiid a stone . .281
143. Ignatius Loyola (St) standing at the altar ... 51
1032. Same, tormented by Demons 294
209. Same, a portrait of 70
60. Lucie, St. A ceiling picture, destroyed .17
7. Martine (St) with a palm branch in her hand 7
53. Mary Magdalen. A ceiling picture, destroyed . 17
Magdalen. Size of life. Rvhew^a Catalogue^ Lot 86. . 31
660. Same 187
799. Same 225
948. Same, at her devotions 281
1013 to 1023. Same, in various positions .... 292
63. Margaret, St A ceiling picture, destroyed . 17
716. Matthew, St A bust . Sale of Sir J. Reynolds. 199
943. Same, writing his Gospel 280
790. Monk, in the dress of a Benedictine, with a skull . 222
883. Monk. Father Buzzola .... Schamps. 261
896. Monk, habited in the dress of a Cordelier. P. cTArenberg. 265
995. Same, adoring a crucifix 289
VOL. II. 2o .
386
SACRED SUBJECTS.
No.
Munich. 23, 33
80 & 223. Peter and Paul, Sts.
158. Same. Heads
302. Same. A study Vienna
266. Peter (St.) with the keys. A hust . Dresden
754. Same Sale of Mr, B7*yan.
755. Paul, St Ditto
334. Same. A head .... Ldehtenatein
289. Pepin and Begue, Sts Viermci,
894. Priest on his knees hefore a table Ecarl of Egrermmt,
895. Same, much older, in a similar position . Ditto^
1022. Theresa (St.) with a Dove ....
1067. Same, with a blazing heart ....
1035 to 1052. Saints of various denominations
144. Xavier (St.) in a white surplice before the altar .
Page
&74
55
94
84
210
lb,
103
90
264
265
292
297
294
51
SACRED SUBJECTS, BLENDED WITH RELIGIOUS LEGENDS.
77. Anne (St.) instructing the Virgin to read . Antwerp. 23
323. Anne (St.), the Virgin, and St Joachim. Lichienetein. 99
287. Ambrose (St.) refusing Theodosius admittance to the
Church Vienna. 89
245. Study for ditto Munich. 79
1065. Ambrose, Gregory, Jerome, and Augustin, Saints . 297
371. Angels, a choir of Potedam. 110
525. Angels bearing a picture of the Virgin and infant Saviour 151
690. Angels bearing the body of a Child .... 193
861. Annunciation in the presence of patriarchs, prophets,
&c. Sir A. Hume. 254
1074. Augustin contemplating an infant seated on the sands 298
1075. Anthony, the Death of St. Composed of seven figures ib.
105. Bavon (St.) distributing Alms . . GJieni. 36
106 & 868. Same subject, of a more extended composition.
Eev. H. Carr. 36 & 256
161. Benedict (St.), the Miracles of. A sketch. M.Sehamps. 57
5 & 189. Christopher (St.) carrying the Saviour. Anttoerp. 4 & 66
21. Cardinals and Bishops in Council . . .11
1066. Cardinals investing a Priest with a Mitre . 297
SACRED SUBJECTS.
387
No. Pctge
1164. Cardinal viewing in a glass the stigmates of St Francis 313
11. Catherine borne to the tomb by Angels ... 8
82. Catherine (St.), Marriage of . - . Antwerp, 24
82. Study for ditto.— See aho No. 646, j?. 185.
Earl of Mulgrave. 24 & 34
Duke of Rutland,
Potsdam.
40
47
284
198
109
12
37
22
ib,
188
66
115. Catherine, Martyrdom of St.
134. Catherine (St.), Marriage of
960 & 961. Same subject
708. Study for ditto
363. Same subject .
25. Christ descending in wrath to destroy the world. Lyons,
108. Same subject, differently composed . . Brussels,
74. Christ lying on the knees of the Father . Anttoerp,
75. Christ appearing to St. Theresa . Antwerp,
662 & 663. Studies for ditto M, Van Sasseghem,
190. Christ appearing to the four Penitents . Munich.
583. Same subject 169
348. Christ triumphant over Sin, Death, and the Grave. —
See Resurreetion Pot^am, 106
350. Cecilia (St.) attended by Angels . Potsdam, ib,
627. iSame subject, differently composed . .180
628. Same subject ib.
648. Same subject 185
885. Clotilda (St.) bestowing alms on a cripple. M,Sehamps, 262
216. Dragon, the Fall of the Great, &c. &c. Munich, 71
658. Doctors of the Church, the Four . . .187
221. £x Voto. St. John introducing the donor to the
Saviour Munich, 74
139. Fntombment. St. Francis and two Angels are present.
Brussels, 49
367. Emperor Charles V., Philip IV., Elizabeth de Bourbon,
&c M, Perignon,
29. Francis d' Assise receiving the Communion. Antwerp
68. Francis Xavier raising the dead
282. Same picture
110. Francis (St.) receiving the Stigmates
136. Same subject. A door
Vienna
Ghent
255
14
18
87
38
48
388 SACRED SUBJECTS.
No. * Page
81. Francis (St.) receiving the Infant from the Virgin 24
118. Same subject 41
136. Same subject 48
875. Francis (St.) bending in rapture over the infant Saviour
and St. John . . . Sir A, Greighton, 258
1057. Francis supporting three globes; many Saints are
present . , M, Van Scusseghem. 295
1059. Francis de Paula (St.), Ascension of, &c. . . . ib.
501. Fathers of the Church . Earl Grosvenor. 140
581. Fall of the Rebel Angels 168
759. Fathers of the Church with St Jerome, reading . 211
1058. Faith, Hope, and Charity ; three females . 296
13. God the Father 8
18. Gregory (St.) with St. Clara and others .10
135. George (St.), Martyrdom of 47
135. George (St.) treading under foot the vanquished Dragon 48
563. George (St.) with the vanquished Dragon, and many
other figures .... His Majesty. 162
541. Gonzaga, Duke of Mantua, imploring the Trinity 155
533. Helena (St) discovering the true Cross . .152
226. Holy Trinity Munich, 74
902. Same subject. An Allegory of the Christian Faith
D. BaUie, Esq. 267
69. Ignatius Loyola (St) healing the sick, &c. Vienna. 19
537. Same subject Genoa, 154
155. Ivon (St.) giving some papers to a female ... 55
295. Ildefonso, the Virgin investing with a chasuble. Vienna. 91
910. Inspiration; a female listening to a dove. W, WdU^Esq, 269
993. Infant Saviour, seated on a cloud, with a globe in His hand 289
1220. Ignatius (St), four drawings relating to the Life of . 327
16. Justus (St), martyrdom and miracle of . . 9
62. Jesus (the Name of) illumined . . JeeuiU^ church. 17
114. Joseph (St) presenting the infant Saviour to the Deity 39
281 & 283. Same picture, and the two studies . Vienna. 87
167. Judgment, the Day of ... . Munich. 60
257. Study for ditto Dresden. 83
569. Judgment, Last 165
SACRED SUBJECTS. 389
No. Page
1064. Jerome (St.) expounding the Scriptures . . 297
107. Lieven (St.), Martyrdom of . . . Brussels. 37
150. lAwrence (St), Martyrdom of . . . Munich, 53
242. I^egend, a sketch, illustrative of a Romish Legend Munich, 78
109. Magdalen supported by two angels .... 37
290. Magdalen renouncing the vanities of the world. Vienna, 90
32. Michael (St.) driving down the rebel angels • • 16
173. Michael (St.) driving down Lucifer to perdition. Munich, 61
188. Michael (St) and angels driving rebel angelp. Munich, 65
907. Michael (St) treading Satan under foot. Mr, Wooding, 269
1024. Michael (St) driving down the great Dragon . 293
822. Martin (St) dividing his cloak His Majesty, 239
526. Martyrdom of a female Saint 151
1239. Martyrdom of a Saint A drawing .... 329
1247. Same subject A drawing . Sir T, Laimrenee, 330
Penitentp, the four . Eubens's Catalogue^ Lot 160. 33
545. Same subject. — See also Christ appearing to the
Penitents 156
111. Purgatory; the Virgin interceding with the Trinity . 38
1061. Purgatory; the name of Jesus brilliantly irradiated . 296
644. Pope causing the holy gate to be opened . .185
1236. Pope, accompanied by two Saints and an Angel 328
863. Priest, the unbelieving, and another person at the altar 255
121. Koch (St.) interceding with the Saviour . Alost, 42
123. Boch (St.) healing the diseased . . Ditto, ib,
124. Roch (St) in prison .... Ditto. ib,
1206. Resurrection of the Just .... Munich, 69
269. Saint, the Glorification of a . . Dresden, 85
788. Sebastian (St), Martyrdom of 222
1 225. Saviour and Virgin, with Saints. A drawing . 327
1232. Saviour in Glory, surrounded by Saints. A drawing 328
142. Theresa (St.), Christ appearing to .... 50
387 & 498. Triumph of the Christian Law Louvre. 114 & 139
495. Triumph of Charity . . . /. Taylor, Esq, 138
496. Triumph of the Church .... Spain, 139
497. Study for ditto Scotland, ib.
499. Triumph of the Christian Religion . Spain, 140
390 SACRED SUBJECTS.
No. Page
636. Ursula (St.) and the Virgins . Van Saseeghem. 182
15. Virgin with the Infant in her arms, surrounded by
Saints Antwerp. 8
Same Ruhena^B Catalogue^ Lot 84. 30
362. Virgin, with the Infant in her arms, surrounded by
Saints PoUdam. 108
531. ^Virgin and St. Anne adoring the infant Saviour . 152
555. Virgin with a rosary ; called Our Lady Russia. 15^
647. Virgin with the infant Saviour in h^r arms, and eight
persons near her 185-
843. Virgin with the Infant seated on a throne, encom-
passed with Saints . Marlborough. 24S
1031. Virgin presenting a scapulary to a Monk . 294
10. Walburge (St.) in a boat tossed by a tempest A/. Schampa. &
599. Same picture 172
600. Walburge, burial of, by angels ib.
1062. War between the Flesh and the Spirit .297
HISTORICAL.
245. Ambrose refusing Theodosius admittance into the
Church 7^
319. iEneas escaping from Troy Vienha. 98'
1248. Augustus, Livius, and others, erecting a trophy . 330
1251. Agrippina between two cornucopias . .331
Caasar, Julius, triumphal procession. Rubens^ a Cat, 315. 35'
803. Same picture S. Rogers, Esq. 225
653. Gambyses' example of unjust Judges .186-
733. Constantine, Marriage of 202^
734. Constantine viewing the apparition of a Cross . . ib.
735. Constantine committing the sacred banner to his
soldiers . — Brooksbank^ Esq. tb»
736. Constantine giving battle to Maxentius
— Brooksbank, Esq. 203
737. Constantine, Death of Maxentius . S. Rogers, Esq. ib.
738. Constantine crowned by Victory — Brooksbank, Esq. 204
739. Constantine's Entry into Rome Hon. O. J. Vernon. ib.
HISTORICAL. 391
No. Page
740. CoDstantine restoring liberty to the Komans.
Bon. G. J. Vernon, 205
741. Constantine investing Gripsus with command ib.
742. Constantine approving the plan of Constantinople . ib,
743. Constantine adoring the Cross . — Brookebank, Esq, 206
744. Constantine receiving Baptism tb,.
949. Same subject, composed of fourteen figures . .281
816. Ceiling of the chapel of Whitehall .... 234
1259. Charles, son of Philip HI. ; his Monument . . 332
Dido, the Death of . Rvheru^s Ccdaiogue^ Lot 175. 34
168. Diogenes looking for an honest man . . Munich, 60'
395. Same subject Louvre, 117
328. Decius consulting the Priests LdcTUenstein, 101
329. Decius haranguing his Soldiers . Ditto, 101
330. Decius receiving the benediction Ditto, ib,
211. Study for ditto Munich, 70-
331. Decius sending away the Lictors . LicJUenstein, 102
332. Decius slain while combating the Enemy . Ditto, ib^
. 333. Decius, the Obsequies of ... Ditto, ib,
• 184. Study for ditto Munich, 64
633. Decius, four cartoons relating to the Life of .182
668. Decius. A picture. Ditto . . .189
.1250. Emperor, the Triumph of an. A drawing 330*
1264. Emperors, the Busts of the Eoman .... 332;
92 & 288. Ferdinands, the Meeting of the three. Vienna, 27 & 89
288. Study for ditto . . . , Sir A, Hume. 90-
98. Ferdinand of Austria and Hungary at the Battle of
Nortlingen His Majesty, 28
99. Ferdinand's triumphal Entry into Antwerp ib,
1115. Ferdinand with a Bishop and a Priest, &c, , 305-
521. Grotiu9,Lip9ius, Philip Rubens, and the Artist. Florence. 149
1249. GermanicuB and Agrippa in a Car . 330'
518. Henry IV. at the Battle of Ivry . Florence, 147
519. Henry IV., triumphal Procession, &c. Florence. 148
809. Study for ditto . Lord Whamcliffe, 228
879. A sketch for ditto .... Earl Damley, 260-
616. Hii>polylu#», the Death of . . Sir A, Hume, 171
3.92 HISTORICAL.
"No. Page
617. Hippolytus, the Death of 178
1252 to 1255. Heads of Emperors, Philosophers, &c. &c. . 331
816. James I. Apotheosis and other subjects Whitehall. 234
Maid of Orleans . . Rubens^ s CkUcdogue^ Lot 159. 33
94. Maximilian and Maria of Burgundy, Marriage of. M, NoL 27
241. Marie de Medicis. Studies for the life of Munich. 78
404. Medicis, the Destiny of Marie de . . Louvre. 121
405. Medicis, the Birth of Marie de . Ditto. ib.
406. Medicis, the Education of Marie de . . Ditto. ib.
407. Medicis, Henry lY. deliberating the Marriage of Marie
de ....... Ditto. ib.
408. Medicis, the Marriage of Murie de, by proxy. Ditto. 122
409. Medicis, the Debarkation of Marie de . . Ditto. ib.
410. Medicis, the Marriage of Marie de, consummated. Ditto. ib.
411. Medicis. Birth of Louis XIII. Ditto. ib.
412. Medicis. Prelude to the Departure of the King. Ditto. 123
413. Medicis, the Coronation of Marie de . . Ditto. ib.
414. Medicis. The Apotheosis of Henry IV. . Ditto. 124
415. Medicis, the Government of Marie de Ditto. ib,
416. Medicis, Journey of Marie de, to the bridge of C^. Ditto. ib»
417. Medicis. The Exchange of the two Queens Ditto. 125
418. Medicis. HappinessandproBperity of the Regency. Z>i^to. ib.
419. Medicis. Majority of Louis XIII. . . Ditto. ib.
420. Medicis, flight of Marie de, to the city of Bluis. Ditto. 126
421. Medicis deciding in favour of Peace . . Ditto. ib.
422. Medicis. Peace concluded . Ditto. ib.
423. Medicis. Peace ratified in Heaven . Ditto. ib.
424. Time disclosing Truth .... DUto. 127
425. Medicis, Marie de, in the character of Bellona. Ditto. ib.
1111. Mu tins Scsevola before Porsenna. Prince Esterhazy. 304
492. Numa Pompilius, with satyrs and fruit. Mr. Buchaium. 137
750. Philopoemen cutting wood for the Cook . 209
Romulus and Remus Rubem^s Catalogue, Lot 139 33
532. Same subject . Now in the Capitol at Borne. 152
367. Same subject Potsdam. 109
Roman Charity . Eubens^s Catalogue, Lot 141. 33
4)82. Same subject Hague. 113
MYTHOLOGICAL. 393
No. Page
556. Roman Charity Ruasia. 159
572. Same subject 165
€40. Same subject 183
842. Same subject Marlborough. 248
171. Romans and Sabines, Peace between the . Munich, 61
239. Seneca, Death of Munich, 78
635. Seneca (a head) 182
438. Sabines, the Rape of the .... Madrid. 130
613. Study for ditto . Alexander Baring, Esq. 175
439. Sabines, Reconciliation with the Romans . Madrid, 130
613. Study for ditto Alexander Baring, Esq, 175
815. Sabines, the Rape of the . National Qallery. 233
712. Studies for ditto . Sale of Sir Joshua Reynolde. 198
1234. Sabines, the Rape of the. A drawing after Polidoro 328
591. Sophonisba 170
732. Scipio, Continence of . . . Mr. Yates. 201
864. Seleucus bestowing Stratonice on his Son . . . 255
394. Thomyris causing the Head of Cyrus to be plunged in
blood Louvre. 116
745. Same subject, differently composed. Earl of Damley. 206
746. Study for ditto. A fine drawing. Sir T, Lawrence. 207
689. Ulysses and his friend discovering Achilles .193
664. Wise Men of Greece, the Seven .188
MYTHOLOGICAL.
Andromeda chained to a rock. Ruben^s Cat., Lot 85. 31
360. Same, with Perseus Potsdam. 108
832. Same subject Marlborough. 244
Angelica and Erminia . Rubens's Catalogue, Lot 121. 32
195. Amazons and Greeks. A battle on a bridge. Munich. 67
570. Same subject 165
286. Atalanta and Meleager attacking a Boar . Vienna. 88
548. Same subject Russia. 157
928. Same subject Lady Stuart, 275
929. Same subject 276
341. Apollo, in his car, attended by cupids. Lichtenstein. 104
469. Apollo conducting his car ... Escurial. 135
394 MYTHOLOGICAL.
No. Page
1100. Apollo in pursuit of Daphne 302
343. Ajax offering violence to Cassandra . Lichienstein, 105
751. Adonis, the Death of . Thomas Hope, Esq. 209
766. Antiope and Jupiter . Mesdames Knyff. 213
849. Achilles plunged in the river Styx .... 250
850. Achilles receiving instruction from Chiron .251
851. Achilles with the daughters of Lycomedes.
Hon, G. i/. Vernon ib,
852. Achilles' anger against Agamemnon .... tb,
853. Achilles, Thetis procuring Arms f or . . . . 252
854. Achilles receiving his beautiful Bnseis. Hon. O. J. Vernon tb.
855. Achilles vanquishing Hector tb.
856. Achilles, the Death of 253
1102. iEneas seeking his Father in the Infernal Regions . 303
319. iEneas escaping with his Father, Son, and Wife, from
Troy Vienna. 98
101. Bellerophon attacking the Chimsera. W. Beckford, JEeq. 29
807. Same picture. (Description) 227
Bacchus with a goblet in his hand. Ruberu^a Cai., Lot 91 . 31
Bacchus, Venus, and Ceres. Bubem'a Cat., Lot 143. 33
Bacchus, a drunken . Bubens'a Catalogite, Lot 147. ib.
490. Bacchus, the Triumph of . . . Eseurial. 137
512. Bacchus seated on a cask ; Nymphs, Satyrs, &c. Florence. 1 46
1090. Bacchus supported by a Satyr and a Faun. Bacchantes. 301
1091. Bacchus, &c. A similar composition . i6.
1099. Bacchus, a young ; or a Faun. A bust. Marquis of Bute. 302
449. Bacchanalian Revel Escurial. 131
833. Bacchanalian Procession .... Blenheim. 244
1101. Boreas bearing off Orithya in his arms 302
180. Castor and Pollux carrying off the daughters of Leu-
cippus Munich. 63
673. Cadmus sowing the Dragon's Teeth . . .190
920. Calisto, Discovery of . Earl of Derby. 272
765. Centaurs, the Loves of the Duke of Hamilton. 213
657. Ceres and a Satyr, with a cornucopia . .187
753. Ceres and Pomona 210
Cupids fighting Bubens's Catalogue, Lot 81. 30
237. Cupid shaping his bow. Copy, after Correggio. Munich. 77
MYTHOLOGICAL, 395
No. Page
479. Cupids and Bacchanals .... Escuridl, 136
1107. Cupid and Psyche. The nymph holds a lamp . 303
590. Cymon and Iphigenia 170
1080. Danae receiving the golden shower .... 299
632. Dejanira, the Rape of 182
185. Diana and Nymphs reposing after the Chase. Munich. 64
215. Diana and Nymphs departing for the Chase. Munich. 71
752. Same subject. Whole-length figures. ^tV S. Clarke. 210
252. Diana, with three Nymphs, and three Satyrs. Dresden. 81
481. Diana, the Bath of. A copy, after Titian. Escurial. 136
565. Same subject 164
819. Diana and two Nymphs asleep, and two Satyrs
intruding Hi$ Majesty. 238
1092. Diana and Nymphs, with dogs, in pursuit of a stag . 301
1084. Diomedes and Ulysses carrying off the Palladium 300
325. Erichthonius discovered by the daughters of Cecrops
Lichtenstein. 100
676. Same. The study for ditto .190
486. Europa, the Eape of . ^ . Escuridl. 137
1102. ^oeas seeking his Father in the Infernal Regions . 303
301. Faun, and a Youth with a pipe Vienna. 94
355. Flora, Ceres, and Pomona, with a cornucopia. Potsdam 107
791. Same, with two cornucopias 222
454. Flora. A head surrounded with flowers . Escurial. 132
Graces, the Three Rubens* s Catalogue^ Lot 92. 31
485. Same subject ...... Escuridl. 137
522. Same subject (en grisaille) . Florence. 150
566. Same subject 164
467. Ganymede, the Rape of . . . . Escurial. 134
749. Same subject .... Orleans Gallery. 208
484. Giants, the Fall of the .... Escuridl. 136
Hercules . . Rubens*s Catalogue^ Lot 157. 33
276. Hercules supported by a Nymph and a Satyr. Dresden. 86
361. Hercules strangling the Nemcean Lion . Potsdam. 108
468. Hercules reposing from his Labours . . Escuridl. 135
480. Hercules killing the Hydra . Escuridl. 136
520. Hercules, the choice of . . Florence. 149
396 MYTHOLOGICAL.
No. Page
720. Hercules and Omphale. Several figures. Mr.Emmerson 199
1087. Hercules exterminating the Demons of Discord . 300
493. Hippodamia, the Rape of . . Madrid. 138
567. Hero and Leander 1 64
779. Hygeia, the goddess of Health 219
1123. Hebe holding a Cup to the symbol of Jupiter 306
846. Ixion embracing a Cload, &c. . . Earl Grosvenor, 249
913. Juno, Minerva, and Venus, descending on a Cloud . 271
1119. Juno transferring the Eyes of Argus to the Tail of the
Peacock 305
337. Jupiter and other Deities, with the Graces. Liehtengtein, 104
1083. Jupiter reclining on the shoulder of Juno . 300
198. Latona and the Carian peasants Munich. 68
Mercury lulling Argus with the music of his pipe.
Bubens's Catalogue, Lot 118. 32
270. Same subject Dresden. 85
876. Same subject^ and composition . . Hodgshon. 259
876. Same subject Mr. Emmerson. ib.
450. Same subjept Escurial. 132
687. Mercury conveying Psyche to Olympus.
Marquis of Stafford. 169
264. Meleager presenting a Boar's head to Atalanta. Dresden. 84
841. Same subject Blenheim. 247
548. Meleager and Atalanta pursuing the Boar. — See also
Hunts Bussia. 157
475. Midas, the Judgment of . . . . EseuricU. 135
1082. Same subject 300
527. Marine Deities at table, served by Nereides Borne. 151
704. Mars and Venus, with Cupid . Dulwich. 196
1110. Same subject, differently composed .... 304
1122. Mars and Venus in a subterraneous cavern 306
1095. Minerva protecting a Mother and her Children . . 301
Nymphs and Satyrs. Ruh&ns^s Cat., Lots 83 & 88. 30 & 31
Nymphs, three, with a cornucopia. Ditto. Lot 164 . 34
321. Nymphs, three, reposing naked on a bank Vienna. 98
448. Nymphs, two Encurial. 131
489. Nymphs and Satyrs .... Escurial. 137
MYTHOLOGICAL- 397
No. Page
665. Nymphs and Satyrs 189
513. Same subject Florence. 146
268. Neptune dispersing the harpies of Storms and Tem-
pests Dresden. 85>
268. Study for ditto . . . Duke of Qrafton. ib.
462. Neptune in his Car, drawn by sea-horses . Escarial. 133^
1097. Neptune&Amphitrite, Triton & Cupid. Count Schonbum. 302
1117. Neptune & Minerva disputing their right to name Athens 305-
478. Narcissus pining over his own Eeflection . Escurial. 136
483. Orpheus redeeming Eurydice . Escurial. ih,
470. Orpheus charming the Brutes . . Eecurial. 135>
375. Orpheus and Eurydice. A sketch . Potsdam. 110
463. Olympus, with a Council of the Gods . Escurial. 133-
Pythagoras (Numa), with Fruit. Eubens's Cat., Lot 168. 34
258. Paris, the Judgment of . . Dresden. 83-
. Eseurial. 131
T. Penryee, Esq. 20a
. Escurial. 136-
444. Same subject .
748. Same subject .
482. Paris carrying off Helen .
338. Phaeton, the Fall of. A sketch Lichtenstein. 104
Earl of Mvlgrave. 269
. Escurial. 136-
. Potsdam. 108
A drawing. Louvre. 129*
. Escurial. 132
. 189'
. 241
908. Same subject. A study .
477. Phaeton and Apollo
358. Psyche. The Apotheosis .
434. Pluto passing sentence on Souls.
451. Proserpine, the Eape of .
666. Same subject. A sketch .
825. Same subject .
453. Progne showing the Head of her Son to the King.
Escurial. 132*
456. Perseus and Andromeda .... Escurial. ih..
588. Same subject 169
584. Pan pursuing Syrinx ib.
782. Same subject His Majesty 220-
888. Pan and Ceres. The latter is seated in front. M. Franeken. 263<
677. Procris, Death of 191
1033. Philemon and Baucis entertaining Jupiter and Mercury 294
622. Eiver Cod reclining on an Urn . .179*
Sacrifice. Style of Elshiemer. Eubens's Cat., Lot 119. 32:
398 MYTHOLOGICAL.
No. Page
Satyr and a Nymph Rubens's Catalogue^ Lot 174. 34
234. Satyr with Grapes, and a Faun drinking . Munich, . 77
267. Satyr squeezingtheJuiceof Grapes into a Gup. 2>r(^«;i. 84
447. Satyr. The size of life .... Bkcuriai, 131
1085. Satyr carrying Fruit 300
1089. Satyr squeezing Grapes. A tiger near him . .301
Satyrs, with a Man and a Woman. Ruhens^a Oai,, Lot 89. 31
1088. Satyrs and other figures, in a Cave .... 300
476. Saturn devouring his Gifspring . EscuricH. 135
Silenus, with Nymphs, Satyrs, &c. Rubens' 8 Cat, Lot 170. 34
564. Same picture . . The Right Hon. Robert Peel. 163
179. Silenus supported hy a Satyr, &c. . Munich. 63
191. Silenus, a Negro, a Satyr, and an old Woman. Munich. 66
436. Silenus supported hy a Satyr and a Faun . Louvre. 129
550. Silenus & Satyrs. Females suckling their young. i2«<M»a. 158
680. Silenus. Satyrs are setting him on an Ass . .191
709. Silenus and Bacchanalians Sale of Sir J. Reynolds. 198
916. Silenus with Nymphs and Satyrs P. Methuen, Esq. 272
1086. Silenus supported hy a Satyr and a Faun . 300
721. Thetis supplicating Jupiter on hehalf of her Son 199
1094. Thetis and Peleus, the Nuptials of . . . .301
202. Venus and Adonis Munich. 69
621. Same suhject . . 179
487. Same suhject Escurial. 137
557. Same suhject Russia. 159
378. Venus detaining Adonis from the Chase . Hague. 112
506. Same suhject Florence. . 143
834. Same suhject Blenheim. 245
317. Venus, a FSte in honour of . . VienncL 97
326. Venus arranging her Hair . Liehtenstein. 100
356. Venus, Birth of ; attended hy Tritons & Nereides. Patsdatn. 1 07
818. Ssme auhject (en grisaiUe) Duke of Hamilton. 250
452. Venus and Cupid. After Titian . Eseurial. 132
594. Venus, Adonis, and cupids 171
683. Venus, wounded by a Thorn, consoled by Cupid . 192
710. Venus asleep on a bank, and Cupid alarmed by a Satyr 198
1034. Venus suckling the Loves 294
ALLEGORICAL AND HISTORICAL, 399
No. Page
1081. Venus, with Cupid sleeping on her bosom 299
1124. Venus viewing herself in a glass held by Cupid
455. Vulcan working at his Forge . Escurivd
678. Same subject. A study
527. Vertumnus and Pomona in a Garden Rome.
589. Same subject .' .
307
132
191
151
170
ALLEGORICAL, AND HISTOKICAL BLENDED WITH ALLEGORY.
97. Apotheosis of the Archduchess Isabella ... 28
260. Ambition treading under foot the Grod of Wine. Dresden, 83
1113. Abundance. Three angels with a cornucopia . . 304
96. Austria and Spain. Union of the Houses of. M, Noe. 28
178. Beauty rewarding Valour .... Municfi, 62
103. Car (a magnificent) with figures . Antwerp, 29
374. Charity. A female suckling three infants . Potsiam. 110
801. Commerce of Antwerp . Earl of Mulgrave, 225
816. Ceiling of the Chapel at Whitehall . .234
911. Earth and Water. A Man and a Woman. E. of Mulgrave. 270
90. Ferdinand receiving the Homage of Belgium .27
95. Ferdinand accompanied by Victory, Mercy, and Religion 28
268. Ferdinand, Neptune fayouring the voyage of. Dresden, 85
177. Fame crowning a Warrior Munich, 62
294. Four Quarters of the Globe ... . Vienna, 91
335. Female weeping over the bodies of the slain. Ltchtensiein 103
1112. Females (five) with various emblems . 304
862. France, with the Emblems of Commerce, &c. M, Henry, 255
1114. Famine. Suitably allegorized 305
670. Government. A female holding a prow . .189
1223. Genius uniting Painting with Nature. A drawing . 327
523. Horrors of War. Mars rushing from the Temple of
Janus Florence, 150
524. Same. A study . . Samuel liogers, Esq, 151
626. Henry IV., allusive to 180
675. Henry IV. conducting his Queen . Genei^al Phipps, 190
699. Justice, Peace, and Plenty. Three females .196
878. Jupiter committing to Woman the Universe. Ld,Damley. 259
1104. Idleness punished and Industry rewarded . . 303
400 ALLEGORICAL AND HISTORICAL.
No. Page
816. James L, relating to . Geiling at Whitehall, 234
713 & 717. Studies for ditto. Geiling at Whitehall 198 & 199
100. Janus, Temple of 29
539. Love and Wine. Artist and his Wife, &c. Genoa, 154
674. Louis XIIL, Mars presenting Arms to. Gen. Phipps. 190
94. Maximilian, Marriage of . , M, NoS, 27
354. Medicip,allusivetotheGovemmentof Marie de. Potsdam. 107
682. Medicis, allusive to the History of Marie de. Sketch. 192
685. Medicis, the Fates weaving the Destiny of Marie de ih.
813. Minerva repelling the Demons of War . 232
91. Neptune favouring the Voyage of Ferdinand. Dresden, 27
705. Nature unveiled by the Graces . . .197
795. Navigation and Commerce Harl of Mulgrave. 223
89. Philip lY. presenting a Baton to Ferdinand . . 26
93. Philip rV. investing Ferdinand with the Command of
the Army 27
432. Pallas defending a Female and her Children. Louvre, 1 29
561. Peace and War. Fourteen figures. National Gallery, 161
914. Peace and War, represented by Trophies. Mar, of Bute. 271
669. Peace and Plenty. Two females .189
679. Same subject 191
1 103. Peace and Prosperity of a State. Fifteen figures 303
103. Portico, with figures. A sketch . Antwerp. 29
104. Same. A sketch Antwerp. 30
702. Eome triumphant 196
671. Strength. A female girt with a lion's skin .189
529. Tiber. A river god reclining on a vase . Borne. 152
877. Time disclosing the Truth of Christianity.
Lord Says and Sele. 259
1224. Time triumphing over Death. A drawing 327
1226. Trophy of the Arms of vanquished Nations . ib.
430. Triumphal Arches. Two studies in chalks. Louvre. 129
96. Union of the Houses of Austria and Spain. Af. NoS. 28
Victory crowning a Warrior. Bubena^s Cat,, Lot 156. 33
814. Union & Peace between England & Scotland. E. Gray^Esq, 232
262. Woman and two Boys with a Pot of Embers. Dresden. 83
314. Warrior seated on the Bodies of slain Enemies. Vienna. 97
336. Warrior extending his arms to a female. lAchtenstein. 103
PORTRAITS. 401
PORTRAITS.
No. Page
Arundel, Lord . Ruhena's Catalogue, Lot 97. 31
210. Arundel, Lord and Lady, with their Son, &c. Munich, 70
1128. Arundel, Thomas Howard, Earl of. Earl Warwick, 307
1130. Same, dressed in a furred mantle. Earl of Carlisle, 308
Albert and Isabella. Rubens's Cat,, Lot 151 & 152. 33
295. Same, with their Patrons. Doors to a picture. Vienna, 91
433. Albert, on a spirited charger. A drawing. Louvre, 129
821. Same, also on horseback His Majesty. 239
917. Same .... Earl of Upper Ossory, 272
1125. Same, with his right hand on a table. Earl Spencer, 307
1176. Same, habited in a richly- worked dress .315
1183. Same, with the Archduchess Isabella . . .316
1184. Same, represented in a profile view .... ib,
204. Abbess, a Lady Munich, 69
637. Same Choiseul Collection, 183
291. Austria, Archduchess of. A bust . . Vienna, 90
1156. A ttendulus Mu tins, called Sfortia . . .312
1 1 68. Albe (Due d'), mounted on a bay charger. Earl of Radnor, 313
22. Breughel, John. Done for his tomb . .11
Buckingham, Duke of. Rubens's Catalogue, Lot 127. 32
688. Same, clad in brilliant armour 193
918. Same, on horseback . . . Earl of Jersey, 272
1170. Buckingham's Mistress and Children. Lord Saye ^ Sele, 314
196. Brant (Elizabeth), as a shepherdess . . Munich. 68 -
380. Same Lady Hague, 113
514. Same Lady, with a book in her hand . Florence, 146
881. Same Lady, with her hair in ringlets. M, Schamps, 260
1186. Same Lady, holding a gold chain. /. B, H, Owen, Esq, 316..^
230. Bourbon (Elizabeth de), attired in black . Munich. 76
906. Same Queen. A duplicate . . Mr. Murch. 268
292. Same Queen. A bust .... Vienna. 91
428. Same Queen Louvre. 128
289. Brabant (Due de), with his Daughter, St. Begue. Vienna. 90
298. Burgundy, Philip, Duke of . . . Vienna. 93
401. Boonen (Madame), decked with jewels Louvre. 119
1145. Bellarmin, Cardinal. He is seated in his study . 310
VOL. II. 2 D
402 PORTRAITS.
No. Pcige
1155. Barca, Marcellinus and HeliodoTUs de . .311
Ghapean de Faille Ruberu^$ Catalogue, Lot 122. 32
811. Same picture . The Right Hon, Bobert Pad. 228
232. Gonstantia, Queen of Poland . . Munich. 76
Gbarlea, surnamed the bold. Rvhemii Gat.^ Lot 107. 31
465. Charles Y. on horseback. A drawing E»curidl. 134
563. Charles I. and Queen Henrietta, &c. Hi» Majesty, 162
867. Charles Y., Philip lY., and his Queen. M, Perignon, 255
1159. Charles Y. clad in armour. A copy, from Titian 312
1161. Charles Y. of Austria, son of Philip IIL , . , ib.
1164. Cardinal, a, seated in his study, . . . .313
1160. Dyck, Anthony Yan . His Majesty, 312
Empress . . Rvbenie CaUdogtie, Lot 114. 32
1134. Este (Isabella d'). Countess of Mantua . . .309
88. Ferdinand, Prince ; he has a hat on, and holds a baton. 26
Same Prince, as a Cardinal. Rubena^s Ckit,, Lot 113. 32
207. Same Prince, ditto Munich, 69
233. Same Prince, mounted on a bay charger Munich, 76
308. Same Prince. Full length . Vienna. 95
309. Ferdinand, King of Hungary, ditto . Vienna. ib.
728. Ferdinand of Medici, Grand Duke of Tuscany . . 200
789. Ferdinand of Austria, on horseback. A study . 222
1126. Ferdinand, Prince, in his Cardinal's dress. Earl Spencer. 307
1136. Same Prince, mounted on a spirited charger 309
1137. Same Prince, on horseback ib.
1138. Same Prince, on horseback His Majesty. ib.
1139. Same Prince, ditto. A study ib.
1140; Same Prince, with a baton in his hand. Full length 310
1141. Same Prince. Three-quarter size .... ib.
1162. Ferdinand II., in an embellished oval .312
1173. Ferdinand, Count Palatine, and Duke of Bavaria . 315
197. Forman (Helena), wearing a cap . Munich. 68
219. Same Lady, elegantly attired and seated . Munich. 73
256. Same Lady, in black, and a scarf over her head. Dresden. 82
263. Same Lady, with her hair falling in tresses. Dresden, 84
300. Same Lady, prepared to enter the Bath Vienna, 94
381. Same Lady Hague. 113
PORTRAITS. 403
No. Page
399. Forman (Helena), with two of her Children. Louvre, 118
517. Same Lady. Astady; in chalks . . Florence. 147
551. Same Lady, with her hair falling in tresses. Russia. 158
559. Same Lady, elegantly attired . . His Majesty. 160
619. Same Lady Sir S. Clarke. 178
771. Same Lady. A sketch 217
806. Same Lady, in a profile view . Edward Gray^ Esq. 227
829. Same Lady. Whole length . . . Blenheim. 242
. BlenJieim. 243
Lady Sttiart. 257
M. Sch^imps. 261
. 317
• . ib.
His Majesty. 195
831. Same Lady, with Euhens and Child
869. Same Lady, elegantly attired .
882. Same Lady, as a shepherdess
1187. Same Lady, ditto .
1188. Same Lady, wearing a turhan .
695. Falconer, with a hawk on his hand
8. Goubau and his Wife. Done for his tomb . . 7
Gentleman, in a Turkish dress. Ruhem^s Oat.^, Lot 140. 33
213. Same, habited in a Spanish costume . Munich. 70
1369. Same, in a red silk dress . Sir H. Bunbury. 355
1371. Same, and a Lady «... Doria Palace. ib.
225. Same. A Youth Munich. 74
227. Same, with a book in his hand Ditto. 75
243. Same. A Head, Ditto. 78
272. Same, with bushy beard, wearing Spanish Dress: Dresden. 85
277. Same. He is pulling on his gloves . Ditto. 86
279. Same, with his right hand on a covered table. Ditto. 87
306. Same, seen in a profile view, with a bald head. Vienna. 95
307. Same, dressed in a fur mantle and a ruflf . Ditto. ib.
340. Same, holding a bonnet and gloves . Lichtenstein. 104
364. Same, with a Lady, and a large dog . . Potsdam. 109
369. Same. A Youth, in the Spanish costume. Ditto. ib.
866. Same. Quoted by Sir Joshua Reynolds . . . 255
870. Same, in black, and wearing a ruff . Lady Stuart, 257
889. Same, in black, his right hand on the hip. Sasseghem. 263
891. S&me, his right hand placed in front. Ghev. Erard, 264
904. Same, holding a glove in one hand, and resting the other
on a chair C, Gzemini. 268
1147. Same, done en grisaille .... 310
/
404 PORTRAITS.
No. Pa^
1167. GeDtleman anda Lady 313<
521. Grotius, Lipsius, Philip Eubens, and the Artist. Florence, 1 49
783. Grotius, a portly mao. A bust . . .221
541. Gonzaga, Vincent, Duke of Mantua .... 155
823. Gerbier, Sir B., and Family . . His Majesty. 240
1170. Same Lady, and Children . Lord Saye and Sde, 314
892. Gevartius. He is seated in his study. Baron Eoose. 264
1150. Havre (John Van), with a squarensbaped beard and
blackcap 311
1177. Isabella (Archduchess), seated, with a fan in her hand. 315'
1178. Same Princess, engraved oval ib,
1179. Same Lady, surrounded with signs of zodiac . ib,
1180. Same, in the dress of a Lady Abbess . ib.
1181. Same ib.
1182. Same, with a parrot near her 316.
1185. Same, leaning on a balustrade . . Mr. Emmerson. ib.
*
Lipsius Justus Antwerp. 26
Lady, habited in the French taste. Rubens* s Cat.f Lot 110. 31
Same, styled English Ifitto. Lots 124 & 126. 32
Same, with a hat on . Ditto. . Lot 130. ib.
Same, with a dog in her arms. Ditto, Lot 145. 33-
214. Same, dressed in a black robe and whitie kerchief. Munich. 7 1
224. Same, elderly, styled the Artist's Mother . Ditto. 74
255. Same, holding a mantle and some roses . Dresden. 82
261. Same, dressed in black silk and a veil . Ditto. 83
271. Same, wearing a cap and a broad ruff Ditto. 85
278. Same, elegantly dressed, holding a gold chain. Ditto. 87
280. Same, with a Child on her knee . Ditto. ib.
316. Same, with glov^ and a kerchief in her hand. Vienna. 97
318. Same. Titian's Mistress .... Ditto. 98
370. Same, a young Potsdam. 109
554. Same, seated, with a muffin her lap Russia. 159
696. Same, wearing a cap decked with feathers 195
758. Same. The head inclines forward . .211
865. Same, wearing a black veil 255
800. Same, very richly attjred . . Lucien Collection. 225-
871. Same, very elegantly attired . . Lady Stuart. 257.
PORTRAITS. 405
No. Page
^90. Lady, holding a chain, near a table. Van Sasseghem, 263
893. Same, very richly attired . • . Baron Boose. 264
. 924. Same, a young, in a brown frock. Prince Talleyrand. 273
1167. Same, and a Gentleman. Busts . . .313
1171. Same, in the character of Cleopatra, with a serpent . 314
1189. Same, wearing a ruff. Full length . . . .317
1238. Same. A Head 329
Louis XIII. (Queen Consort of). Bubem'a Cat., Lot 120. 32
1144. Leo X. (Pope). An oval 310
1152. Lou vain (a Doctor of), dressed in a black mantle . 311
1153. LessiuB (Leonard), a Jesuit ib.
1154. Lupus (Edward), a Musician ib.
1163. Longueval (Charles de), in an embellished oval . .312
1230. Leyden (Lucas Van), a drawing .... 328
7. Moretus (J. B.), done for his tomb . . • 7 & 26
Maiema (Doctor) . Bubene^e Catalogue, Lot 100. 31
Mirandola Moretus. 26
Maximilian (Archduke), Bubentfs Catalogue, Lot 146. . 33
Medicis (Marie de) . Bubens^s Catalogue, Lot 166. 34
726. Same Queen Dultoich. 200
828. Medicis (Catherine de), in an arm-chair . Blenheim. 242
212. Monk, with a skull in his hand . Munich. 70
1370. Monk, styled Rubens's confessor • Doria Palace. 355
299. Men, two portraits of old . VienncL 94
473. Men, two heads of old .... Escurial. 135
Man (an old) . . Bubens's Catalogue, Lot 128. 32
304. Man, a venerable, with a gray beard . VienncL 95
306. Man, represented in a profile view, in black Ditto. ib.
1146. Man, with short hair and a beard .... 310
1190. Same, a head of an old 318
1 1 92. Same, a study for the head of the paralytic . ib.
1241. Same; ahead. A drawing 329
310. Maximilian I., clad in brilliant armour . Vienna. 96
1172. Maximilian, Archduke of Austria, dressed in black . 314
466. More, Sir Thomas. A copy, after Holbein. Escurial. 134
560. Mantua, the Brother of the Duke of . . .161
727. Mayne, Sir Theodore 200
K
406 PORTRAITS.
No. Page
727 (& 1127. Mayeme, Sir Theodore Turquet . . 200 & 307
1142. Medicis, Cosmo de, seen in a profile view . . 310
1143. Medicis, Lorenzo de ib.
1157. Minister, an English. A hust 312
1174. Marche, Gilhert de la, a gentleman with a hald head . 315
Neuhourg, Duke de . Rvhens^a Catalogue^ Lot 117. 32
26. Ophovius, Michael, in the hahit of a Carmelite. Hague. 13
383. Same picture, descrihed .... Ditto. 113
793. Officer, a Spanish, wearing a large hat . .223
1151. Olivarez, Count, Duke of St. Lucar .... 311
Philip, Duke of Burgundy . Rubens's Gat.^ Jjot 95. 31
Philip lY. of Spain . RvJben^i Cat, Lot 123. 32
824. Same, mounted on a charger • His Majesty. 240
229. Same King, richly habited . . Munich. 75
905. Same. A duplicate . Mr. Murch. 268
464. Same King, mounted on a fine charger .133
923. Same, represented in a profile view. Prince (T Arenberg. 273
1231. Same. A fine drawing 328
538. Philip III., habited in black silk. Full length. Genoa. 154
1175. Same, in an embellished oval 315
Prince Cardinal • Rubens's Catalogue, Lot 101. 31
786. Plato. A bust portrait 221
1257. Same. Drawn from a bust 332
827. Parcelsus. A portly man, wearing a fur cap. Blenheim. 242
19. Rubens, Philip 10
805. Same. A bust portrait . Baron Mecklenburg. 227
521. Same, with Grotius, Lipsius, and the Artist. Florence. 149
73. Enbens, P. P. A pen drawing .... 22
181. Rubens with his first wife, Elizabeth Brant. Munich. 63
217. Same, with his wife and a child Munich. 72
311. Same, about 60 years of age, with a hat on. Vienna. 96
510. Same, about 45 years of age, with a hat on. Florence. 145
511. Same, about 50 years of age; bald head. Florence. 146
540. Same, about 50 years of age, with a hat. Oval. Genoa. 155
558. Same, about 42 years, with a large hat on. His Majesty. 159
760. Same. Represented at a window . — Gray, Esq. 212
777. Same, with his first wife . . . Earl Grosvenor. 219
PORTRAITS. 40 r
No. Po^c-
831. Eubens, with Helena Forman, and a Child. Blenheim. 243
844. Same, with a hat on 248
880. Same, with a large hat on. A front view. M, Schamps. 260
539. Same, with his wife on hie knee . . Genoa. 154
259. Eubens's two eldest Suns, when youths . Dresden. 83
327. Same Lichtenstein. 100
780. Eubens's second Son, at the age of 15 months. Frankfort. 220
810. Eubens's son Albert, when a child .... 228^
1169. Same, when about eight years old. Earl of Radnor. 313
1246. Same. A drawing 330
915. Eubens's Son and Nurse, in a Liarder. Marquis of Bute. 27 1
1131. Eubens's Daughter, in a black silk frock. Earl Spencer. 308-
1193. Eubens's four Children, with two Maids . .318
1194. Eubens's three Children, one of whom rides a large dog. ib.
402. Eichardot) the President, and his Son . Louvre, 120
883. Euzzola, a Carmelite monk . M. Schamps. 261
1148. Eodrigo, Marquis de Castel 310
1149. Eodrigo, Mother of ditto 311
1366. Eichmond, Lodo wick Stuart, Duke of. Earl of Pomfret. 349-
1367. Eichmond, Duchess of ... . Ditto. ib.
1368. Eichmond, James, Duke of . . . Ditto. ib..
Spinola, Marquis . Bubene^s Catalogue^ Lot 98. 31
Spain, King and Queen of Ditto, Lots 115&116. 32
231. Sigismond, King of Poland Munich. 76-
429. Snyders, Francis and his Wife. Formerly in the Louvre. 128
1158. Sueiro, Emanuel. A knight, clad in armour .312*
1229. Strinmer, TobiaP. A drawing .... 328^
1244. Siamese Priest. Ditto .... 329
1245. Siamese Ambassador. Ditto ib^
1258. Seneca. A bust from the antique .... 332*
Vinci, Lionardo da . Bubens*s Catalogue, Lot 109. 31
1165. Yicq (Baron de). Ambassador 313-
1166. Vicq, Wife of the preceding ib.
1133. Urban, Pope. A frontispiece 309-
Tunis, King. After Ant. Moro. Buhens's Cat., Lot 148. 33-
182. Thulden (Doctor Van), with a book .... 64
426. Tuscany, Duke of Louvre. 12T
408 FANCY AND FAMILIAR SUBJECTS.
No. Page
427. Tuscany, Duchess of ... . Louvre, 128
1129. Titian's Mistress. A copy, by Rubens. W. Carttmght. 308
1135. Warrior, Portrait of a 309
996. Youth in an ecclesiastical dress . . . . 289
FANCY AND FAMILUR SUBJECTS.
Banditti pillaging Peasants Rubena^s Gat., Lot 90. 31
898. Bagpiper embracing a Shepherdess .... 265
1098. Boy eating Eaisins 302
Copies, a great number of. Rubens'a Catalogue, Lot 319. 35
187. Children (seven) playing with festoons of Fruit. Munich. 65
703. Same subject. Study for a ceiling . . .196
373. Children (two) playing with a Lamb Potsdam 110
697. Children, Studies of the busts of two . . .195
715. Children blowing bubbles • Lord Darrdey. 198
431. Car, a magnificent. A drawing . . Louvre, 129
544. Cavalier endeavouring to embrace a Female. Turin, 156
Drawings, a great quantity of. Rubena's Cat., Lot 318. 35
Female (young), with Flowers • IHtto, Lot 102. 31
838. Females (three) gathering Fruit • . Blenheim, 246
857, Female, seated disconsolately, in a landscape. Dtdwich. 253
1106. Female, standing naked, grinding colours . • 303
217. Gardens, with the Artist, his Wife, and Child. Munich, 72
1116. Gipsy telling the fortune of a Lady, a young Thief, &c. 305
1132. Girl, and two Boys with guns on their shoulders . 308
312. Infants (four naked) playing with a Jjamb. Vienna, 96
368. Same Potsdam, 109
593. Same 171
366. Infants, Saviour & St. John, playiug with a Lamb. Potsdam, 1 09
990. Same, caressing each other 288
991. Same subject, differently composed .... 289
681. Infant, seated on a pillow . Steengracht, 191
1191. Infant (the head of an), with a cap decked with feathers. 318
274. Love, Garden of . . . . . Dresden, 86
457. Same Eseurial, 132
576. Same Madrid. 166
HUNTS OF WILD ANIMALS. 409
No. Page
313. Man (old) approaching a bed, on which lies a sleeping
Female 97
372. Man (young) and Woman, sitting together. Potsdam, 110
692. Man and Woman, with two Children . .194
897. Man stooping to lift up a Vase . Prince dHAreTtherg, 265
618. MUkwoman 178
886. Negro's Head. A smiling countenance. M, Schamps, 262
919. Negroes' Heads .... Earl of Derby. 272
Peasants dancing Rubens* 8 CcUalogue^ Lot 103. 31
Peasants fighting .... DittOy Lot 142. 33
Peasant feediog his Dog . . Ditto, Lot 299. 35
874. Peasants going to Market . .A Baring, Esq. 258
884. Parrot, of the macaw species. A study. M, Schamps. 261
Shepherds and Shepherdesses. Rubens's Cat., 82. 94. 30 & 31
200. Shepherd and Shepherdess courting . Munich. 68
Studies. Six pictures. Rubens's Cat., Lots 316 & 317. 35
1237. Studies, on ten sheets of paper. Drawings .328
199. Soldiers attacking and pillaging Peasants . Munich. 68
620. Same 179
228. Soldiers carousing before a country Inn . Munich. 75
1120. Same Mr. Gordon. 306
899. Soldier (a Eoman) clad in armour . E. Gray, Esq. 266
1105. Sultan on horseback, accompanied by his Officers . 303
Woman (old) and a Boy . Rubens's Cat., Lot 125. 32
262. Woman (old) and two Boys, with a pot of embers. Drseden. 83
437. Woman bending on one knee . Louvre. 129
770. Woman with a lighted candle, and boy. Ld. Feversham. 216
Warrior, in armour. Rubens^s Cat., 129. E. Gray, Esq. 32
1109. Warriors, the busts of two 304
996. Youth, apparently speaking an oration 289
HUNTS OF WILD ANIMALS.
Atalanta and Meleager pursuing the Boar in a Forest.
Rubens*s Cat., Lots 131 & 163. 32 & 34
^48. Same Russia. 157
^78. Same. — See also Fabulous 167
410 DEAD GAME AND LARDERS &C.
No. Po^t
928. Atalanta & Meleager attacking the Boar. Lady Stuart. 275
929. Same, differently composed. — Be& FdbuiovA, . . . 27&
174. Boar Hunt, with 7 men on foot & 2 on horseback. Munich. 61
235. Same. Five huntsmen and seven dogs . . .77
254. Same, in a woody landscape. A sketch . Dresden. 82'
606. Same 173-
719. Same. A sketch . . Sale of Sir J. Reynolds. 199
772. Same, with the Death of Meleager. A sketch . .217
927. Same. Ladies and gentlemen on horseback. JEarl Damley. 275
931. Same. Four on horseback & seven on foot. P. of Orange. 276
1093. Same. A huntsman on foot attacking a boar . 301
238. Crocodile and Hippopotamus Hunt . * Munich. 78^
Diana <& Nymphs hunting. See Fabulous. Rubena's Co/., 269. 34
552. Elk, the Death of the . . . . Russia. 158
722 & 723. Hunts. A pair of sketches. Sale of Sir S. Clarke. 199'
247. Lion Hunt. Seven huntsmen, four on horseback. Munich. 79*
250. Four men on spirited horses . Dresden. 81
251. Same, a study for the . Right Hon. R. Peel. ib.
491. Lion Hunt JSscurial. 137
645. Same. Three men attacking two lions. Earl of Damley. 185
926. Same. Four men on horseback . . .274
553. Lions. Three young ones near their den . Russia. 159-
903. Lions, a study of two . Prince of Saxe-Coburg. 268
1359. Same subject 34a
1243. Lion in repose. A drawing 329
667. lioness, with three Cubs 189*
808. Lioness stretching herself on the ground . . . 228
Stag Hunt Rubens' s Catalogue, Lot 154. 33
656. Stag Hunt. Four men with dogs attacking a stag . 187
706. Tigers, in a landscape . Sale of Sir J. Reynolds. 197
1360. Tigers eating raisins 348-
925. Wolf Hunt. Three on horseback, 5 on foot. A. Baring, Esq. 273-
925. Same. A repetition . P. Methuen, Esq. 274
DEAD GAME AND LARDERS, &c
84. Cook (a) occupied at a dresser, on which is game 25
166. Elements, four pictures entitled the . . . . 5^
LANDSCAPES. 411
No. Page
792. Female and a Sportsman in a Larder. G. Baker, Esq. 222
Man and a Woman with dead game. Rubens'a Cat, 153. 33
275. Man and a Woman, and variety of game. . Dresden, 86*
615. Same 177
915. Eubens's Son and Nurse in a Larder. Marquis ofBvJte, 271
785. Servants presenting a nobleman Fruit . .221
1222. Vegetable Market, with several women. A drawing . 327
930. Woman, Fruit, and a Sportsman. Earl of Plymouth. 276-
LANDSCAPES.
548. Atalanta and Meleager attacking the Boar. Russia, 157
578. Same 16T
397. Bird Catchers, and Men sawing timber . Louvre. 117
1209. Bald monntainous View, two Goats, Sheep, and figures. 32S
1219. Bushes, and Trunks of Trees. A drawing 326
Cottage, with figures Eubens's Catalogue, Lot 295. 35
Couple courting, in a landscape . Ditto, Lot 297. ib^
1200. Cows (three), one lying down ; three trees in the centre. 320
Cow-shed, with the Prodigal Son. Bubene'8Cat,,LotlQ9. 34
Deluge of Phrygia, Baucis, and Philemon.
Rubens' s Catalogue, Lot 137. 33
297. Same. Baucis and Philemon . . Vienna. 93
687. Same Sir T. Baring. 192
474. Diana in the Chase. Two small landscapes. Eseurial. 135
Escurial, and surrounding country. Rubens* s Cat. , Lot 132. 32
253. Escurial, situated on the side of a mountain. Dresden. 82
1195. Same Earl of Egremant. 318
Flock of Sheep, in a landscape. Rubens' s Cat., Lot 112. 32
240. Forest, illumined by the rays of the Sun . Munich. 78
398. Festival (Village), numerous figures . Louvre. 118
605. Figures, nine 173
610. Figures, Cows, Sheep, and a Cart laden with Vegetables. 174
654. Figures, Horses, Cows, and Ducks . .186
691. Flat Country, enlivened with sunshine .193
1197. Female (a single figure) seated, and two Sheep . 320
1216. Farm-house, a Hermitage, and two Peasants 326
248. Herd of 14 Cows, with two Women and a Man. Munich. 80
4 1 2 LANDSCAPES.
No. Page
249. Herd of nine Cows, two Women, a Man, and a Wag-
goner on the fore-horse of a team ' . Mumeh, 80
1 206. Herdsman, with a flock of Sheep ; a Huntsman and
Dogs at a distance . Earl of Carlisle, 322
707. Horse grazing on the bank of a river. Earl of Mtdgiuve, 197
Huntsmen and Dogs. Ruhen^a Catalogue, Lot 108. 31
730. Huntsmen and Dogs passing through a forest . .201
731. Same subject, smaller . Earl of Mtdgrave. ib.
634. Hagar and Ishmael 182
1228. Hamlet in Flanders, with a Eiver, and Cattle watering. 327
818. Interior of a Cow-house, and a Snow Storm. His Majesty. 237
Landscapes. Rubene^s Catalogue^ Lots 133, 134, 135,
136, 171 & 172 32 & 34
Same, large. Rubens's Cat,, Lots 150 & 294. 33 & 35
638. Same 183
568. Landscape. Sir P. Lely's Collection, No. 638, p. 183. 164
859. Same . . WiUon, 254
1217. Landscape, with Cattle and Figures. Lord O, Cavendish, 326
1240. Landscape. A drawing 329
296. Ladies and Gentlemen sporting on a lawn. Vienna, 92
Moonlight. Rubens's Caialdgue, Lot 173. 34
400. Man seated, with a Pipe, and two Couple courting. Louvre, 119
767. Man shooting at Partridges . National Gallery, 214
820. Man with Vegetables, &c. . His Mqfesty, 238
1203. Man watering 2 Horses ; a Woman, 2 Cows, and a Calf. 321
1207. Man watering two Horses near a Bridge, trunks of
Trees, and a Cottage 322
1210. Man with a Basket at his back, and a Woman with one
on her arm, a flat scene 323
1214. Man and a Woman bending under the violence of a Storm. 325
1198. Men and Women dancing to the music of a Bagpipe . 320
1218. Men (four), busy with a loaded Waggon • . 326
1202. Meadows divided by a ravine ; a Man watering his horse 321
Peasant with Cattle. Rubens's Catalogue, Lot 296. 35
768. Peasants returning from harvest-work ; Cattle watering,
and Ducks Earl of Orford, 215
1199. Peasants (three), one is seated near a post. . . 320
LANDSCAPES. 413
No. Pouge
817. Prairie de Lacken ; Women, Cows, &c. His Majesty. 237
Euins of a Temple. Rubens* a Ccd.,Lot8\0b,\0^,SL\\\, 31 &32
471. Eeligious Procession .... EscurioU. 135
575. Shepherd and Shepherdess 166
725. Shepherd playing a Pipe, and a flock of Sheep. DiUtnch. 200
1201. Shepherd, with a flock of Sheep, and two horsemen . 321
1212. Shepherd playing a Pipe, a flock of Sheep, and a Dog
Lord Famhorough, 324
655. Satyrs, Nymphs, and Cupids 186^
686. Stormy sky, with a transient gleam of sunshine . 192
872. Stone Bridge over a Moat. A sketch. Lady Stuart 257
1213. Sportsmen (two), near a running brook, firing at ducks. 325
1215. Shipwreck, on a bold mountainous shore. T. Hope, Esq. ib^
Tournament in a landscape. Rubens* s Cat., Lot 104. 31
396. Tournament of Knights near the walls of a city. Louvre. 117
273. Tigress suckling three Cubs, and a Lion near. Dresden. 85
787. Traveller refreshing his Steed. Sale of H. Davies, Esq. 222^
509. Ulysses thrown on the Ph»acian Coast . Florence. 144
661. Villagers merry-making . Thos. Emmerson, Esq. 187
1227. Village in Flanders., A drawing .... 327
Woman on a hill. Rubens^s Catalogue, Lots 22S, 300, 301. 35
508. Women with turnips and grass on their heads Florence. 144
1196. Women (two), one milking a Cow, and two Men . 320
1204. Women (two), passing a stream, and a Man with Cows. 321
1205. Women (two), one has a can and a basket, the other
is dipping up water . /. Harmon, Esq. 322'
1208. Women (four), fording a stream, beyond which is a
man with five goats 32^
1211. Women (two), one carries a rake, the other has a
basket of fruit 324
547. Waggon descending a steep bank, and a man preventing
its being overturned Rtusia. 157
847. Waggon and harvesting People . Earl Grosvenor. 250
909. Waggon descending a bank . Earl of Mvlgrave. 269*
630. Watering Place . . . Dvks of Buccleugh. 181
414 FRONTISPIECES, VIGNETTES, &C.
FRONTISPIECES, VIGNETTES, MEDALS, AND FRIEZES.
No. Page
342. Augustus and Minerva supporting a Medallion.
Liehtenstein. 104
1108. Augustan Gem, Apotheosis of that Emperor . . 303
1275. Angel delivering Captives, and Angel destroying Heretics. 334
1272. Augustin (St.) with a blazing heart, and several Pop^s. 333
1 283. Apostles (the Twelve), each with a book . . 335
1 284. Apocalypse of St. John, the Deity surrounded with Elders. 336
1324. Apollo placing his Lyre on an Altar. A sleeping infant, &c. 342
1328. Same subject 343
1326. Architectural Portico, with Zeno and Cleantes, and
Medallions, &c 342
1332. Angels (two), holding a drapery, and sounding trumpets. 343
1285. Angels (two), supporting a drapery .... 336
1289. Same, with Saints Peter and Paul at the sides . . ib,
1341. Austrian Arms on a Pedestal, with decorations . .345
1343. Archduke Albert and Isabella, holding up a drapery . ib.
1347. Arms of the Duke of Bavaria ; Eagle and Peacock . 347
1364. Antique Bit for a horse, &c. &c 348
1365. Architectural Designs for Palaces. A book . 349
Allegorical Subjects, twenty-one . . .352
Same, sixteen 354
1316. Bishop holding a Tablet, Peter and Paul, Faith, Hope,
and Charity 341
1323. Bust ; Time and Death casting Heroes into a cavern . 342
1302. Commerce, with a Caduceus. Earth and Abundance
at the sides 338
1352. Cornucopia and Garlands decorate a Tablet. A Globe. 347
1361. Combat of Dragons and other Monsters . . 348
•Catalogue of the Duke of Buckingham's Pictures . 349
1297. Deity, with Moses and Aaron, Abraham and St. Francis. 338
1298. Same as 1293 ib.
1336. Drapery attached to a rustic niche ; Paul, the Hermit,
and Anthony 344
1291. Eagle, with a thunderbolt in his talons, and trophies . 337
1310. Elephant carrying a Tower 340
FRONTISPIECES, VIGNETTES, &a 415
No, Page
1340. Escutcheon surrounded by a chain. Mercury and
government 345
Emblematical Subjects of doubtful originality . . 351
1280. Fame putting a chain of Medals round the neck of a Bust 335
1315. Fame, supported by Mars and Minerva . .341
1276. Female on a Pedestal, with two torches, &c. 334
1279. Female personifying the Church. Saints Peter and
Paul at the sides 335
1311. Same, with an alteration in the arms of the Pope 340
1304. Female, with the Emblem of Eternity round her neck. 339
1329. Female personifying the Church, supported by St. Peter
and St. Paul 343
1333. Female seated, holding a sceptre, surrounded by six
females ih,
1342. Female seated on a pedestal, looking sorrowfully at
a tablet 345
1345. Females, personifying the Old and New Law, holding
a tablet ih,
1308. Genii, two. One plays a lyre, the other a pipe . 340
1321. Globe; over which is Justice between the signs of
Libra and Leo 341
1330. Genius receiving the Implements of Art from Mercury 343
1344. Gevartius. His bust supported by Justice and
Prudence 345
1292. History, with a torch in her hand. Mars and the
Goddess of Peace are at the sides .... 337
1296. Same, excepting that History holds the arms of Spain. 338
1305. History writing. Mercury and a female at the sides . 339
1314. Hercules and Pallas supporting the Arms of Spain 340
1350. Hen sitting on her nest ; a Cock, an Owl, and a burning
Lamp 347
1363. Heads, thirty-one, attributed to Van Dyck . 348
1293, Janus (the Temple of) burst open by the Furies 337
1298. Same subject 338
1295. leabella embracing the Queen, her mother . 337
1299. Julius CaBsar, Constantine, and Rodolph, &c. 338
1300. Justice holding the Balance ih.
416 FRONTISPIECBS, VIGNETTES, &c.
No. Page
1301. Justus Lipsius, supported by Tacitus and Seneca . 338
1317. Infant Saviour, with a cross supported by two females. 341
1318. Laurel Tree, to which are attached armorial bearings. ib.
1358, 1359, & 1360. Lions and Tigers. Studies . . 348
1271. Mercury and Minerva supporting a Cornice . .333
1274. Mercury and Ceres, at the sides of a pedestal . . 334
1277. Monk presenting a Book to the Saviour and Virgin . ib.
1273. Moses and the Prophet, at the side of an elevation . ib,
1281. Moses, with the tables of the Law on top of a pedestal. 335
1282. Moses surrounded by the Children of Israel . . ib.
1260. Nymph reclining on the arms of a Triton . . 332
1261. Same subject ib.
1319. Philip IV. crowned by two Genii .... 341
1327. Philip IV. receiving the homage of La Franche Compt^. 343
1325. Policy and Abundance supporting an escutcheon . 342
1338. Paul (St.) and Anthony and other Saints^ near a building. 344
1339. Paul the Hermit, in a Cavern ; and other Saints around it. ib.
1346. Philosophical and Optical Problems demonstrated . 346
1335. Peter and Paul (Sts.) supporting a Medallion . . 344
1348. Peter and Paul (Sts.) supporting a Tablet . . 347
1349. Same ib.
1357. Progressive Studies of the Human Figure . . . 348
1265 to 1270. Rubens (Philip), Subjects for a work by . 333
1303. Religion, with a Cross, supported by two Angels, <S:c. 339
1312. Rome crowned by Victory. A Wolf and Captives . 340
1313. Same as preceding ib,
1262. Satyr holding a Goat by a string . .332
1263. Syren, with an infant in her arms, seated on a sea-horse, ib.
1278. Solomon presenting his Book of Ecclesiastes to Divine
Wisdom 334
1286. Saviour with a Cross. Two females at His feet 336
1307. Saviour appearing to Mary Magdalen^ . 339
1320. Saviour bearing His Cross, & inviting others todo thesame. 341
1306. Samson finding the Honeycomb in the Jaws of a lion 339
1334. Skin of an Ox attached to a rustic Portico * 344
1256. A Swan seated on her nest 331
1287. Triumphal Arch, surmounted by a globe and figures 336
FRONTISPIECES, VIONETTES, fta 417
No. Page
1 288. Time drawing Truth from a Well and plunging Envy in. 336
1322. Title-Page, surrounded by Infants .... 342
1331. Triformbustof Mercury and Minerva. Two figures . 343
1354. Tablet with a Pelican. In the background is St. Francis 347
1355. Tablet decorated with Laurels ; a hand holding a compass, ih,
1290. Virgin, and a number of Saints below her 337
1294. Virgin and Child Albert, and Angels with fetters . ih,
1309. Victory and Mars. The arms of Spain . . 340
Rubens's Dispute with the Arquebusiers .... 4
His Letters to Geldorp 1637. Ill
Thirty-six Pictures destroyed by lightrting in the Jesuits'
Church at Antwerp, July 18, 1718 16
Pictures inserted in a Catalogue of Rubens's effects, after
his decease 30 to 35
Munich Gallery 60 to 80
Dresden Gallery 81 to 87
Vienna Gallery 87 to 99
Lichtenstein Collection 99 to 105
Potsdam Gallery 105 to 110
Louvre Gallery 114 lo 129
Escurial and Spain . . . 131 to 143
Florence Gallery '. .143tol51
Rome . ........ 151
Genoa and Turin Collections . 155 <& 156
Hermitage Gallery, in Russia 156 to 169
Observations on the Merit of the Chapeau de Paille . . 229
His Majesty's Collection 237 to 241
Marlborough Collection 241 to 249
Drawings sold in the Collection of M. Mariette, 1775 . . 326
Frontispieces and Vignettes for Books .... 333
A List of thirteen Pictures formerly in the Collection of the
Duke of Buckingham 349
Various Subjects attributed to Rubens in the (/atalogue of
Hecquet, afterwards noticed by Basan, and inserted in
this Work for the gratification of the curious . .351
VOL. II 2 k
418
REFERENCES IN THE LIFE.
Scholars, Coadjutoiis, and Imitators
Page
356
REFERENCES IN THE LIFE.
Rubens visits Italy for Improvement .
He is sent Envoy to Madrid
He quits Rome for Milan ....
Rubens returns to Antwerp in consequence of the
death of his mother ....
He marries Elizabeth Brant
He paints the Luxembourg Pictures .
His Introduction to the Duke of Buckingham
He sells his Collection of Works of Art to the
Duke of Buckingham ....
Death of Elizabeth Brant ....
Rubens goes Envoy to Spain
His Visit to the Duke of Braganza
His Arrival at the English Court
He is knighted and quits England
He returns to Brussels and is sent to Spain .
He marries Helena Forman
He is sent on a Treaty to Holland
Battle of Nortlingen
Prince Ferdinand's triumphal Entry into Antwerp
Rubens's Death
Observations on his Works
. 1600.
xvi.
. 1604.
xviii
. 1607.
xxii
e
. 1608.
• • •
XXlll
. 1610.
XXV
. 1620.
xxvii
^%
XXX
e
. 1625.
xxxi
. 1626.
xxxiii
. 1627.
xxxvi
ib.
. 1629.
xxxviii
. 1630.
xl
xlii
. 1631.
xliii
. 1633.
xliv
. 1634.
xlv
p 1635.
xlvi
. 1640.
xlviii
liv
END OF PART THE SECOND.
ERRATA.
p. 6, line 29, instead of **on one of the exterior covers," read, on tht
exterior of one of the covert.
No. 140, p. 50, for " ten " read eleven figures.
No. 582, p. 152, instead of "formerly," read Tuwr,
Ths Writer of the Catalogue RaieonrU,
begs respectfully to offer his assistance professionally for the
Purchase and Sale of Pictures, estimating their value, ascer-
taining the Makers by whom they are painted, making Caia-
logues of Collections, and giving an opinion relative to their
state and preservation.
The practice and experience of nearly twenty-five years, in
the commerce of Works of Art, aided by ardiwus study and
zealous attachment to the pursuit, are the qualifications which
the Writer ventures to addv^. as some recommendation to the
confidence of Gentlemen toho mxiy have occasion to employ him
for either of the above-named objects.
It must be obvious to Gentlemen, that no species of property
is of a more un^rtain value than Pictures, arising from a
variety of causes; one of which is the difficulty which the
insaperienced eye feels in ascertaining correctly their origi-
nality and their consentient value; another, is the accidental
event of a paucity of buyers. These, and other difficulties of
the kind, may frequently be obviated by consulting a person
conversant in such matters, by whose advice much valuable
property may often be preserved from loss, eithei' by premature
and injudicious sate, or the injurious efects of time. For a
copious notice of these subjects, the Reader is referred to the
Introduction of the Firflt Part of this Work.
No. 137, Nbw Bond Streiet.
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