Smith, John: A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters: in which is included a short biographical notice of the artists, with a copious description of their principal pictures : a statement of the prices at which such pictures have been sold at public sales on the continent and in England; a reference the the galleries and private collections in which a large portion are at present; and the names of the artists by whom they have been engraved; to which is added, a brief notice of the scholars & imitators of the great masters of the above schools (Part 2) (London: Smith and Son, 1830)

xxxviii

LIFE OF RUBENS.

portraits of Philip IV., one of which was half-length
size, done as a companion to a portrait of the Infanta,
for the Archduchess Isabella. In addition to these were
five or six portraits of illustrious persons. Towards the
latter end of August 1629, he received his final in-
structions ; and being also furnished with his creden-
tials for the British Court, he was honoured with an
audience by the king previous to his departure, when
his majesty, in token of his high satisfaction, and the
confidence he entertained of his prudence and ability,
presented him with a valuable diamond ring and
six Andalusian horses; he also nominated him, by
letters patent, secretary to the privy council, with a
reversion of the same to his son Albert. Immediately
on his return to Brussels, his instructions were laid
before the archduchess, who, having examined them
with her minister Spinola, signified her entire approba-
tion of their contents, and an order was issued for his
immediate departure for England.
The arrival of Rubens in London, on this secret
mission from the Courts of Spain and Flanders, oc-
curred in October 1629. His great friend, the Duke
of Buckingham, had been dead upwards of a year ; and
the object of his arrival being then a profound secret,
it was necessary to procure an introduction to the
Chancellor, Lord Francis Cottington. In this he suc-
ceeded a few days after; and, in the first conference he
held with that nobleman, had the good fortune so to
ingratiate himself, that he informed the King of the
artist’s arrival. His Majesty, to whom the merits of
the painter had long been known and highly appreciated,
desirous of learning the motive of his journey, named