Old Masters. ANTWERP. 13. Route. 193

horse, is piercing the side of the Saviour with a lance. The penitent
thief, a grey-haired man, is invoking the Saviour for the last time. To
t in the foreground stands the Virgin Mother, whom Mary the wife
of Cleophas in vain endeavours to conso Farther back, St. John leans
against the cross of the impenitent thief, weeping. Mary Magdalen, on
her knees at the foot of the Cross, implores Longinus to spare the sacred
body of her master. This is considered by many to be Rubens’s chef
d@ oeuvre, and deserves the minutest inspection. ‘There is no inaccurate
drawing here, as in almost all the master’s other works, and at the same
time the composition and colouring are inimitable. The profile of the
Magdalen is remarkably beautiful, expressive of horror and supplication,
without being distorted. The ole composition is a striking example
of that marvellous boldn of imagination in which Rubens is unrivalled.

     
  
 

 

 

 

 

   

 

     
    

Rubens, Christon the Cross (frequently copied and imitated),
300-303. Rubens, ‘Christ a la Paille’, the body of Christ resting
on a stone bench covered with straw, partly supported by Joseph of
Arimathea, and mourned over by the Virgin, with St. John and
Mary Magdalen. On the wings (301, 303) the Virgin and Child
and St. John the E vangelist.

This most intere g altar-piece (painted about 1617) shows by its
carefully-executed details that it is one of the master’s earlier works, pro-
duced before he had adopted his bold and dashing touch. Here, too, we
have a full and flowing outline and admirable ease of attitude, but there
is no symptom of the master’s subsequent ab of his power, in pro-
ducing overwhelming ma of flesh and crowds of figures in forced

es. A happy mean is here pb seay ed, and there is greater beauty and
The colouring is delicate and harmo-
The weeping Way Magdal nis a particularly expressive figure.
‘708. Rubens (?), Portrait; Jan Fyt, 171. Two eagles, 172
Sleeping hounds a dead game; above, 508. G. Seghers, ,etrothal
of the Virgin. — 358. Th. Rombouts, Card-play above, 356.
Hh Thys, Descent from the Cross; 742. Rubens, St. Dominic; 801.

. Rombouts, Christ lling the money-changers; 802. Rubens,
ae ene slaying the Gorgon (sketch). — 804. Jan Siberechts, Ford;
53. G. de Crayer, Elijah fed by ravens.

*781. Rubens, Prodigal Son feeding upon hus
gland).

‘Is this painting

  
 

   

   

    
  

 

   

 

 
     

 

(purchased in

    

j 8 a genre picture, as an animal-piece,
as an architectural or as a study of still-life of the most varied
tion? Rubens, who would have ridiculed all such terms, painted
and foremost as the spirit moved him, and the result was a compos-
ition of the most remarkable kind. This loosely built wooden shed, with
its outlook into the open country, was pe rh aps one of the farm-buildings

i Steen, and the ac e has here so faithfully
rendered w perhaps his own 0 fended by his own faithful
servants, Be own cattle, his own atte feeding with their young ones.
Not till we reach the last third of the painting do we find the Prodigal,
sunk on his knees with a profoundly touching expression, while two farm-
hands (a man and a woman) gaze at him in astonishment. But they are
not rough and will not spurn him; he has found shelter with kindly folk.’

Burckhardt.

*306. Rubens, The Virgin instructed by St. Anna, a very attrac-
tive group, with mellow and harmonious colouring (ca. 1625).

*298. Rubens, Adoration of the Magi, formerly in the church of
St. Michael, painted in 1624.

      
 

  

     
       

 

eaten