279. THE HORRORS OF WAR. 1 Rubens (Flemish: 1577–1640). See under 38, p. 220. "Mars leaving the temple of Janus 1 open, is held back by Venus, while Europe bewails the inevitable miseries of war; but he is drawn on by the Fury Alecto, who is preceded by Plague and Famine; the figure on the ground with the broken lute represents Concord overthrown. Mars and the two female figures behind him are said to be the portraits of Rubens and his two wives" (Official Catalogue). 155. THE MONEY CHANGERS. See under 154, p. 212. Teniers (Flemish: 1610-1694). A man and his wife-usurers, we may suppose-counting their money. There is all the miser's misery in the withered careworn faces, all the miser's greed in the thin, tremulous hands. The man alone seems not quite to like some transaction which they are discussing; the woman Portia's prerogative of mercy being reversed-seems to be thinking, “Come, man, don't be a fool: a bond is a bond." 57. THE CONVERSION OF ST. BAVON. Rubens (Flemish: 1577-1640). See under 38, p. 220. Bavon, a noble of Brabant, in the seventh century, having determined to renounce the pomps and vanities of the world (his retinue is to be seen on the right), is met on the steps of the convent church by the bishop who is to receive him into his new life. To the left his goods are being given away to the poor, and above is a group of ladies returning thanks for the noble penitent's conversion. 1012. PORTRAIT OF A MAN. Ascribed to Matthew Merian, the younger (Flemish 1621- about 1687). The painter to whom this portrait has recently been ascribed, was a native of Bâle, the son of an engraver and glass-painter. He is said to have been the pupil of Van Dyck, Rubens, and Sandrart alter nately; and he was employed as a portrait painter by most of the distinguished persons of the time in Germany. 1 The doors of the temple of "two-headed Janus" at Rome were always thrown open when the State was at war, and only closed in time of peace. 278. THE TRIUMPH OF JULIUS CÆSAR. Rubens (Flemish: 1577-1640). See under 38, p. 220. One of the fruits of Rubens's visit to Italy. This picture was in Rubens's possession at his death, and is described in the inventory as "Three cloathes pasted uppon bord, beinge the Triumph of Julius Cæsar, after Andrew Mantegna, not full made." Mantegna's procession (somewhat similar to the Triumph of Scipio, VIII. 902, p. 183) was painted for the Duke of Mantua, and is now at Hampton Court. Any one who cares to see by a single illustration what "classic purity of style" means, should compare Mantegna's original with this transcript by Rubens. "The Flemish painter strives to add richness to the scene by Bacchanalian riot and the sensuality of imperial Rome. His elephants twist their trunks, and trumpet to the din of cymbals; negroes feed the flaming candelabra with scattered frankincense; the white oxen of Clitumnus are loaded with gaudy flowers, and the dancing maidens are dishevelled Mænads. But the rhythmic procession of Mantegna, modulated to the sound of flutes and soft recorders, carries our imagination back to the best days and strength of Rome. His priests and generals, captives and choric women, are as little Greek as they are modern. In them awakes to a new life the spirit-quelling energy of the Republic. The painter's severe taste keeps out of sight the insolence and orgies of the Empire; he conceives Rome as Shakespeare did in Coriolanus "1 (Symonds, iii. 274). 1050. A SEA VIEW. Bakhuizen (Dutch: 1631-1708). See under 223, p. 214. 737. A WATERFALL. Ruysdael (Dutch: 1625-1682). See under 628, p. 236. 46. THE BLESSINGS OF PEACE. Rubens (Flemish: 1577-1640). See under 38, p. 220. This picture was presented in 1630 to King Charles I. by Rubens, when he came to England as accredited ambassador for the purpose of negotiating a peace with Spain. After the death of Charles, the Parliament sold the picture for £100. It then went to Italy, whence it was ultimately bought by the 1 The moon of Rome, chaste as the icicle That's curdied by the frost from purest snow Marquis of Stafford for £3000, and by him presented to the National Gallery.1 The circumstances under which the picture was painted give the clue to its meaning. Rubens came to urge Charles to conclude peace, and here on canvas he sets forth its blessings. In the centre of the picture is the Goddess of Wisdom, with Minerva's helmet on her head, her right hand resting on her spear, now to be used no more. Before her flies War, reluctantly, as if he dared not resist Wisdom, yet employing his shield, in order to still shelter Discord, with her torch now extinguished. Last of all in the hateful train is Malice, whose very breath is fire, and who "endeth foul in many a snaky fold"-in the serpent's folds, which ever attend the hostilities of nations. Beneath Minerva's protection sits Peace enthroned, and gives the milk of human kindness for babes to suck. From above, Zephyrus, the soft warm wind, descends with the olive wreath-the emblem in all ages of public peace, whilst at her side stands the "all-bounteous Pan," with Amalthea's storied Horn of Plenty. A band of happy children, led by Love (whose torch, now that Discord's is gone out, burns aloft), approach to taste the sweets of Peace, and to minister to abundance. In the train of Plenty comes Opulence, bringing goblets, wreaths of pearl and other treasures, 1 Mr. Ruskin, writing to the Times in 1847, said of the then condition of the picture, "I have no hesitation in asserting that for the present it is utterly, and for ever partially, destroyed. I am not disposed lightly to impugn the judgment of Mr. Eastlake (that is, the then Keeper and subsequent Director, the late Sir C. L. Eastlake), but this was indisputably of all the pictures in the Gallery that which least required, and least could endure, the process of cleaning. It was in the most advantageous condition under which a work of Rubens can be seen; mellowed by time into more perfect harmony than when it left the easel, enriched and warmed, without losing any of its freshness or energy. The execution of the master is always so bold and frank as to be completely, perhaps even most agreeably, seen under circumstances of obscurity, which would be injurious to pictures of greater refinement; and, though this was, indeed, one of his most highly-finished and careful works (to my mind, before it suffered this recent injury, far superior to everything at Antwerp, Malines, or Cologne), this was a more weighty reason for caution than for interference. Some portions of colour have been exhibited which were formerly untraceable; but even these have lost in power what they have gained in definitiveness,—the majesty and preciousness of all the tones are departed, the balance of distances lost. Time may, perhaps, restore something of the glow, but never the subordination; and the more delicate portions of flesh tint, especially the back of the female figure on the left, and of the boy in the centre, are destroyed for ever" (Arrows of the Chace, i, 56, 57). whilst behind is Music, playing on her tambourine to celebrate All crimes shall cease, and ancient fraud shall fail; Peace o'er the world her olive wand extend, ... ... No more shall nation against nation rise, 125. IZAAK WALTON (1593–1683). POPE: Messiah. Jacob Huysman (Dutch: 1656–1696). Huysman was one of the many foreign artists who settled in England under the Stuarts. He obtained considerable employment as a portrait painter, in spite of Sir Peter Lely's rivalry; one of the portraits among the "Windsor Beauties," now at Hampton Court, was painted by him. A portrait of the retired city hosier who became famous as the author of the Complete Angler. It was painted for his family (with whom it remained till it was presented to the National Gallery in 1838), and was engraved in one of the later editions of the book (1836). Izaak Walton- . "that quaint, old, cruel coxcomb" (as Byron, who was no fisherman, called him)-lived to be ninety: his fishing did something, one may expect, to keep him in the vigorous health which is here stamped on his face. "The features of the countenance often enable us," says Zouch in the Memoirs of Izaak Walton (cited in M. E. Wotton's Word Portraits of Famous Writers, P. 323), "to form a judgment, not very fallible, of the disposition of the mind. In few portraits can this discovery be more successfully pursued than in that of Izaak Waltoń. Lavater, the acute master of physiognomy, would, I think, instantly acknowledge in it the decisive traits of the original,mild complacency, forbearance, mature consideration, calm activity, peace, sound understanding, power of thought, discerning attention, and secretly active friendship. Happy in his unblemished integrity, happy in the approbation and esteem of others, he inwraps himself in his own virtue. The exaltation of a good conscience eminently shines forth in this venerable person." 212. A MERCHANT AND HIS CLERK. Thomas de Keyser (Dutch: about 1595-1679). A very interesting picture by one of the chief forerunners of Rembrandt in the art of portrait painting-interesting chiefly as showing us, in a particular instance, the condition of social and political life out of which the Dutch art of the seventeenth century arose. The merchant has his globes before him: he was one of those who had built up the riches of his country by foreign trade. But he is a man of taste as well as of business, and the two things are closely united.1 His office is itself hung with rich tapestry, and amongst the implements of his trade, his plans and books and maps, is a guitar. "The United Provinces, grouped together by the Convention of Utrecht (1579), . . . concentrated the public functions in the hands of an aristocratic middle class (such as we see them in Terburg's historical picture, 896, p. 251), educated and powerful, eager for science and riches, bold enough to undertake everything, and persevering enough to carry their enterprises to a successful conclusion. The brilliant heroism, implacable will, and indefatigable perseverance which had aided the people to recover their liberty and autonomy were now directed to other objects. . . . Their shipbuilders covered the seas with vessels, a legion of adventurous sailors went forth in all directions to discover distant shores or to conquer unknown continents. . . Gold was now to be found in plenty in the country which hitherto had been poor, and with the influx of riches, taste, luxury, appreciation of the beautiful and love of Art were developed" (Havard: The Dutch School, p. 62). 757. CHRIST BLESSING LITTLE CHILDREN. Unknown (Dutch: School of Rembrandt). This is one of the nation's conspicuously bad bargains. It was bought in 1866 as a Rembrandt and at a Rembrandt price (£7000), but was soon recognised as being only a work by some pupil. It is easy to be wise after the event, but it certainly seems strange that the connoisseurs of the time, 1 Another instance of this intimate union of art with business may be seen in the number of Dutch artists of the period who themselves held municipal office. See, for instance, Terburg (864, p. 285) and Delen (XII. 1010, p. 296). Cuyp, it is worth remembering too, was a brewer. Many of the Italian painters also were men of business and of official standing. Thus Titian was a timber merchant; whilst Manni, Perugino and Pinturicchio were all magistrates. |