DOI Page / Citation link:
https://doi.org/10.11588/diglit.68274#0200
Dutch and Flemish Furniture
vogue ; and, on his return, the great Fleming introduced
into his own country the style of architecture and orna-
mentation still known as the style Rubens. Rubens was
too well inspired with the genius of the sublime Michael
Angelo not to know where to use restraint, but in the
hands of his followers and imitators this style soon degen-
erated. From breadth and amplitude, it fell into weak-
ness of form and contour, and great heaviness in the
ornamentation.
Albert and Isabella kept a splendid Archducal court
at Brussels, and there every form of art was sure of
encouragement and support. The palace was an impos-
ing mass, picturesquely situated in the highest part of
the city. A French visitor in 1612 dwells on the magni-
ficence of the various apartments filled with splendid
works of art, and thronged with courtiers and attendants,
the richness of the equipages and stables, and the beauty
of the park and gardens. When Rubens visited Brussels
at the Imperial request, he immediately found favour.
When Rubens took up his abode in Antwerp, he
bought a house, and altered and enlarged it from time
to time to suit his tastes or needs. He embellished it
in every possible way with his collections of pictures,
busts and archaeological objects. In 1617, he had the
banisters of the chief staircase carved by Jan van Mildert.
He had very decided ideas on architecture, and supplied
the workmen with his own plans. He was originally
attracted to the house because it was built somewhat on
the model of the Italian houses he had so greatly admired.
In 1622, he published a book on the Palaces of Genoa,
and from the preface we learn that he was greatly de-
132
vogue ; and, on his return, the great Fleming introduced
into his own country the style of architecture and orna-
mentation still known as the style Rubens. Rubens was
too well inspired with the genius of the sublime Michael
Angelo not to know where to use restraint, but in the
hands of his followers and imitators this style soon degen-
erated. From breadth and amplitude, it fell into weak-
ness of form and contour, and great heaviness in the
ornamentation.
Albert and Isabella kept a splendid Archducal court
at Brussels, and there every form of art was sure of
encouragement and support. The palace was an impos-
ing mass, picturesquely situated in the highest part of
the city. A French visitor in 1612 dwells on the magni-
ficence of the various apartments filled with splendid
works of art, and thronged with courtiers and attendants,
the richness of the equipages and stables, and the beauty
of the park and gardens. When Rubens visited Brussels
at the Imperial request, he immediately found favour.
When Rubens took up his abode in Antwerp, he
bought a house, and altered and enlarged it from time
to time to suit his tastes or needs. He embellished it
in every possible way with his collections of pictures,
busts and archaeological objects. In 1617, he had the
banisters of the chief staircase carved by Jan van Mildert.
He had very decided ideas on architecture, and supplied
the workmen with his own plans. He was originally
attracted to the house because it was built somewhat on
the model of the Italian houses he had so greatly admired.
In 1622, he published a book on the Palaces of Genoa,
and from the preface we learn that he was greatly de-
132