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)

RUBENS.

5

determined to appeal to a court of law. Things were in this
situation when the burgomaster, Rockox, who was then the chief
of the company and a friend of Rubens, interposed as mediator,
and, in a mild and friendly manner, convinced him of his error :
this produced a proposition for an arrangement. The chief ac-
cordingly communicated the wishes of the painter to the company,
who readily resolved that their president should return, with full
power to terminate the business ; the conditions of which were,
that the artist should present to the company a picture, with covers,
the subject of which should represent some passage of the life of
their patron, St. Christopher. This saint is said to have carried
the infant Saviour upon bis shoulders through a river, his legs and
staff increasing in length in proportion to the depth of the water.
The learned painter treated this legend allegorically, and produced
the preceding picture, which, when completed, he invited the
company to inspect; but no sooner did these learned Arquebusiers
enter the gallery, than they eagerly sought for their patron saint,
whom, not finding, they, with emotions of surprise and disappoint-
ment, inquired, ‘ Where, Sir, is our St. Christopher ? ’ Rubens,
who was fully prepared for such a result, pointing to the picture,
replied, ‘ There, gentlemen, is what you required of me ; only,
as an acknowledgment of our good fellowship, instead of one
St. Christopher, I have given you severalat the same time, he
fully explained the allegory of the legend. This answer by no
means satisfied the gentlemen, who were quite unable to understand
the allusion, and expressed openly their dissatisfaction at these
pretended St. Christophers (so they styled them) ; and the com-
plaisant artist, unwilling to offend them, painted their patron os a
colossal size, on one of the exterior covers, and a hermit, with a
lantern in his hand, on the other.”
The exhibition of this altar-piece is said to have excited the most
intense curiosity, and to have attracted crowds of admirers from all
parts. Such was the universality of its reputation, that it long
continued to be an object of lucrative importance, both to the
church and the city.
It was transferred to the Louvre during the war, but restored in
1815, and now adorns the church of Notre Dame, at Antwerp.