See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

PETER See also:

• PAUL
• PAUL (PAULUS)

PAUL See also:

• PETER PAUL RUBENS (1577-164o)

RUBENS (1577-164o)  , Flemish painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• SIEGEN

Siegen, in See also:

• WESTPHALIA (Ger. Westfalen)
• WESTPHALIA, TREATY OF

Westphalia, on the 29th of See also:

• JUNE

June 1577., His See also:

• FATHER

father, Johannes See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens, a druggist, although of humble descent was a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of learning, and councillor and See also:

• ALDERMAN (from A.-S. ealdorman, compounded of the comparative degree of the adjective eald, old, and man)

alderman in his native See also:

• TOWN

town (1562) . A See also:

• ROMAN

Roman See also:

• CATHOLIC (Gr. KcaBoXuK6s, general, universal)

Catholic by See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth, he became a zealous upholder of the See also:

• REFORMATION
• REFORMATION, THE

Reformation, and we find him spoken of as le plus docte Calviniste qui lust pour lors au Bas Pays . After the plundering of the See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp churches in 1566, the magistrates were called upon for a See also:

• JUSTIFICATION

justification . While openly they declared themselves devoted sons of the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church, a See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of the followers of the Reformed creed, headed by the name of See also:

• ANTHONY, SAINT
• ANTHONY, SUSAN BROWNELL (1820-1906)

Anthony See also:

• VAN

Van Stralen, the burgomaster, got into the hands of the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• ALVA
• ALVA, or ALBA, FERNANDO ALVAREZ DE TOLEDO, DUKE OF, (1508-1583)

Alva . This was a See also:

• SENTENCE (Lat. sententia, a way of thinking, opinion, judgment; vote, sentire, to feel, think)

sentence of See also:

• DEATH

death for the magistrates, and Johannes Rubens lost no See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time in quitting See also:

• SPANISH

Spanish See also:

• SOIL

soil, ultimately settling at See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne (See also:

• OCTOBER

October 1568) with his wife and four See also:

• CHILDREN, LAW RELATING TO

children . In his new See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence he became legal adviser to See also:

• ANNE (1665-1714)
• ANNE (1693-1740)

Anne of See also:

• SAXONY
• SAXONY (Ger. Provinz Sachsen)

Saxony, the second wife of the See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince of See also:

• ORANGE
• ORANGE (Citrus Aurantium)
• ORANGE, HOUSE OF

Orange, See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William the Silent . Before See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long it was discovered that their relations were not purely of a business See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind . Thrown into the dungeons of Dillenburg, Rubens lingered there for many months, his wife, Maria Pypelincx, never relaxing her endeavours to get theundutiful See also:

• HUSBAND

husband restored to freedom . Two years elapsed before the prisoner Was released, and then only to be confined to the small town of Siegen . Here he lived with his See also:

• FAMILY

family from 1573 to 1578, and here Maria Pypelincx gave birth to See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip, afterwards town-clerk of Antwerp, and See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter See also:

• PAUL
• PAUL (PAULUS)

Paul . A See also:

• YEAR

year after (May 1578) the Antwerp lawyer got leave to return to Cologne, where he died on the 18th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1587, after having, it is said, returned to Roman Catholicism . Rubens went to Antwerp with his See also:

• MOTHER

mother when he was scarcely ten years of See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age .

He was an excellent Latin See also:

• SCHOLAR, SCHOLARSHIP

scholar, and also proficient in See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French, See also:

• ITALIAN

Italian, Spanish, See also:

• ENGLISH

English, See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German and Dutch . See also:

• PART

Part of his boyhood he spent as a See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

page in the See also:

• HOUSEHOLD, ROYAL

household of the countess of See also:

• LALAING, JACQUES DE (c. 1420-1453)

Lalaing, in See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels; but tradition adds that his mother allowed him to follow his proper vocation, choosing as his See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master Tobias Verhaecht . Not the slightest trace of this first master's See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence can be detected in Rubens's See also:

• WORKS

works . Not so with See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam Van Noort, to whom the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young man was next apprenticed . Van Noort, whose aspect of See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy is well known through Van Dyck's beautiful See also:

• ETCHING (Dutch, etsen, to eat)

etching, was the highly esteemed master of numerous painters—among them Van Balen, See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian Vrancx, and See also:

• JORDAENS, JACOB (1593-1678)

Jordaens, later his son-in-See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law . Rubens remained with Van Noort for the usual See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of four years, thereafter studying under See also:

• OTTO

Otto Vaenius or Van Veen, a See also:

• GENTLEMAN (from Lat. gentilis, " belonging to a race or gens," and " man "; Fr. gentilhomme, Span. gentil hombre, Ital. gentil huomo, in its original and strict signification, a term denoting a man of good family, the Lat. generosus (its invariable transl

gentleman by birth, a most distinguished Latin scholar and a painter of very high repute . He was a native of See also:

• LEIDEN

Leiden, and only recently settled in Antwerp . Though Rubens never adopted his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of See also:

• PAINTING

painting, the tastes of master and See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil had much in See also:

• COMMON

common, and some pictures by Otto Vaenius can be pointed out as having inspired Rubens at a more advanced period . For example, the " Magdalene See also:

• ANOINTING

anointing See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ's Feet," painted for the See also:

• CATHEDRAL

cathedral at See also:

• MALAGA

Malaga, and now at the Hermitage in St See also:

• PETERSBURG

Petersburg, closely resembles in See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition the very important See also:

• WORK

work of Otto Vaenius in the church'at See also:

• BERGUES

Bergues near See also:

• DUNKIRK
• DUNKIRK (Fr. Dunkerque)

Dunkirk . In 1598, Adam Van Noort acting as See also:

• DEAN (Lat. decanus, derived from the Gr. 8eaa, ten)
• DEAN, FOREST OF

dean of the Antwerp gild of painters, Rubens was officially recognized as " master " —that is, was allowed to work independently and receive pupils . His style at this See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early period may be judged from the by no means satisfactory " See also:

• HOLY

Holy Trinity " at Antwerp Museum, which already shows his bold, vigorous handling, and the " Portrait of a Youth " in the See also:

• MUNICH (Ger. Munchen)

Munich Pinakothek . From 1600 to the latter part of 16o8 Rubens belonged to the household of Vincenzo See also:

• GONZAGA
• GONZAGA, THOMAZ ANTONIO (1744-1809)

Gonzaga, duke of See also:

• MANTUA (Ital. Mantova)

Mantua .

The duke, who spent some time at See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice in See also:

• JULY

July 1600, had his See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention See also:

• DRAWN

drawn by one of his courtiers to Rubens's See also:

• GENIUS (from Lat. genere, gignere)

genius, and immediately induced him to enter his service . The influence of the master's stay at Mantua was of extreme importance, and cannot be too constantly kept in view in the study of his later works . Sent to See also:

• ROME
• ROME (Roma)

Rome in 16or, to take copies from See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael for his master, he was also commissioned to paint several pictures for the church of See also:

• SANTA

Santa Croce, by the See also:

• ARCHDUKE (Lat. archidux, Ger. Erzherzog)

archduke Albrecht of See also:

• AUSTRIA
• AUSTRIA, LOWER (Ger. Niederosterreich or Osterreich unter der Enns, " Austria below the river Enns ")
• AUSTRIA, UPPER (Ger. Oberosterreich or Osterreich ob der Enns, " Austria above the river Enns ")

Austria, See also:

• SOVEREIGN

sovereign of the Spanish See also:

• NETHERLANDS

Netherlands, and once, when he was a See also:

• CARDINAL (Lat. cardinalis)

cardinal, the titular of that see . A copy of " See also:

• MERCURY
• MERCURY (MERCU1uus)
• MERCURY (symbol Hg, atomic weight = 2oo)

Mercury and See also:

• PSYCHE (//vxi7)

Psyche " after Raphael is preserved in the museum at Pesth . The religious paintings— " The Invention of the See also:

• CROSS

Cross,'" The Crowning with Thorns " and " The Crucifixion "—are to be found in the See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

hospital at See also:

• GRASSE
• GRASSE, FRANCOIS JOSEPH PAUL, MARQUIS DE GRASSETILLY, COMTE DE (1722-1788)

Grasse in See also:

• PROVENCE (Provincia, Proenza)

Provence (Alper Maritimes) . At the beginning of 1603, " The See also:

• FLEMING, PAUL (1609-1640)
• FLEMING, RICHARD (d. 1431)
• FLEMING, SIR SANDFORD (1827- )
• FLEMING, SIR THOMAS (1S44-1613)

Fleming," as he was termed at Mantua, was sent to See also:

• SPAIN
• SPAIN (Espana)

Spain with a variety of presents for Philip III. and his See also:

• MINISTER (Lat. minister, servant)

minister the duke of See also:

• LERMA, FRANCISCO DE SANDOVAL Y ROJAS, DUKE OF (1552–1625)

Lerma, and thus had opportunity to spend a whole year at See also:

• MADRID

Madrid and become acquainted with some of See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian's masterpieces . Of his own works, known to belong to the same period, in the Madrid See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, are " Heraclitus " and "See also:

• DEMOCRITUS

Democritus." Of Rubens's abilities so far back as 1604 we get a more See also:

• COMPLETE

complete See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea from an immense picture now in the Antwerp Gallery, the " See also:

• BAPTISM

Baptism of Our See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord," originally painted for the See also:

• JESUITS

Jesuits at Mantua . Here it may be seen to what degree Italian surroundings had influenced the household painter of Vincenzo Gonzaga . Vigorous to the extreme in See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design, he reminds us of See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo as much as any of the degenerate masters of the Roman school while in decorative skill he seems to be descended from Titian and in colouring from Giulio Romano . Equally with this picture, " The Transfiguration," now in the museum at See also:

• NANCY

Nancy, and the portraits of " Vincenzo and his See also:

• CONSORT (Lat. consors, a companion)

Consort, kneeling before the Trinity," in the library at Mantua, claim a large See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share of attention . Two years later we meet a very large See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-piece of " The See also:

• CIRCUMCISION (Lat. circum, round, and caedere, to cut)

Circumcision " at St Ambrogio at See also:

• GENOA (anc. Genua, Ital. Genova, Fr. GPnes)

Genoa, the " Virgin in a See also:

• GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

Glory of Angels," and two See also:

• GROUPS
• GROUPS, THEORY

groups of See also:

• SAINTS, BATTLE OF THE

Saints, painted on the See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall, at both sides of the high altar in the church of Santa Maria in Valicella in Rome . These works remind us of a saying of Baglione, who was acquainted with Rubens in See also:

• ITALY
• ITALY (Italia)

Italy: Apprese egli buon gusto, e diede in una maniera buona Italiana .

While employed at Rome in 16o8, Rubens received most alarming See also:

• NEWS

news as to the See also:

• STATE
• STATE, GREAT OFFICERS OF

state of his mother's See also:

• HEALTH

health . The duke of Mantua was then absent from Italy, but the dutiful son, without awaiting his return, at once set out for the Netherlands . When he arrived in Antwerp, Maria Pypelincx was no more . However strong his wish might now be to return to Italy, his purpose was overruled by the See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express See also:

• DESIRE

desire of his sovereigns, Albrecht and See also:

• ISABELLA (1451-15o4)
• ISABELLA, ISABEAU

Isabella, to see him take up a permanent residence in the Belgian provinces . On the 3rd of See also:

• AUGUST (originally Sextilis)

August 16(39 Rubens was named painter in See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary to their Highnesses, with a See also:

• SALARY

salary of 500 livres, and " the rights, honours, privileges, exemptions," &c., belonging to persons of the royal household, not to speak of the See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of a See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold See also:

• CHAIN (through the O. Fr. citable, chcene, &c., from Lat. catena)

chain . Not least in importance for the painter was his complete exemption from all the regulations of the gild of St See also:

• LUKE
• LUKE, GOSPEL OF ST

Luke, entitling him to engage any pupils or See also:

• FELLOW

fellow-workers without being obliged to have them enrolled —a favour which has been of considerable trouble to the historians of Flemish See also:

• ART

art . Although so recently returned to his native See also:

• LAND

land, Rubens seems to have been, with one See also:

• ACCORD (from Fr. accorder, to agree)

accord, accepted by his See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country-men as the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of their school, and the See also:

• MUNICIPALITY

municipality was foremost in giving him the means of proving his acquirements . The first in date among the numerous repetitions of the " See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi " is a picture in the Madrid Gallery, measuring 12 ft. by 17, and containing no fewer than eight-and-twenty See also:

• LIFE

life-See also:

• SIZE

size figures, many in gorgeous attire, warriors in See also:

• STEEL, FLORA ANNIE (1847– )

steel See also:

• ARMOUR, PHILIP DANFORTH (1832-1901)

armour, horsemen, slaves, camels, &c . This picture, painted in Antwerp, at the town's expense, in 1609, had scarcely remained three years in the town See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall when it went to Spain as a See also:

• PRESENT

present to See also:

• DON
• DON (anc. Tanais)

Don Rodrigo See also:

• CALDERON, RODRIGO (d. 1621), COUNT OF OLIVA AND MARQUES DE LAS SIETE IGLESIAS

Calderon, See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count of See also:

• OLIVA, FERNAN PEREZ DE (1492?-1530)

Oliva . The painter has represented himself among the horsemen, See also:

• BARE

bare-headed, and wearing his gold chain . From a See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter written in May 1611 we know that more than a See also:

• HUNDRED

hundred young men were desirous to become his pupils, and that many had, " for several years," been waiting with other masters until he could admit them to his studio . Apart from the success of his works, another powerful See also:

• MOTIVE (from Lat. movere, to move)

motive had helped to detain the master in Antwerp—his See also:

• MARRIAGE

marriage with Isabella See also:

• BRANT, JOSEPH (1742-1807)
• BRANT, SEBASTIAN (1457-1521)

Brant (October 1609) .

Many pictures have made us See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar with the graceful young woman who was for seventeen years to share the master's destinies . We meet her at the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague, St Petersburg, See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, at Grosvenor See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House, but more especially at Munich, where Rubens and his wife are depicted at full length on the same See also:

• CANVAS

canvas . " His wife is very handsome," observes See also:

• SIR

Sir See also:

• JOSHUA, BOOK OF

Joshua See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds, "and has an agreeable countenance;" but the picture, he adds, " is rather hard in manner." This, it must be noted, is the See also:

• CASE
• CASE, JOHN (d. 1600)

case with all those pictures known to have immediately followed Rubens's return, when he was still dependent on the assistance of painters trained by others than himself . Even in the " Raising of the Cross," now in the Antwerp cathedral, and painted for the church of St Walburga in 16ro, the dryness in outline is very striking . According to the See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste still at that time prevailing, the picture is tripartite, but the wings only serve to develop the central composition, and add to the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general effect . In Witdoeck's beautiful See also:

• ENGRAVING

engraving the partitions even disappear . Thus, from the first, we see Rubens quite determined upon having his own way, and it is recorded that, when he paintedthe " Descent from the Cross," " St See also:

• CHRISTOPHER, SAINT (Christophorus, Christoferus)

Christopher," the subject chosen by the Arquebusiers, was altered so as to bring the See also:

• ARTISTIC

artistic expressions into better accordance with his views . Although the subject was frequently repeated by the See also:

• GREAT

great painter, this first " Descent from the Cross " has not ceased to be looked upon as his masterpiece . Begun in 1611, the celebrated work was placed in 1614, and certainly no more striking See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence could be given of the rapid growth of the author's abilities . Rubens received 2400 florins for this picture . In many respects, Italian influence remains conspicuous in the " Descent from the Cross." Rubens had seen See also:

• RICCIARELLI, DANIELE (1509-1566)

Ricciarelli's See also:

• FRESCO (Ital. for cool, " fresh ")

fresco at the Trinita de' Monti, and was also acquainted with the grandiose picture of Baroccio in the cathedral of See also:

• PERUGIA (anc. Perusia)

Perugia, and no one conversant with these works can See also:

• MISTAKE (i.e. take amiss)

mistake their influence . But in Rubens strength of See also:

• PERSONALITY (from Lat. persona, originally an actor's mask, from personare,1 to sound through)

personality could not be overpowered by See also:

• REMINISCENCE (from Lat. reminisci, to remember)

reminiscence; and in type, as well as in colouring, the " Descent from the Cross " may be termed thoroughly Flemish and Rubenesque .

If Sir See also:

• DUDLEY
• DUDLEY, BARONS AND EARLS OF
• DUDLEY, EDMUND (c. 1462—1510)
• DUDLEY, SIR ROBERT (1573—1649)
• DUDLEY, THOMAS (1576-1653)

Dudley See also:

• CARLETON, WILLIAM (1794-1869)

Carleton could speak of Antwerp in 1616 as Magna civitas, magna solitudo, there was no See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place nevertheless which could give a wider See also:

• SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope to artistic enterprise . Spain and the See also:

• UNITED

United Provinces were for a time at See also:

• PEACE
• PEACE, BREACH OF THE

peace; almost all the churches had been stripped of their adornments; monastic orders were powerful and richly endowed, See also:

• GILDS, or GUILDS

gilds and corporations eager to show the fervour of their Catholic faith, now that the " See also:

• MONSTER (Lat. monstrum, from root of monere, to warn; i.e. something terrible or portentous)
• MONSTER, GEORG, COUNT ZU (1776-1844)

monster of See also:

• HERESY

heresy " seemed for ever quelled . See also:

• GOTHIC

Gothic churches began to be decorated according to the new See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion adopted in Italy . Altars magnified to monuments, sometimes reaching the full height of the vaulted roof, displayed, between their See also:

• TWISTED

twisted columns, pictures of a size hitherto unknown . No master seemed better fitted to be associated with this kind of painting than Rubens . The See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

temple erected by the See also:

• REVEREND (Lat. reverendus, gerundive of revereri, to revere, pay respect to)

reverend fathers in Antwerp was almost entirely the painter's work, and if he did not, as we often find asserted, design the front, he certainly was the inspirer of the whole See also:

• BUILDING

building . Hitherto no Fleming had undertaken to paint ceilings with foreshortened figures, and blend the religious with the decorative art after the style of those buildings which are met with in Italy, and owe their decorations to masters like Titian, Veronese and See also:

• TINTORETTO, JACOPO ROBUSTI (1518-1594)

Tintoretto . No fewer than See also:

• FORTY

forty See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling-panels were composed by Rubens, and painted under his direction in the space of two years . All were destroyed by See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire in 1718 . Sketches in See also:

• WATER

water-See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour were taken some time before the disaster by de.Wit, and from these were made the etchings by Du See also:

• PONT (or KYLPONT), ROBERT (1524–1606)

Pont which alone enable us to See also:

• FORM (Lat. forma)

form a See also:

• JUDGMENT

judgment of the grandiose undertaking . In the Madrid Gallery we find a general view of the church in all its splendour . The present church of St See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles in Antwerp is, externally, with some alteration, the building here alluded to .

Rubens delighted in undertakings of the vastest kind . " The large size of a picture," he writes to W . See also:

• TRUMBULL, JAMES HAMMOND (1821-1897)
• TRUMBULL, JOHN (1750-1831)
• TRUMBULL, JOHN (1756-1843)
• TRUMBULL, JONATHAN (1710-1785)
• TRUMBULL, LYMAN (1813-1896)

Trumbull in 1621, " gives us painters more courage to represent our ideas with the utmost freedom and semblance of reality . . . . I confess myself to be, by a natural See also:

• INSTINCT

instinct, better fitted to execute works of the largest size." The correctness of this appreciation he was very soon called upon to demonstrate most strikingly by a See also:

• SERIES (a Latin word from serere, to join)

series of twenty-four pictures, illustrating the life of See also:

• MARIE

Marie de Medicis, See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

queen-mother of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France . The gallery at the Luxembourg See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace, which these paintings once adorned, has long since disappeared, and the complete work is not exhibited in the Louvre . Drawings, it seems, had been asked from Quentin Varin, the French master who incited Poussin to become a painter, but Rubens was ultimately preferred . This preference may in some degree be ascribed to his former connexion with the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court at Mantua, Marie de Medicis and the duchess of Gonzaga being sisters . From the See also:

• CRADLE (of uncertain etymology, possibly connected with " crate " and " creel," i.e. basket; the derivation from a Celtic word, with a sense of rocking, is scouted by the New English Dictionary)

cradle to the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day of her reconciliation with See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis XIII., we follow Marie de Medicis after the manner in which it was customary in those days to consider personages of See also:

• SUPERIOR

superior See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank . The Fates for her have spun the silken' and See also:

• GOLDEN

golden See also:

• THREAD (0. Eng. praed, literally, that which is twisted, prawan, to twist, to throw, cf. " throwster," a silk-winder, Ger. drehen, to twist, turn, Du. draad, Ger. Draht, thread, wire)

thread; See also:

• JUNO

Juno watches over her birth and entrusts her to the town of Florence; See also:

• MINERVA

Minerva, the See also:

• GRACES, THE, (Gr. X&panes, Lat. Gratiae)

Graces and See also:

• APOLLO (Gr. 'A2r6XXwv,'Airkkhwv)

Apollo take See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge of her See also:

• EDUCATION

education; Love exhibits her See also:

• IMAGE (Lat. imago, perhaps from the same root as imitari, copy, imitate)

image to the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king, and See also:

• NEPTUNE
• NEPTUNE (Lat. NEPTUNUS)

Neptune conveys her across of ability . The truce concluded between Spain and the Nether-the seas; See also:

• JUSTICE (Lat. justitia)

Justice, Health and Plenty endow her son; Prudence and Generosity are at her sides during the regency; and, when she resigns the helm of the state to the prince, Justice, Strength, See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

Religion and Fidelity hold the oars . The sketches of all these paintings—now in the Munich Gallery—were painted in Antwerp, a numerous See also:

• STAFF (O. Eng. staef, cf. Du. staf, Ger. Stab, &c.; Icel. stafr meant also a written letter, and O. Eng. stafas, the letters of the alphabet; " stave," one of the thin pieces of wood of which a cask is made, is a doublet)

staff of distinguished collaborators being entrusted with the final See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution .

But the master himself spent much time in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, retouching the whole work, which was completed within less than four years . On the 13th of May 1625, Rubens writes from Paris to his friend Peiresc that both the queen and her son are highly satisfied with his paintings, and that Louis XIII. came on purpose to the Luxembourg, " where he never has set See also:

• FOOT

foot since the palace was begun sixteen or eighteen years ago." We also gather from this letter that the picture representing the " Felicity of the Regency " was painted to replace another, the " Departure of the Queen," which had caused some offence . See also:

• RICHELIEU, ARMAND EMMANUEL SOPHIE SEPTEMANIE DU PLESSIS
• RICHELIEU, ARMAND JEAN DU PLESSIS
• RICHELIEU, LOUIS FRANCOIS ARMAND DU PLESSIS

Richelieu gave himself some trouble to get part of the work, intended to represent the life of See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry IV., bestowed upon See also:

• CAVALIER
• CAVALIER, JEAN (1681-1740)

Cavalier d'Arpina, but did not succeed in his endeavours . The queen's See also:

• EXILE (Lat. exsilium or exilium, from exsul or exul, which is derived from ex, out of, and the root sal, to go, seen in salire, to leap, consul, &c.; the connexion with solum, soil, country is now generally considered wrong)

exile, however, prevented the undertaking from going beyond a few sketches, and two or three panels, one of which, the " See also:

• TRIUMPH (triumphus)

Triumph of Henry IV.," now in the Uffizi Gallery, is one of the noblest works of Rubens or of any master . On the 11th of May 1625, Rubens was present at the nuptials of Henrietta Maria at Notre See also:

• DAME
• DAME (through the Fr. from Lat. domina, mistress, lady, the feminine of dominus, master, lord)

Dame in Paris, when the scaffolding on which he stood gave way, and he tells us he was just able to catch an adjoining See also:

• TRIBUNE (med. Lat. tribune, from classical Lat. tribunal)

tribune . No painter in See also:

• EUROPE

Europe could now pretend to equal Rubens either in See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent or in renown . See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

Month after month productions of amazing size See also:

• LEFT

left the Antwerp studio; and to those unacquainted with the master's pictures magnificent engravings by Vorsterman, Pontius and others had conveyed singularly striking interpretations . " Whatever work of his I may require," writes Moretus, the celebrated Antwerp printer, " I have to ask him six months before, so as that he may think of it at leisure, and do the work on Sundays or holidays; no See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

week days of his could I pretend to get under a hundred florins." Of the numerous creations of his See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush, none, perhaps, will more thoroughly disclose to us Rubens's comprehension of religious decorative art than the " See also:

• ASSUMPTION, FEAST OF

Assumption of the Virgin " at the high altar of Antwerp cathedral, finished in 1625 . It is, of twenty repetitions of this subject, the only example still preserved at the place for which it was intended . In spirit we are here reminded of Titian's " Assunta " in the cathedral at See also:

• VERONA
• VERONA, CONGRESS OF

Verona, but Rubens's proves perhaps a higher conception of the subject . The work is seen a considerable way off, and every outline is bathed in See also:

• LIGHT

light, so that the Virgin is elevated to dazzling glory with a See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of See also:

• ASCENSION
• ASCENSION, FEAST OF THE

ascension scarcely, if ever, attained by any master . Although able to rely so greatly on his power as a colourist, Rubens is not a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere decorator .

He penetrates into the spirit of his subjects more deeply than, at first sight, seems consistent with his prodigious facility in execution . The " See also:

• MASSACRE

Massacre of the Innocents," in the Munich Gallery, is a composition that can leave no See also:

• PERSON, OFFENCES AGAINST THE

person unmoved—mothers defending their children with nails and See also:

• TEETH (O.E. Eel); plural of tooth, O.E. top)

teeth . When St See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis attempts to shelter the universe from the Saviour's wrath (Brussels Gallery), Rubens recalls to our memory that most dramatic passage of the Iliad when See also:

• HECUBA (Gr. `Exa(3n)

Hecuba, from the walls of See also:

• TROY
• TROY, JEAN FRANCOIS DE (1679–1752)

Troy, entreats her son See also:

• HECTOR

Hector to spare his life . Rubens was a man of his time; his studies of Italian art in no way led him back to the Quattrocentisti nor the Raffaeleschi; their power was at an end . The influence of Michelangelo, Titian, Tintoretto, more especially Baroccio, Polidoro, and even See also:

• PARMIGIANO
• PARMIGIANO (1504-154o)

Parmigiano, is no less visible with him than with those masters who, like Spranger, C . Schwartz and See also:

• GOLTZIUS, HENDRIK (1558-1617)

Goltzius, stood high in public estimation immediately before his See also:

• ADVENT (Lat. Adventus, sc. Redemptoris, " the coming of the Saviour ")

advent . In the midst of the rarest activity as a painter, Rubens was now called upon to give proofs of a very different kind lands in 1609 ended in 1621; Archduke Albrecht died the same year . His widow sincerely wished to prolong the arrangement, still hoping to see the United Provinces return to the Spanish dominion, and in her eyes Rubens was the fittest person to bring about this conclusion . The painter's comings and goings, however, did not remain unheeded, for the French See also:

• AMBASSADOR (also EMBASSADOR, the form sometimes still used in America; from the Fr. ambassadeur, with which compare Ital. ambasciatore and Span. embajador, all variants of the Med. Lat. ambassiator, ambassiator, ambasator, &c., derived from Med. Lat. amba

ambassador writes from Brussels in 1624—" Rubens is here to take the likeness of the prince of See also:

• POLAND (Polish Polska, Ger. Polen), (see POLAND, RUSSIAN, below)
• POLAND, RUSSIAN

Poland, by See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order of the infanta . I am persuaded he will succeed better in this than in his negotiations for the truce." But, if Rubens was to fail in his efforts to bring about an arrangement with the Netherlands, other events enabled him to render great service to the state . Rubens and See also:

• BUCKINGHAM
• BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
• BUCKINGHAM, FIRST DUKE
• BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
• BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
• BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
• BUCKINGHAM, JAMES SILK (1786-1855)

Buckingham met in Paris in 1625; a See also:

• CORRESPONDENCE
• CORRESPONDENCE (from med. scholastic Lat. correspondentia, corrcspondere, compounded of Lat. cum, with, and respond ere, to answer; cf. Fr. correspondance)

correspondence of some importance had been going on between the painter and the Brussels court, and before long it was See also:

• PRO

pro-posed that he should endeavour to bring about a final arrangement between the Crowns of See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England and Spain . The infanta willingly consented, and King Philip, who much objected to the interference of an artist, gave way on See also:

• HEARING (formed from the verb " to hear," O. Eng. hyran, heron, &c., a common Teutonic verb; cf. Ger. Koren, Dutch hooren, &c.; the O. Tent. form is seen in Goth. hausjan; the initial h makes any connexion with " ear," Lat. audire, or Gr. &Kobew very doub

hearing, through his aunt, that the negotiator on the English See also:

• SIDE
• SIDE (mod. Eski Adalia)

side, Sir Balthasar Gerbier—a Fleming by birth—was likewise a painter .

Rubens and Gerbier very soon met in See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland . Matters went on very well, and Rubens volunteered to go to Spain and See also:

• LAY

lay before the See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

council the result of his negotiations (1628) . Nine months were thus spent at Madrid; they rank among the most important in Rubens's career . He had brought with him eight pictures of various sizes and subjects as presents from the infanta, and he was also commissioned to paint several portraits of the king and royal family . An equestrian picture of Philip IV., destroyed by fire in last See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, became the subject of a poem by Lope de See also:

• VEGA, GARCILASO DE LA
• VEGA, GARCILASO DE LA (1503-1536)

Vega, and the description enables us to identify the composition with that of a painting now in the Palazzo Pitti, ascribed to See also:

• VELAZQUEZ, DIEGO RODRIGUEZ DE SILVA Y (1599-166o)

Velazquez . Through a letter to Peiresc we hear of the familiar inter-course kept up between the painter and the king . Philip delighted to see Rubens at work in the studio prepared for him in the palace, where he not only left many See also:

• ORIGINAL

original pictures, but copied for his own See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

pleasure and profit the best of Titian's . An artistic event of some importance connected with the sojourn in Spain is the See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

meeting of Rubens and Velazquez, to the delight, and, it may be added, See also:

• ADVANTAGE

advantage of both . Great as was the king's admiration of Rubens as a painter, it seems to have been scarcely above the value attached to his See also:

• POLITICAL

political services . He now commissioned the painter to go"'to See also:

• LONDON

London as See also:

• BEARER

bearer of his views to Charles I., and Rubens, honoured with the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of secretary of the king's privy council in the Netherlands, started at once on his new See also:

• MISSION

mission . Although he stopped but four days in Antwerp, he arrived in London just as peace had been concluded with France . Received by Charles with genuine pleasure, he very soon was able to ingratiate himself so far as to induce the king to See also:

• PLEDGE

pledge his royal word to take part in no undertakings against Spain so long as the negotiations remained unconcluded, and all the subsequent endeavours of France, Venice and the States found the king immovable in this See also:

• RESOLUTION

resolution .

The tardiness of the Spanish court in sending a See also:

• REGULAR

regular ambassador involved the unfortunate painter in distressing anxieties, and the See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of his despatches is very See also:

• BITTER, KARL THEODORE FRANCIS (1867– )

bitter . But he speaks with the greatest admiration of England and the English, regretting that he should only have come to know the country so See also:

• LATE

late . His popularity must have been very great, for on the 23rd of See also:

• SEPTEMBER (Lat. septem, seven)

September 1629 the university of See also:

• CAMBRIDGE
• CAMBRIDGE, EARLS AND DUKES OF
• CAMBRIDGE, RICHARD OWEN (1717-1802)

Cambridge conferred upon him the honorary degree of master of arts, and on the 21st of See also:

• FEBRUARY

February 163o he was knighted, the king presenting him with the See also:

• SWORD (0. Eng. sweord; ultimately from an Indo-European root meaning to wound)

sword used at the ceremony, which is still preserved by the descendants of the artist . Although, it seems, less actively employed as an artist in England than in Spain, Rubens, besides his sketches for the decoration of the Banqueting Hall at See also:

• WHITEHALL

Whitehall, painted the admirable picture of " The Blessings of Peace " now in the See also:

• NATIONAL

National Gallery . There is no See also:

• REASON (Lat. ratio, through French raison)

reason to doubt, with See also:

• SMITH
• SMITH, ADAM (1723–1790)
• SMITH, ALEXANDER (183o-1867)
• SMITH, ANDREW JACKSON (1815-1897)
• SMITH, CHARLES EMORY (1842–1908)
• SMITH, CHARLES FERGUSON (1807–1862)
• SMITH, CHARLOTTE (1749-1806)
• SMITH, COLVIN (1795—1875)
• SMITH, EDMUND KIRBY (1824-1893)
• SMITH, G
• SMITH, GEORGE (1789-1846)
• SMITH, GEORGE (184o-1876)
• SMITH, GEORGE ADAM (1856- )
• SMITH, GERRIT (1797–1874)
• SMITH, GOLDWIN (1823-191o)
• SMITH, HENRY BOYNTON (1815-1877)
• SMITH, HENRY JOHN STEPHEN (1826-1883)
• SMITH, HENRY PRESERVED (1847– )
• SMITH, JAMES (1775–1839)
• SMITH, JOHN (1579-1631)
• SMITH, JOHN RAPHAEL (1752–1812)
• SMITH, JOSEPH, JR
• SMITH, MORGAN LEWIS (1822–1874)
• SMITH, RICHARD BAIRD (1818-1861)
• SMITH, ROBERT (1689-1768)
• SMITH, SIR HENRY GEORGE WAKELYN
• SMITH, SIR THOMAS (1513-1577)
• SMITH, SIR WILLIAM (1813-1893)
• SMITH, SIR WILLIAM SIDNEY (1764-1840)
• SMITH, SYDNEY (1771-1845)
• SMITH, THOMAS SOUTHWOOD (1788-1861)
• SMITH, WILLIAM (1769-1839)
• SMITH, WILLIAM (c. 1730-1819)
• SMITH, WILLIAM (fl. 1596)
• SMITH, WILLIAM FARRAR (1824—1903)
• SMITH, WILLIAM HENRY (1808—1872)
• SMITH, WILLIAM HENRY (1825—1891)
• SMITH, WILLIAM ROBERTSON (1846-'894)

Smith, that " His See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

Majesty sat to him for his portrait, yet it is not a little remarkable that no See also:

• NOTICE

notice occurs in any of the royal catalogues, or the writers of the period, of the existence of such a portrait." While in England, Rubens very narrowly escaped drowning while going to See also:

• GREENWICH

Greenwich in a See also:

• BOAT (0. Eng. bdt; the true etymological connexion with Dutch and Ger. boot, Fr. bateau, Ital. battello presents great difficulties; Celtic forms are from O. Eng.)

boat . The fact is reported by Lord See also:

• DORCHESTER
• DORCHESTER, DUDLEY CARLETON, VISCOUNT (1573-1632)
• DORCHESTER, GUY CARLETON

Dorchester in a letter to Sir See also:

• ISAAC (Hebrew for " he laughs," on explanatory references to the name, see ABRAHAM)

Isaac See also:

• WAKE (A.S. wacan, to " wake " or " watch ")
• WAKE, THOMAS (1297-1349)
• WAKE, WILLIAM (1657-1737)

Wake (Sainsbury, cxvi.) . At the beginning of March the painter's mission came to a See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close . Rubens was now fifty-three years of age; he had been four years a widower, and before the end of the year (See also:

• DECEMBER (Lat. decent, ten)

December 163o) he entered into a second marriage with a beautiful girl of sixteen, named See also:

• HELENA
• HELENA, ST (c. 247-c. 327)

Helena Fourment . She was an admirable See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model, and none of her husband's works may be more justly termed masterpieces than those in which she is represented (Munich, St Petersburg, See also:

• BLENHEIM (Ger. Blindheim)

Blenheim, See also:

• LIECHTENSTEIN

Liechtenstein, the Louvre, &c.) . Although the long months of See also:

• ABSENCE (Lat. absentia)

absence could not be termed blanks in Rubens's artistic career, his return was followed by an almost incredible activity . Inspired more than ever by the glorious works of Titian, he now produced some of his best paintings . Brightness in colouring, breadth of See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch and pictorial conception, are specially striking in those works we know to have been painted in the latter part of his lifetime .

Could anything give a higher idea of Rubens's genius than, for example, the " Feast of See also:

• VENUS

Venus," the portrait of " Helena Fourment ready to enter the See also:

• BATH
• BATH, THOMAS THYNNE
• BATH, WILLIAM

Bath," or the " St Ildefonso " ? This last picture—now, as well as the two others just alluded to, in the See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna Gallery—was painted for the church of the See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent of St Jacques, in Brussels . On the wings are represented the archdukes in royal attire, under the See also:

• PROTECTION

protection of their See also:

• PATRON

patron saints . The presence of these figures has led to some mistake regarding the date of the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production, but it has been proved beyond doubt, through a document published by Mr Castan (1884), that the " St Ildefonso " (at Vienna—there is another resembling it at St Petersburg) belongs to the series of works executed after the journeys to Spain and England . Archduke Albrecht had been dead ten years . The picture was engraved by Witdoeck in 1638 . Isabella died in 1633, and we know that to the end Rubens remained in high favour with her, alike as an artist and as a political See also:

• AGENT (from Lat. agere, to act)

agent . The painter was even one of the gentlemen she deputed to meet Marie de Medicis at the frontier in 1631, after her See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape from France . Spain and the Netherlands went to See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war again, the king never ceasing to look upon the Dutch as rebels, and much trouble and suspicion came upon the great artist . As to the real nature of his communings with See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick Henry of Orange, whom he is known to have interviewed, nothing as yet has been discovered . See also:

• FERDINAND
• FERDINAND (1577-1650)
• FERDINAND (COLOGNE)
• FERDINAND (Span. Fernando or Hernando; Ital. Ferdinando or Ferrante; in O. H. Ger. Herinand, i.e. " brave in the host," from O. H. G. Heri, "army," A. S. here, Mod. Ger. Heer, and the Goth. nan]jan, " to dare ")
• FERDINAND, MAXIMILIAN KARL LEOPOLD MARIA

Ferdinand of Austria, the cardinal-See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

infant of Spain, was called to the See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government of the Netherlands on the death of his aunt . He was the king's younger See also:

• BROTHER

brother, and arrived at Antwerp in May 1635 .

The streets had been decorated with triumphal See also:

• ARCHES, COURT OF

arches and " spectacula," arranged by Rubens, and certainly never equalled by any other works of the kind.l Several of the paintings detached from the arches were offered as presents to the new See also:

• GOVERNOR (from the Fr. gouverneur, from gouverner, O. Fr. governer, Lat. gubernare, to steer a ship, to direct, guide)

governor-general, a scarcely known fact, which accounts for the presence of many of these works in public galleries (Vienna, See also:

• DRESDEN

Dresden, Brussels, &c.) . Rubens was at the time laid up with See also:

• GOUT

gout, but Prince Ferdinand was desirous of expressing his See also:

• SATISFACTION (Lat. salisfacerc, to satisfy)

satisfaction, and called upon the painter, remaining a long time at his house . Rubens and Ferdinand had met at Madrid, and only a See also:

• SHORT, FRANCIS JOB (1857– )

short time elapsed before the painter was confirmed in his See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

official See also:

• STANDING

standing—a See also:

• MATTER

matter of small importance, if we consider that the last years of his life were almost exclusively employed in working much more for the king than for his brother . About a hundred and twenty i Many sketches of the arches are still preserved in the museums in Antwerp, St Petersburg, Cambridge, See also:

• WINDSOR
• WINDSOR (properly NEw WINDSOR)

Windsor, &c . All the compositions were etched under the direction of Rubens by his pupil J . Van Thulden and published under the title of Pompa introitus honori serenissimi Principis Ferdinandi Austriaci S . R . E. card. a S . P . Q . Antverp. decreta et ordinata.paintings of considerable size left Antwerp for Madrid in 1637, 1638 and 1639; they were intended to decorate the See also:

• PAVILION

pavilion erected at the Pardo, and known under the name of Torre de la Parada . Another series had been begun, when Ferdinand wrote to Madrid that the painter was no more, and Jordaens would finish the work .

Rubens breathed his last on the 3oth of May 164o . More fortunate than many artists, Rubens left the See also:

• WORLD

world in the midst of his glory . Not the remotest trace of approaching old age, not the slightest failing of mind or skill, can be detected even in his latest works, such as the " Martyrdom of St Peter " at Cologne, the " Martyrdom of St See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas " at See also:

• PRAGUE (Ger. Prag; Bohemian Praha)

Prague, or the " Judgment of Paris " at Madrid, where his young wife appears for the last time . Rubens has little of the Italian See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and refinement ; he was a Fleming throughout, nothwithstanding his frequent recollections of those Italian masters whom he most admired, and who themselves have little, if anything, in common with Raphael . But it must be See also:

• BORNE, KARL LUDWIG (1786–1837)

borne in mind how completely his predecessors were frozen into stiffness through italianization, and how necessary it was to bring back the Flemish school to life and nature . Critics have spoken of Rubens's See also:

• HISTORICAL

historical improprieties . Of course nobody could suppose that his classical learning did not go far enough to know that the heroines of the Old Testament or of Roman See also:

• HISTORY

history were not dressed out as ladies of his time; but in this respect he only follows the example of Titian, See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo Veronese, and many others . In no other school do we find these animated hunts of lions, tigers, and even the See also:

• HIPPOPOTAMUS (" river-horse," Gr. lames, horse and aoraµbs, river)

hippopotamus and the See also:

• CROCODILE

crocodile, which may be reckoned among the finest specimens of art, and here again are life and nature displayed with the utmost power . " His horses are perfect in their kind," says Reynolds; his See also:

• DOGS, ISLE OF

dogs are of the strong Flemish breed, and his landscapes the most charming pictures of Brabantine scenery, in the midst of which lay his seat of See also:

• STEEN, JAN HAVICKSZ (1626-1.679)

Steen . As a portrait painter, although less refined than Van Dyck, he shows that eminent master the way; and his pure See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy subjects, as the " See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

Garden of Love " (Madrid and Dresden) and the " See also:

• VILLAGE

Village Feast " (Louvre), have never been equalled . For nearly one hundred years the Flemish school may be said to have been but a reflection of the Rubenesque principles . Although Jordaens and See also:

• ERASMUS, DESIDERIUS (1466–1536)

Erasmus Quellin lived till 1678, the. school might be termed a See also:

• BODY

body without soul .

Some etchings have been ascribed to Rubens, but except a head of See also:

• SENECA

Seneca, the only copy of which is in the See also:

• PRINT

Print See also:

• ROOM

Room at the See also:

• BRITISH

British Museum, and a beautiful figure of St See also:

• CATHERINE
• CATHERINE, SAINT

Catherine, we can admit none of the other plates said to proceed from Rubens as See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic . Rubens nevertheless exercised an immense influence on the art of engraving . Under his See also:

• DIRECT

direct guidance Soutman, Vorsterman, Pontius, Witdoeck, the two Bolswerts, Peter de Jode, N . Lauwers, and many others of less See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note, left an immense number of beautiful plates, reproducing the most celebrated of his paintings . To give an idea of what his influence was capable of accomplishing, pictorially speaking, it might be sufficient to notice the transformation undergone by the Antwerp school of engraving under Rubens; even the See also:

• MODERN

modern school of engraving, in more than one respect, is a continuation of the style first practised in Antwerp (see See also:

• LINE

LINE ENGRAVING) . His influence is scarcely less apparent in See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture, and the celebrated Luke Fayd'herbe was his pupil . Never did the Flemish school find a second Rubens . None of his four sons became a painter, nor did any of his three daughters marry an artist . According to Rubens's will, his drawings were to belong to that one of his sons who might become a painter, or in the event of one of his daughters marrying a celebrated artist, they were to be her portion . The valuable collection was dispersed only in 1659, and of the pictures sold in 164o See also:

• THIRTY

thirty-two became the See also:

• PROPERTY

property of the king of Spain . The Madrid Gallery alone possesses over sixty of his works . Four years after her husbands death, Helena Fourment married J .

B . Van Brouckhoven de Bergheyck, See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

knight of St See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James, member of the privy council, &c . She died in 1673 . In 1746 the male line of Rubens's descendants was completely See also:

• EXTINCT

extinct . In the See also:

• FEMALE

female line more than a hundred families of name in Europe trace their descent from him . The paintings of Rubens are found in all the See also:

• PRINCIPAL

principal galleries in Europe: Antwerp and Brussels, Madrid, Paris, See also:

• LILLE

Lille, Dresden, Berlin, Munich, Vienna, St Petersburg, London, Florence, See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, See also:

• TURIN

Turin exhibit several hundreds of his works . J . Smith's See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue gives descriptions of more than thirteen hundred compositions . Rubens en Italie et en Espagne," in the See also:

• GAZETTE

Gazette See also:

• DES

des See also:

• BEAUX, CECILIA (1863– )

beaux arts, vols. xxii. to See also:

• XXIV

xxiv . (Paris, 1867–68) ; A . Michiels, Rubens et l'ecole d'Anvers (Paris, 1877) ; Cruzada Villaamil, Rubens diplomatico espanol (Madrid, 1874) ; See also:

• GACHARD, LOUIS PROSPER (1800-1885)

Gachard, Histoire politique et diplomatique de P . P .

Rubens (Brussels, 1877) ; P . Genard, P . P . Rubens, Aanteekeningen over den Grooten Meester (Antwerp, 1877) ; Max Rooses, Titres' et portraits See also:

• GRAVES, ALFRED PERCEVAL (1846— )

graves d'aprs P . P . Rubens, pour l'imprimerie plantinienne (Antwerp, 1877) ; J . Smith, Catalogue raisonne of the Works of the most eminent Dutch and Flemish Painters, pt. ii . (London, 183o) ; See also:

• WAAGEN, GUSTAV FRIEDRICH (1794-1868)
• WAAGEN, WILHELM HEINRICH (1841–1900)

Waagen, Peter Paul Rubens (translated from the German by R . See also:

• NOEL, RODEN BERKELEY WRIOTHESLEY (1834-1894)

Noel; edited by Mrs See also:

• JAMESON (or JAMESONE), GEORGE (c. 1587–1644)
• JAMESON, ANNA BROWNELL (1794-1860)
• JAMESON, LEANDER STARR (1853– )
• JAMESON, ROBERT (1774-1854)

Jameson, London, 184o); H . Hymans, Histoire de la gravure clans l'ecole de Rubens (Brussels, 1879) ; C . G . Voorhelm Schneevoogt, Catalogue des estampes gravees d'apres Rubens (See also:

• HAARLEM

Haarlem, 1873) ; Max Rooses, Rubens, sa See also:

• VIE

vie et ses oeuvres (Antwerp, 1893) ; R .

A . M . See also:

• STEVENSON, ADLA1 EWING (1835- )
• STEVENSON, ROBERT (1772-1850)
• STEVENSON, ROBERT LEWIS BALFOUR (1850-1894)

Stevenson, P . P . Rubens (See also:

• PORTFOLIO (shortened form of Porto folio, adapted from the Ital. portafogli, portare, to carry, and fogli, sheets or leaves of paper, Lat. folium, leaf)

Portfolio Monograph; London, 1898); Emile See also:

• MICHEL
• MICHEL, CLAUDE
• MICHEL, FRANCISQUE XAVIER (1809-1887)

Michel, Rubens: his Life, his Work and his Time (London, 1899) ; H . Knackfuss, Rubens (London, 1904) ; and E . See also:

• DILLON, ARTHUR RICHARD (172I-1807)
• DILLON, JOHN (1851– )

Dillon, Rubens (London, 1909) . (H . H.; P . G .