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)

LIFE OF RUBENS.

xxxix

an early day for his admission to an audience. In this
interview, the King interrogated him on a variety of
subjects—of his family, the Spanish Court, his travels
and profession—to which his replies were given with
so much candour and eloquence, that the King was
surprised to find such an union of talents in one person.
His Majesty, desirous also of seeing the productions of
his art, appointed a day when he would honour him
by sitting for his portrait*, which took place soon
after; while thus engaged, the subject of the pre-
vious conversation was renewed, which, gradually
assuming a more definite character, ultimately gave the
sagacious artist an opportunity of explaining himself
more fully, concluding with the observation, “ that
“ if the two Courts were reciprocally disposed to ar-
“ range their differences, the means were at hand.”
To which Charles replied : “ If the King of Spain is of
“ this opinion (as you seem to indicate) why does he
“ not send some one to open a negociation ?” This
was the expected question; to which the following
ready answer was given : “ Sire, if I might presume to
“ the honour of being acceptable to your Majesty in
“ that capacity, I could explain myself more openly
“ on the intentions of the king my master, in virtue of
“ the credentials with which his majesty has furnished
“ me.” The King was much pleased with this disco-
* There is no reason to doubt that His Majesty sat to him
for his portrait; yet it is not a little remarkable, that no notice
occurs in any of the royal catalogues, or by writers of the period, of
the existence of such a portrait, and it surely could not be that in
which the artist has represented the King in the character of
St. George.