RUBENS, Sir Peter Paul, the most eminent of the Flemish painters, was born in the year 1577, but whether at Antwerp or Cologne is uncertain. His father, who was a counsellor in the senate of Antwerp, had been forced by the civil wars to seek refuge in Cologne; and during his residence there Rubens is commonly said to have been born.

The genius of Rubens, which began to unfold itself in his earliest years, was cultivated with peculiar care, and embellished with every branch of classical and polite literature. He soon discovered a strong inclination for designing, and used to amuse himself with that employment in his leisure hours, whilst the rest of his time was devoted to other studies. His mother, perceiving the bias of her son, permitted him to attend the instructions of Tobias Verhaecht, a painter of architecture and of landscape. He next became the pupil of Adam Van Oort; but he soon found that the abilities of this master were insufficient to answer his elevated ideas. His surly temper, too, was dis[7:19:515]gustful to Rubens, whose natural disposition was modest 'and amiable.

Anxious to find an artist whose genius and dispositions were congenial with his own, he became the disciple of Octavio Van Veen, generally known by the name of Otho Venius, a painter of singular merit, and who was not only skilled in the principles of his art, but also distinguished for learning and other accomplishments. Between the master and the scholar a remarkable similarity appeared in temper and inclination; indeed the whole turn of their minds was the same. It was this congeniality of sentiments which animated Rubens with that ardent passion for the art of painting which at length determined him to pursue it as a profession. From this time he gave up his whole mind to it; and so successful were his exertions, that he soon equalled his master.

In order to arrive at that perfection which he already beheld in idea, it became requisite to study the productions of the most eminent artists; and for this purpose he travelled throughout Italy, visiting the most valuable collections of paintings and antique statues with which that country abounds.

Sandrat, who was intimately acquainted with Rubens, informs us that he was recommended to the Duke of Mantua by the Archduke Albert, who had witnessed his talents in the finishing of some fine paintings designed for his own palace. At Mantua he was received by the duke with the most flattering marks of distinction, and had opportunities of improving himself, which he did not neglect. He there carefully studied the works of Julio Romano; and he next visited Rome, where he had an opportunity of examining the productions of Raffaelle. The paintings of Titian and Paul Veronese called him to Venice, where he improved himself in the art of colouring.

He continued in Italy seven years. At length receiving intelligence that his mother was taken ill, he hastened to Antwerp. But his filial affection was not gratified with a sight of her. She died before his arrival. He married soon afterwards; but his wife dying at the end of four years, he retired for some time from Antwerp, and endeavoured to soothe his melancholy by a journey to Holland. At Utrecht he visited Hurtort, whom he greatly esteemed.

The fame of Rubens was now spread all over Europe. He was invited by Mary de’ Medici, queen of Henry IV. of France, to Paris, where he painted the galleries in the palace of Luxembourg. These form a series of paintings which delineate the history of Mary; and afford a convincing proof how well qualified he was to excel in allegorical and emblematical compositions. Whilst at Paris he became acquainted with the Duke of Buckingham, who was so taken with his great talents and accomplishments, that he judged him well qualified to explain to Isabella, the wife of Albert the archduke, the cause of the misunderstanding which had taken place between the courts of England and Spain. In this employment Rubens acquitted himself with such propriety, that Isabella appointed him envoy to the king of Spain, with a commission to propose terms of peace, and to bring back the instructions of that monarch. Philip was not less captivated with Rubens, conferring on him the honour of knighthood, and making him secretary to his privy council. Rubens returned to Brussels, and thence passed over into England in 1630 with a commission from the Catholic king to negotiate a peace between the two crowns. He was successful in his negotiation, and a treaty was concluded. Charles I. who then filled the British throne, could not receive Rubens in a public character on account of his profession; nevertheless, he treated him with every mark of respect. Having engaged him to paint some of the apartments of Whitehall, he not only gave him a handsome sum of money, but, as an acknowledgment of his merit, created him a knight; and the Duke of Buckingham, his friend and patron, purchased of him a collection of pictures, statues, medals, and antiques, for the sum of ten thousand pounds.

He returned to Spain, where he was magnificently honoured arid rewarded for his services, being created a gentleman of the king’s bed-chamber, and named secretary to the council of state in the Netherlands. Rubens, however, did not lay aside his profession. He returned to Antwerp, where he married a second wife, called Helena Forment, who, being an eminent beauty, helped him much in the figures of his women. But he died on the 30th of May 1640, in the sixty-third year of his age, leaving vast riches to his children. Albert his eldest son succeeded him in the office of secretary of state in Flanders.

As Rubens was possessed of all the ornaments and advantages that render a man worthy to be esteemed or courted, he was always treated as a person of consequence. His figure was noble, his manners engaging, and his conversation lively. His learning was universal. Though his favourite study must have occupied him much, yet he found time to read the works of the most celebrated authors, especially the poets. He spoke several languages perfectly, and was an able statesman, as well as an excellent painter. His house at Antwerp was enriched with every thing that was rare and valuable in the arts. It contained one spacious apartment, in imitation of the rotunda at Rome, adorned with a choice collection of pictures which he had purchased in Italy, part of which he sold to the Duke of Buckingham.

His genius qualified him to excel equally in every thing that can enter into the composition of a picture. His invention was so fertile, that, if he had occasion to paint the same subject several times, his imagination always supplied him with something striking and new. The attitudes of his figures are natural and varied, the carriage of the head is peculiarly graceful, and his expression is noble and animated.

He is by all allowed to have carried the art of colouring to its highest pitch. He understood so thoroughly the true principles of the chiaro-scuro, that he gave to his figures the utmost harmony, and a prominence resembling real life. His pencil is mellowed, his strokes are bold and easy, his carnation glows with life, and his drapery is simple but grand, broad, and hung with much skill. The great excellence of Rubens appears in his grand compositions. For as they are to be viewed at a distance, he laid on a proper body of colours with uncommon boldness, and fixed all his tints in their proper places; so that he never impaired their lustre by breaking or torturing them, but touched them in such a manner as to give them a lasting force, beauty, and harmony.

It is generally allowed that Rubens wanted correctness in drawing and designing; some of his figures being heavy and too short, and the limbs in certain parts not being justly sketched in the outline. Though he had spent seven years in Italy in studying those antiques by which other celebrated artists had modelled their taste, and though he had examined them with such minute attention as not only to perceive their beauties, but to be qualified to describe them in a dissertation which he wrote on that subject; yet he seems never to have divested himself of that heavy style of painting which, being peculiar to his native country, he had insensibly acquired. The astonishing rapidity too with which he painted, made him fall into inaccuracies, from which those works that he finished with care are entirely exempted. Amongst his finished pieces may be mentioned the Crucifixion of Jesus Christ between the Two Thieves; but of all his works the paintings in the palace of Luxembourg best display his genius and his style.

It is the observation of Algarotti, that he was more moderate in his movements than Tintoretto, and softer in his chiaro-scuro than Carravaggio; but not so rich in his compositions,[7:19:516] nor so light in his touches, as Paul Veronese, in his carnations less true than Titian, and less delicate than

" Vandyck. Yet he contrived to give his colours the utmost transparency and harmony, notwithstanding their extraordinary deepness; and he possessed a strength and grandeur of style which were entirely his own. See the article Painting.