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Updated: June 29, 2025
The long run in the dripping autumn afternoon along the Antwerp Road, where the miserable fugitives were still trudging in thousands; the search for lodgings in the stricken city, where most of the streets were silent and deserted as if the plague had passed there, and the only bustling life was in the central quarter, where "the field-gray ones" abounded; the closed shops, the house-fronts shattered by shells, the great cathedral standing in the moonlight, unharmed as far as we could see, except for one shell which had penetrated the south transept, just where Rubens's "Descent from the Cross" used to hang before it was carried away for safety I shall never forget those impressions.
I have been more willing to give room to this description of Rubens's pictures and the effect they produced upon Motley, because there is a certain affinity between those sumptuous and glowing works of art and the prose pictures of the historian who so admired them.
"The large size of picture gives us painters more courage to present our ideas with the utmost freedom and semblance of reality. ... I confess myself to be, by a natural instinct, better fitted to execute works of the largest size." He wrote this to the English diplomat Trumbull in 1621. In the midst of Rubens's greatest success as a painter came his diplomatic services.
Among the subjects of a secular character the history of Marie de'Medici, the triumph of the Emperor Charles V., and the Sultan at the head of his Army, gave him abundant opportunities of portraying Oriental and European pageantry, with rich arms and regalia, and all the pomp and circumstance of war. Profusion pouring forth of abundance, that was one of Rubens's most salient characteristics.
He also painted the windows which were put up in Westminster Abbey by order of Parliament in 1722, and repaired with considerable skill the Flemish windows of Rubens's time, which he purchased and put up on the south side of New College Chapel. It is remarkable that the Prices appear to have been the last who possessed the old secret of manufacturing the pure ruby glass.
Many more pictures are there here by Rubens, or rather from Rubens's manufactory, odious and vulgar most of them are; fat Magdalens, coarse Saints, vulgar Virgins, with the scene-painter's tricks far too evident upon the canvas. By the side of one of the most astonishing color-pieces in the world, the "Worshipping of the Magi," is a famous picture of Paul Veronese that cannot be too much admired.
But still more salient is the diamond form given by the descending rows of these worshiping figures, especially against the dark background of the Madonna's dress. A second example, without the pyramid backing, is found in Rubens's "Rape of the Daughters of Leucippus," in the Alte Pinakothek at Munich.
Rubens's greatest picture was painted through a strange happening when this beautiful house was being built. The land next to his belonged to the Archers' Guild and when the workmen came to dig Rubens's cellar, they went too far and invaded the adjoining property.
Even the "Silenus" group illustrates exuberance without excess: I spoke of it just now as Rubens-like, but it is only because it recalls Rubens's superb strength and riotous fancy; it is in reality a Rubens-like motive purged in the execution of all Flemish grossness.
The stories of Van Dyck's youth are interesting, and probably true. It is said that he drew so well when he was a pupil of Rubens that the great master often allowed him to retouch his own works. Once in Rubens's studio, some of the students got the key and went in to see what the master was doing, when he was absent.
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