may be used with propriety, finding himself. The third period, which saw the painting of the great works that hang in Antwerp’s Cathedral and Museum to-day, and is represented in our own National Gallery and Wallace Collection, was the best of all. Passing from his labours as he did at a comparatively early age, for Rubens was but sixty-three when he died, he did not suffer the slow decline of powers that has so often accompanied men who reached their greatest achievements in ripe middle age and shrink to mere shadows of a name. He did not reach his supreme mastery of colour until he had lived for half a century or more, and the pictures that have the greatest blots upon them from the point of view of the twentieth century, were painted before he reached the summit of his powers. It is perhaps unfortunate that Rubens painted far too many works to admit of a truly representative collection in any city or gallery. The best are widely scattered; some are in the Prado in Madrid, others are in Belgium, some are in Florence. Holland has a goodly collection, while Antwerp boasts among many masterpieces “The Passing of Christ,” “The Adoration of the Magi,” “The Prodigal Son,” and “The Christ à la Paille.” Munich, Brussels, Dresden, Vienna, and other cities have famous examples of both ripe and early art that must be seen before the master can be judged fairly and without prejudice. It is impossible to found an opinion not likely to be shaken, upon the work to be seen in London or in Paris, where the Louvre holds many of the painter’s least attractive works. It may be said that Peter Paul Rubens is represented in every gallery of importance throughout Europe, that the number of his acknowledged works runs into four figures, and that there are very few without some definite and attractive aspect of treatment and composition that goes far to atone for the occasional shortcomings of taste. For his generation Rubens sufficed amply. He was a man of so many gifts that he would have made his mark had he never set brush to a canvas, although time has blotted out the recollection of his diplomatic achievements or relegated them to obscure chronicles and manuscripts that are seldom disturbed save by scholars. To nine out of ten he is known only as a painter, and his fame rests upon the work that chances to have given his critics their first view and most lasting impression of his varied achievements. It may be said that among those who care least for Rubens, and are quite satisfied to condemn him for the coarseness with which he treated certain subjects, there are many who are prompt to declare that in matters of art the treatment is of the first importance and the subject is but secondary. However, Rubens is hardly in need of an apologist. His best work makes him famous in any company, and there is so much of it that the rest may be disregarded. Moreover, we must not forget that the types he portrayed from time to time with such amazing frankness really existed all round him. He took them as he found them, just as the earlier painters of the Renaissance took their Madonnas from the peasant girls they found working in the fields, or travelling to the cities on saint days and at times of high festival. Many a Renaissance Madonna enshrined on canvas for the adoration of the devout could remove the least suspicion of sanctity from herself, if she did but raise her downcast eyes or smile, as doubtless she smiled in the studio wherein she was immortalised. For the artist sees a vision beyond the sitter, and under his brush the sanctification or profanation of a type are matters of simple and rapid accomplishment. If another Rubens were to arise to-day, he could find sitters in plenty who would respond to the treatment that his prototype has made familiar. Perhaps to the men and women with whom he was thrown in contact, these creations were interesting inasmuch as they afforded a glimpse into an under-world of which they knew little or nothing. The offence of certain pictures is increased by the fact that, when Rubens painted them, he had not attained to the supreme mastership over colour, and inspiration of composition, that came to him in later life. But in a brief review of the artist’s life and work enough has been told of the aspects upon which his detractors love to dilate. It is time to turn to his brilliant and varied career, and note the incidents that have the greatest interest or the deepest influence upon his art work.

II

THE PAINTER’S LIFE

Peter Paul Rubens was born in A.D. 1577, at Siegen in Germany, where his father, Dr. John Rubens, a man of great attainments, was living in disgrace arising out of an old intrigue with the dissolute wife of William the Silent. But for the necessity of shielding the reputation of the House of Orange, there seems no doubt that John Rubens would have paid the death penalty for his offence. It is curious to reflect that, had he done so, Peter Paul would have been lost to the world, for the intrigue would seem to have occurred in the neighbourhood of the year 1570, while Peter Paul was not born until seven years later. When the child was one year old the Rubens family was allowed to return to Cologne, where John Rubens had gone on leaving Antwerp in 1568. Here Peter Paul and his elder brother, Philip, were brought up, in utter ignorance of the misfortunes that had befallen their father, whose death was recorded when his famous son was nine or ten years old. After his decease the boys’ mother decided to return to Antwerp, where her husband in his early days had enjoyed a considerable reputation as a lawyer, and held civic appointments. Although much of the family money must have been lost, perhaps on account of the fall in values resulting from the terrible war with Spain, there would seem to have been enough to enable the widow and her two sons to live in comfort, if not in luxury. Peter Paul was sent to a good school, where he made progress and became very popular, probably because he was strikingly handsome, considerably gifted, and very quick to learn.

At the age of thirteen school-days came to an end, and the boy became a page in the service of the widowed Countess of Lalaing, whose husband had been one of the governors of Antwerp. Here, at a very impressionable age, Rubens obtained first his acquaintance with and finally his mastery over all the intricacies of courtly etiquette. In quite a short time he became a polished gentleman, in the sixteenth-century acceptation of that term. But the instinct to study art already developed made the duties of a page seem tiresome and unattractive, and we learn that the boy importuned his mother to be allowed to study painting. Apparently he had shown sufficient promise to justify the request, and he was placed, first under an unknown painter named Verhaecht and then under Adam van Noort, with whom he remained four years before passing to the