Chapter XXXV: Peter Paul Rubens

_Flemish School_
1577-1640
_Pupil of Tobias Verhaecht_

The story of Peter Paul Rubens, whose birthday falling upon the saint days of Peter and Paul gave to him his name, is hardly more interesting than that of his parents, although it is quite different. The story of Rubens's parents seems a part of the artist's story, because it must have had something to do with influencing his life, so let us begin with that.

John Rubens was Peter Paul's father, and he was a learned man, a druggist, but he had also studied law, and had been town councillor and alderman in the town where he was born. Life went easily enough with him till the reformation wrought by Martin Luther began to change John Rubens's way of thinking, and he turned from Catholic to Lutheran.

From being a good Catholic John Rubens became a rabid reformer; and when, under the new faith, the Antwerp churches were stripped of their treasures, the magistrates were called to account for it. John Rubens, as councillor, was among those summoned. The magistrates declared that they were all good Catholics, but a list of the reformers fell into the Duke of Alva's hands and Rubens's name was there. This meant death unless he should succeed in flying from the country, which he instantly did. That was in 1568, when he had four children, but Peter Paul was not one of them--since he was a seventh son.

The Rubens family went to live in Cologne, where the father found his learning of great use to him, and he was honoured by being made legal adviser to Anne of Saxony who was William the Silent's second queen. John Rubens's behaviour was not entirely honourable and before long he was thrown into prison, but his good wife, Maria Pypelincx undertook to free him. He had treated her very badly, but her devotion to his cause was as great as if he had treated her well. Despite his wife's efforts he was kept a prisoner in the dungeon at Dillenburg for two years, and afterward he was removed to Siegen, the place where Peter Paul was born.

In the sixteenth century there were no records of any sort kept in the town of Siegen, and so we cannot be absolutely sure that Peter Paul was born there, but his mother was certainly there just before and after the date of his birth, which was the 29th of June 1577. After his birth, his father was set free in Siegen and allowed to go back to the city in which he had misbehaved himself. In Cologne he became once more a Catholic, and he died in that faith. Meantime, ten years had passed since Peter Paul's birth, and both his father and mother were determined above all things their son should have a fine education, quite unlike other artists, for the boy seemed capable of learning. While he was still very small he could speak to his tutor in French, to his mother in Flemish, and to his father in Latin. Besides these languages he spoke also Italian and English. Before he was an artist, Rubens, like Dürer and Leonardo da Vinci, was a child of rare intelligence. As a little chap he went to Antwerp with his mother--this was after his father's death--and in Belgium he took for the first time the rôle of courtier, in which he was to become so successful later in life. The charming little fellow, dressed in velvet and lace, took his place in the household of the Countess of Lalaing, in Brussels.

Very soon after entering that household, Rubens was permitted by his mother to leave it for the studio of the painter who was his first master, though not the one who really taught him much. Rubens did not stay there long, but went instead to the studio of Adam van Noort, an excellent painter of the time. After that he studied under another artist, who was both a scholar and a gentleman, Van Veen, and with him Peter Paul was able to speak in Latin and in his many other languages, while learning to paint at the same time.

Thus we find Rubens's lot was always cast, not among the rich, but among the intelligent, the well bred, and the cultivated. This fact alone would prepare us to anticipate pleasant things for him and from him.

In those days of guilds, there were many rules and regulations. Van Noort, Rubens's teacher, was dean of the painters' guild and through his influence the guild recognised Rubens as "master," which meant that he was qualified to take pupils; thus he was pupil and teacher at the same time.

One is unable to think of Rubens as having low tastes, as being morose, erratic, or anything but a refined, gracious, and brilliant gentleman. He began well, lived well, and ended well.

None of his teachers really impressed their style of art upon him. He was the model for others. Rubens became nothing but Rubens, but all the art world wished to become "Rubenesque."

Rubens went to Mantua to see the art of Italy, and while there he met the Duke of Mantua who was Vincenzo Gonzaga, the richest, most powerful personage of that region and time. The duke engaged Rubens to paint the portraits of many beautiful women--just the sort of commission that Rubens's pupil, Van Dyck, would have loved; but Rubens's art was of sterner stuff, and the work by no means delighted him. He had great ideas, profound purposes, and wished to undertake them, but just then it seemed best that he perform that which the Duke of Mantua wanted him to do; hence he set about it.

Later Rubens went to the Spanish court, not as a painter, but as a cavalier upon a diplomatic mission. Bearing many beautiful presents to King Philip III., he went to Madrid, where his elegance, manly beauty, dashing manner, and ability to speak several languages made him a wonderful success. He remained for three years at the court and studied the methods of Spanish painters. He also painted the members of the Spanish court, as Velasquez had done, but they looked like people of another world. The Spanish aristocracy had always been painted with pallid faces, languid and elegant poses; but Rubens gave them a touch of the life he loved--made them robust and apparently healthy-minded. Of all great colourists, Rubens took the lead. Titian with his golden hues and warm haired women was very great, but Rubens, "the Fleming" as he was called, revelled in richness of colouring, and flamed through art like a glorious comet.

Rubens had long been wanted in his own country. His sovereigns, Albert and Isabella, wished him to return and become their painter, but they were unable to free him from his engagements in Italy and Spain. At last Rubens received word that his mother, whom he loved devotedly, was likely to die, and what kings could not do his love for her accomplished.

Although his patron, the Duke of Mantua, was absent, and his consent could not be secured, Rubens set off post-haste to his mother's home. He arrived in Antwerp too late to see Maria Pypelincx, who had died before he reached her. Once more on his native soil, Albert and Isabella determined to induce him to remain. He had intended to go back to Mantua and continue his work under the duke, but since he was now in Belgium he decided to stay there, and thus he became the court painter in his own country, which after all he greatly preferred to any other.

He was to have a salary of five hundred livres ($96) a year, also "the rights, honours, privileges, exemptions, etc." that belonged to those of the royal household; and he was given a gold chain. In this day of large doings there is something about such details that seems childish, but a "gold chain" was by no means a small affair at a time when $96 was considered an ample money-provision for an artist.

That gorgeous gold chain, a mark of distinction rather than a reward, is to be seen in all its glory in one of Rubens's great paintings. The artist himself is mounted upon a horse, the chain about his neck, while he is surrounded by "no fewer than eight-and-twenty life-size figures, many in gorgeous attire, warriors in steel armour, horsemen, slaves, camels, etc." This picture, "The Adoration of the Magi," was twelve feet by seventeen, and was painted at the town's expense. It was later sent to Spain and placed in the Madrid Gallery.

One of the greatest honours that could come to students of that day, was to be admitted to Rubens's studio to paint under his direction, and it is said that "hundreds of young men waited their turn, painting meanwhile in the studios of inferior artists, till they should be admitted to the studio of the great master."

Rubens was a king among painters, as well as a painter patronised by kings.

He had two wives, and he married the first one in 1609. Her name was Isabella Brant. Sir Joshua Reynolds said of her: "His wife is very handsome and has an agreeable countenance, but the picture is rather hard in manner"--by which he meant a picture which Rubens had painted of her. One of his greatest privileges when he was engaged at the court of Albert and Isabella, had been that he need obey none of the exactions of the Guild of St. Luke, none of their rigid rules concerning the employment of art students. Rubens could take into his service whom he pleased, whether they had been admitted as members of the guild or not, though to be a member of the guild was a testimony to their qualifications. In the end, this did a good deal of harm, for Rubens employed students to do the preliminary work of his pictures, who had not been his pupils and who were not otherwise qualified. Thus we read criticisms like that of Sir Joshua's; and many of Rubens's pictures are marred in this manner.

A story is told of Van Dyck and other pupils of Rubens breaking into the master's studio and smudging a picture which Van Dyck afterward repaired by painting in the damaged portion most successfully. We are also told in connection with Rubens's picture, "The Descent from the Cross," that Van Dyck restored an arm and shoulder of Mary of Magdala, but certainly Van Dyck did not become a pupil of Rubens till some time after that picture was painted.

The work of a wonderful period in Rubens's art was completely destroyed. In two years time he painted forty ceilings of churches in Antwerp, all of which were burned, but there is a record of them in the copies made by De Witt, in water colours from which etchings were afterward made. This work of Rubens was the first example of foreshortening done by a Flemish painter.

Above all things Rubens liked to paint big pictures, on very large surfaces, as did Michael Angelo. "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. It was desirable that Spain and England should be friends, and Rubens always moving about because of his work, and being so very clever, the Spanish powers thought him a good one to negotiate with England. While on a professional visit to Paris, the English Duke of Buckingham and the artist met, and this seemed to open a way for business. The Infanta consented to have Rubens undertake this delicate piece of statesmanship, but Philip of Spain did not like the idea of an artist--a wandering fellow, as an artist was then thought to be--entering into such a dignified affair. The real negotiator on the English side, was Gerbier, by birth also a Fleming, and strange to tell, he too had been an artist. The English engaged him to look after their interests in the affair, and as soon as Philip learned that their diplomat was also an artist, his prejudices against Rubens as a statesman, disappeared. So it was decided that the two Flemings, artists and diplomats, should meet in Holland to discuss matters. About that time Sir Dudley Carleton wrote to Lord Conway: "Rubens is come hither to Holland, where he now is, and Gerbier in his company, walking from town to town, upon their pretence of taking pictures, which may serve him for a few days if he dispatch and be gone; but yf he entertayne tyme here long, he will infallibly be layd hold of, or sent with disgrace out of the country ... this I have made known to Rubens lest he should meet with a skorne what may in some sort reflect upon others."

The two clever men got through with their talk, nothing unfortunate happened, and Rubens got off to Spain where he laid the result of his talk with Gerbier before the Spanish powers. He was given a studio in Philip's palace, where he carried on his art and his diplomacy. The king became delighted with him as a man and an artist, and as well as attending to state business, he did some wonderful painting while in Madrid. He was there nine months or more, and then started off for England to tell Charles I. of Philip III.'s wishes. But upon his arrival he learned that a peace had just been concluded between France and England, and all was excitement.

He was received in England as a great artist; every honour was showered upon him, and when he made Philip's request to Charles, that he should not act in a manner hostile to Spain, Charles agreed, and kept that agreement though France and Venice urged him to break it.

Charles knighted Rubens while he was in England, and the University of Cambridge made him Master of Arts. The sword used by the king at the time he gave the accolade is still kept by Rubens's descendants.

While he was in London Rubens was very nearly drowned in the Thames going down to Greenwich in a boat.

When he first went from Italy to Spain on a mission of state, he carried a note or passport bearing the following lines: "With these presents" (he took magnificent gifts to Philip, among them a carriage and six Neapolitan horses) "comes Peter Paul, a Fleming. Peter Paul will say all that is proper, like the well informed man that he is. Peter Paul is very successful in painting portraits. If any ladies of quality wish their pictures, let them take advantage of his presence." When he visited England there was no longer need of such introduction; he went in all the magnificence that his genius had earned for him.

Rubens was always a happy man, so far as history shows. He married the first time, a woman who was beautiful and who loved him, as he loved her. He was able to build for himself a beautiful house in Antwerp. In the middle of it was a great _salon_, big enough to hold all his collection of pictures, vases, bronzes, and beautiful jewels. There was also a magnificent staircase, up which his largest pictures could be easily carried, for it was built especially to accommodate the requirements of his work.

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. The archers made complaint, and there seemed no way to adjust the matter, till some one suggested that Rubens make them a picture which should be accepted as compensation for the harm done. This Rubens did, and the picture was to be St. Christopher--the archers' patron saint; but when the work was done "Rubens surprised them" by exhibiting a picture "of all who could ever have been called 'Christ-bearers.'" This was "The Descent from the Cross"--not a single picture but a picture within a picture, for there were shutters folding in front of it, and on these was painted the archers' patron, St. Christopher.

Rubens's daily life is described thus: "His life was very methodical. He rose at four, attended mass, breakfasted, and painted for hours; then he rested, dined, worked until late afternoon; then, after riding for an hour or two one of his spirited horses, and later supping, he would spend the evening with his friends.

"He was fond of books, and often a friend would read aloud to him while he worked." This is a pleasant picture of a reasonable and worthy life.

It is said that once he painted eighteen pictures in eighteen days, and it is known that he valued his time at fifty dollars a day.

His pupil, Van Dyck, being pushed for money, turned alchemist and tried to manufacture gold, but when Rubens was approached by a visionary who wanted him to lend him money by which he might pursue such a work, promising Rubens a fortune when he should have discovered how to make his gold, the artist laughed and said: "You are twenty years too late, friend. When I wield these," indicating his palette and brush, "I turn all to gold."

Many are the delightful anecdotes told of Rubens. It is said that while he was at the English court he was painting the ceiling of the king's banqueting hall, and a courtier who stood watching, wished to say something _pour passer le temps_, so he asked: "Does the ambassador of his Catholic Majesty sometimes amuse himself with painting?"

"No--but he sometimes amuses himself with being an ambassador," was the witty retort, which showed how he valued his two commissions.

When King Charles I. knighted Rubens he gave him, beside the jewelled sword, a golden chain to which his miniature was attached. If Rubens had gone about with all the chains and decorations given him by kings and other great ones of the earth he would have been weighted down, and would have needed two pairs of shoulders on which to display them.

Rubens's first wife died; and when he married again, he was as fond of painting pictures of the second wife as he had been of the first. The name of the second was Helena Fourment, and she is called by one author "a spicy blonde." Certainly she was very gay, big, and robust, and only sixteen years old when she married Rubens who was then a man of fifty-three. Of one picture, "The Straw Hat," for which he is supposed to have used his wife's sister as model, he was so fond that he would not sell it at any price.

Rubens had a rare mother, as shown in her letters to her husband, John, when he was in prison for his wrongdoing. It would seem that such a mother must have a strong, forceful son, and Rubens is less of a surprise than many artists who had no such influence in their childhood. The history of Rubens's mother is worthy of being told even had she not had a famous son who painted a beautiful picture of her.

Rubens's "Holy Families" are like those of no other painter. The Virgin, the Child, all the others in the picture, are quite different from the Italian figures. These are human beings, good to look upon; full of love and joy, softness and beauty.

It was his learning that first won favour for him in Italy. The Duke of Mantua hearing him read from Virgil, spoke to him in Latin, and being answered in that tongue was so charmed that the foundation of their friendship and the duke's patronage was laid. In Italy he was called "the antiquary and Apelles of our time."

His nephew-biographer writes of him: "He never gave himself the pastime of going to parties where there was drinking and card-playing, having always had a dislike for such."

As Rubens grew in fame, he found that many were jealous of him, and on one occasion a rival proposed that he and Rubens each paint a picture upon a certain subject and leave it to judges to decide which work was the best--Rubens's or his own.

"No," said Rubens. "My attempts have been subjected to the scrutiny of connoisseurs in Italy and Spain. They are to be found in public collections and private galleries in those countries; gentlemen are at liberty to place their works beside them, in order that comparison may be made." This was a dignified way of disposing of the case.

Rubens loved to paint animals, and he had a great lion brought to his home, that he might study its poses and movements.

The flesh of his figures was so lifelike that Guido declared he must mix blood with his paints. He was called "the painter of life."

Rubens, a seventh child, had also seven children, two belonging to his first wife, five to the second.

Many stories are told of his patience and his kindness. It is said that at one time his old pupil, Van Dyck, returned to Antwerp after an absence, greatly depressed and in need of money. Rubens bought all his unsold pictures, and he did this charitable act more than once, and is known to have done the same thing for a rival and enemy, out of sheer goodness of heart.

Kings and queens came to the Rubens house, people of many nations did him honour; and toward his closing days, when gout had disabled him, ambassadors visited him, since he could not go to them.

In a description of his death and burial which took place at Antwerp we read: "He was buried at night as was the custom, a great concourse of citizens ... and sixty orphan children with torches followed the body." He was placed in the vault of the Fourment family, and as he had requested, "The Holy Family" was hung above him. In that picture, we find the St. George to be Rubens himself; St. Jerome, his father; an angel, his youngest son, while Martha and Mary are Isabella and Helena, his two wives.

He left many sketches "to whichever of his sons became an artist, or to the husband of his daughter who should marry an artist." But there were none such to claim the bequest.

PLATE--THE INFANT JESUS AND ST. JOHN

The little girl behind Jesus is supposed to represent his future bride, the Christian Church. The thoughtful, far-seeing look upon the face of the Christ-child, though it does not clash with His youthful charm, is meant to suggest that He has a premonition of His work in the world. The other joyous little figures also demonstrate the artist's love for children. He brings them into his pictures, as cherubs, wherever he can, and they are frequently just as well painted and more universally appreciated than his stout women. In this picture he has a good opportunity to show his adorable flesh tints, combined with the movement and freedom naturally associated with child life.

The original painting is in the Court Museum at Vienna, but it has always been so popular that many copies of it have been made, and one of these is in the Berlin Gallery.

PLATE--THE ARTIST'S TWO SONS
_(See Frontispiece_)

This picture hangs in the Lichtenstein Gallery at Vienna; the two boys, eleven and seven years of age, are the sons of Rubens by his first wife, Isabella Brant; and Albert, the elder of the two, greatly resembles his mother. He is evidently a student, for he wears the dress of one and carries a book in one hand. The other is placed affectionately upon the shoulder of his little brother, Nicolas, whose face, figure, and attire are all much the more childish of the two.

Critics consider this painting to mark the Highest point which Rubens reached in portraiture. It has all the colour, character, and vitality of his best work. Some of his other pictures are: "Coronation of Marie de Medicis," "The Kirmesse," "Slaughter of the Innocents," "Susanna's Bath," "Capture of Samson," "A Lion Hunt" and "The Rape of the Daughters of Leucippus."