DOI Page / Citation link:
https://doi.org/10.11588/diglit.62819#0030
xxii LIFE OF RUBENS.
those places ; and was therefore naturally desirous of
passing a few months in the exclusive study of the
works of Titian, Paul Veronese, and other eminent
Venetian painters.
Satisfied with his observations here he again returned
to Rome, to fulfil some previous engagements and to
complete unfinished works. The style of the Flemish
school, either for its colouring or novelty, appears to
have been exceedingly admired in this city. By com-
mand of Pope Paul V. he painted a picture for the
oratory of the church of Monte Cavallo, representing
the Virgin and St. Anne worshiping the infant Saviour.
Various palaces of cardinals, princes, and nobles, were
also enriched by the productions of his pencil.
The continual occupation of his time had hitherto pre-
vented him gratifying his desire to see Milan and Genoa:
to accomplish this, he was under the necessity of declin-
ing further engagements in Rome, which he quitted
about the commencement of 1607 for Milan, where, as
in other cities, he executed many capital works. For
the Ambrosian library he painted a picture of the Virgin
with the Infant Jesus in her arms, which his friend
Breughel encircled with a garland of flowers*; he also
copied the celebrated picture of the Last Supper, by
Lionardo da Vinci. He then proceeded to Genoa, pur-
suing with the same industry his researches in art and
his pictorial labours; his reputation at all times preceded
him, and his arrival was welcomed by invitations and
orders from the most distinguished persons in the city>
For the Jesuits’ Church he painted two large pictures
Page 69, No, 205.
those places ; and was therefore naturally desirous of
passing a few months in the exclusive study of the
works of Titian, Paul Veronese, and other eminent
Venetian painters.
Satisfied with his observations here he again returned
to Rome, to fulfil some previous engagements and to
complete unfinished works. The style of the Flemish
school, either for its colouring or novelty, appears to
have been exceedingly admired in this city. By com-
mand of Pope Paul V. he painted a picture for the
oratory of the church of Monte Cavallo, representing
the Virgin and St. Anne worshiping the infant Saviour.
Various palaces of cardinals, princes, and nobles, were
also enriched by the productions of his pencil.
The continual occupation of his time had hitherto pre-
vented him gratifying his desire to see Milan and Genoa:
to accomplish this, he was under the necessity of declin-
ing further engagements in Rome, which he quitted
about the commencement of 1607 for Milan, where, as
in other cities, he executed many capital works. For
the Ambrosian library he painted a picture of the Virgin
with the Infant Jesus in her arms, which his friend
Breughel encircled with a garland of flowers*; he also
copied the celebrated picture of the Last Supper, by
Lionardo da Vinci. He then proceeded to Genoa, pur-
suing with the same industry his researches in art and
his pictorial labours; his reputation at all times preceded
him, and his arrival was welcomed by invitations and
orders from the most distinguished persons in the city>
For the Jesuits’ Church he painted two large pictures
Page 69, No, 205.