DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0085
THE QUEEN’S GALLERY. 41
Rubens can be compared to this one in the careful execu-
tion, the power, brilliance, and delicious freshness of the
colouring.” With all the merit here described, and which
there is no denying, this is not to me a pleasing landscape;
it is surely one of the most prosaic transcripts of nature
which even Flemish art can shew. It was among the pic-
tures left by Rubens in his own gallery, and descended
with the Chapeau de Faille to M. von Haveren. After
the death of the latter, his family demanded 30,000 francs
for it; it fell into the hands of M. Aynard, who sent it to
England in 1821, when it was purchased by Lord Farn-
borough for the King at the price of 1600 guineas.
P. 2 ft. 9 in. by 4 ft. 2 in. (S'MiitZfs Cat. 817.)
97 The Assumption of the Virgin.—A small, finished 3
study for the large altar-piece painted for the Cathedral at
Antwerp, and now in the Musee at Brussels. The Virgin,
clothed in light-blue drapery, has the right hand raised,
the left extended, and her countenance directed upwards.
The figure and expression are unusually majestic. A
company of twelve angels are floating amid clouds beneath
her, in every variety of attitude; above are cherubim
adoring. In the lower part of the picture are repre-
sented the apostles and holy women visiting the deserted
tomb.
This picture is most delicately painted by the hand of
Rubens throughout, which is not the case with the large
picture of the same subject. It was formerly in the col-
lection of Count D’Arcy, then in the possession of Sir
Simon Clarke, from whom it was purchased, in 1802, for
410 guineas.
P. 3 ft. 4 in. by 2 ft. 1 in. {Smith's Cat. 162.)
98 St. George and the Dragon.—This picture is a 4
very signal instance of the dramatic and picturesque style
in which Rubens treated these saintly legends and allegories,
and the courtly and fanciful significance he could impart
them. The scene is a rich landscape, representing, in the
back ground, a distant view of the Thames and Windsor
or Richmond, as it then stood. Near the centre is St.
George, with his right foot on the neck of the vanquished
Rubens can be compared to this one in the careful execu-
tion, the power, brilliance, and delicious freshness of the
colouring.” With all the merit here described, and which
there is no denying, this is not to me a pleasing landscape;
it is surely one of the most prosaic transcripts of nature
which even Flemish art can shew. It was among the pic-
tures left by Rubens in his own gallery, and descended
with the Chapeau de Faille to M. von Haveren. After
the death of the latter, his family demanded 30,000 francs
for it; it fell into the hands of M. Aynard, who sent it to
England in 1821, when it was purchased by Lord Farn-
borough for the King at the price of 1600 guineas.
P. 2 ft. 9 in. by 4 ft. 2 in. (S'MiitZfs Cat. 817.)
97 The Assumption of the Virgin.—A small, finished 3
study for the large altar-piece painted for the Cathedral at
Antwerp, and now in the Musee at Brussels. The Virgin,
clothed in light-blue drapery, has the right hand raised,
the left extended, and her countenance directed upwards.
The figure and expression are unusually majestic. A
company of twelve angels are floating amid clouds beneath
her, in every variety of attitude; above are cherubim
adoring. In the lower part of the picture are repre-
sented the apostles and holy women visiting the deserted
tomb.
This picture is most delicately painted by the hand of
Rubens throughout, which is not the case with the large
picture of the same subject. It was formerly in the col-
lection of Count D’Arcy, then in the possession of Sir
Simon Clarke, from whom it was purchased, in 1802, for
410 guineas.
P. 3 ft. 4 in. by 2 ft. 1 in. {Smith's Cat. 162.)
98 St. George and the Dragon.—This picture is a 4
very signal instance of the dramatic and picturesque style
in which Rubens treated these saintly legends and allegories,
and the courtly and fanciful significance he could impart
them. The scene is a rich landscape, representing, in the
back ground, a distant view of the Thames and Windsor
or Richmond, as it then stood. Near the centre is St.
George, with his right foot on the neck of the vanquished