THE WORKS OF PETER PAUL RUBENS. 1. THE Elevation of the Cross. The composition of this splendid picture is so rich and varied that any description, however elaborate, must fail to convey a correct idea of its grandeur and magnificence. The outlines of its arrangement are nearly as follows: In the centre is represented the suffering Saviour attached to a lofty cross, the weight of which requires the united efforts of eight powerful men to elevate; their various attitudes and exertions are finely depicted. To the right of the cross is a company of five women, three children, and St. John; the latter stands by the Virgin, whom he appears to be consoling. Among the group of females is one (nearest the spectator) seated on the ground (with an infant in her arms) falling backwards with terror; on the opposite side of the cross are four Roman soldiers on horseback, one of whom (without a helmet) is extending his hand, in which he holds a war club, apparently giving orders. The crucifixion of the two thieves, and the presence of numerous spectators, are subordinate parts of the composition. This immense altar-piece is formed of three divisions; the groups on each side of the cross are painted on the interior of the covers, which, when open, exhibit the whole complete. 14 ft. by 15 ft. Engraved in three plates by Witdouc. Upon the exterior of the covers are painted : Saint Catharine, with a palm branch in one hand and a sword in the other; her attention is directed upwards, from whence two angels are descending. Engraved by Bolswert, and again Mariette ex. Saint Eloy, whose figure is truly apostolical, adorns the other cover. This splendid production was painted in the year 1610, for the sum of 2600 flo., 3341. It is said to have been the first public work of the artist after his return from Italy; but this opinion is by no means borne out either by its style or colour: judging from these, it appears to have been a very subsequent production. Its exhibition in the church of St. Walburge (for which it was painted) attracted immense crowds, and excited the most enthusiastic applause. In the year 1627, Rubens retouched this picture, and introduced a dog, of the Newfoundland kind, in the right-hand corner. This picture was added by the French to the overwhelming riches of the Louvre, and restored to Antwerp in 1815. It now adorns the church of Notre Dame, in that city. 2. A finished Study for the preceding picture, of the highest excellence and beauty, is in the valuable collection of Jeremiah Harman, Esq. 2 ft. 3 in. by 4 ft. 3 in.-C. Exhibited at the British Gallery, 1815. Formerly in the collection of the Prince de Conti, and was withdrawn in the sale of 1777. 3. A second Sketch, with considerable variations, painted with a bravura freedom and a rich impasto of colour, is in the possession of J. T. Batts, Esq. Exhibited at the British Gallery, 1818. 4. A Pen Drawing, tinted, said to be the first study for the Elevation of the Cross, Was sold in the collection of M. Lempereur, 1783, 404 fs. 16l. 5. The Descent from the Cross. The subject is composed of nine figures, and represents the body of the Saviour being lowered from the cross, by the means of a sheet, by two men, who are mounted on ladders, and bending over its transom; one of them holds the linen in his mouth, while he lowers the body with his right hand. They are assisted by Nicodemus on one side, and Joseph of Arimathea on the other; both of whom are also on the ladders. St. John, who is clothed in a scarlet robe, stands below, receiving the body in his arms; on his left are Mary Magdalen and Salome, on their knees, extending their hands to aid him; the former is attired in a dark green vest, the latter in a purple one. Beyond them stands the Virgin Mary, clothed in a blue mantle; her gesture and expression mark her anxious solicitude. The gloom of evening prevails, the multitude has departed, and none remain but those performing the mournful duty, and whose love and sorrow were mutual. 13 ft. by 9 ft. 6 in.-P. Engraved by Lucas Vosterman, and in mezzotinto by Val-Green. Upon the interior of the doors which cover the preceding are painted : The Visitation of the Virgin to Elizabeth. The affectionate interview is exhibited as taking place on the summit of a flight of steps, which form the entrance to a house, from the door of which the aged Elizabeth is advancing; and, by the movement of her hands, and the animation of her countenance, appears to be uttering the prophetic words-" And whence is this to me, that the mother of my Lord should come to me?" To this mysterious salutation the Virgin, who stands before her, leaning on the balustrade, is giving meek and pious attention; behind her are Zacharias and Joseph, grasping each other's hands; and near them is a female attendant, mounting the steps, with a basket of linen on her head. A man-servant, unloading an ass, is close to the front. Engraved by P. de Jode. The Presentation in the Temple. "And when the days of her purification, according to the law of Moses, were accomplished, they brought him to Jerusalem, to present him to the Lord." The Virgin (seen in a profile view), clothed in a blue mantle, stands in the left, her arms extended, and her attention directed to the venerable Simeon, who holds the infant Saviour in his arms, and, looking upwards, seems to be uttering, in pious rapture, the devout prayer-" Lord, now lettest thou thy servant depart in peace, according to thy word," &c. The prophetess Anna stands on his right, and close to the front is Joseph, bending on his knees with the offering of two young pigeons, as commanded by the law of Moses. Engraved by P. Pontius, Holhenmels, Visscher, and Val-Green. On the exterior of the doors are painted :— A colossal figure of St. Christopher, bearing the infant Saviour on his shoulders through a river. Engraved by Eyndhouedts and Van Tiennen. A Hermit, with a lantern in his hand. These pictures were painted for the chapel of the brotherhood of Arquebusiers (who acknowledged St. Christopher as their patron), as a compensation for a piece of ground which they had ceded to the artist, when he rebuilt and enlarged his house at Antwerp. The history of this event is related by the author of the Life of Rubens as follows:-"When the artist decided upon establishing himself at Antwerp, he purchased a large house, the greater part of which he pulled down for the purpose of increasing its size, and rendering it more commodious for his art. In digging the new foundation, on a site which separated his ground from that of his neighbours, some slight encroachment was unavoidably made upon the premises of the company of Arquebusiers; in consequence of which, a meeting of that brotherhood was held, and a deputation waited upon Rubens, to inform him that he was trespassing upon their ground. They were received by the artist in the most polite manner, who, in his turn, explained to them what he conceived to be his right, on the justice of which he had the fullest reliance. The difference at length became so serious, that both parties were |