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.

43

125. The Last Supper. In the interior of a lofty hall are
assembled the Saviour with his twelve disciples; the former
(seen in a front view), seated on the farther side of a large table,
with the bread in one hand and the cup of wine standing before
him, raising his eyes upwards, appears to be in the act of
blessing these elements; St. John is seated on his right and
St. Peter on the left, and the rest of the disciples are disposed
round the table. The subject is illumined by two candles,
placed on pedestals at the side, between which is an open book.
Engraved by B. Bolswert.
The history of this large altar-piece explains clearly the means
which Rubens pursued to produce the numerous pictures, for
churches and other public buildings, which are ascribed to his
pencil. The deacons of the cathedral church of St. Rombout,
desirous of an altar-piece to decorate their church, bespoke one of
the artist, of the above subject; and, for the convenience of the
painter, they offered him the use of a large room adjoining the
church to work in. Rubens, as usual, having made a finished
sketch, sent his pupil, Justus Van Egmont, to commence and
proceed with the picture as far as he was able. This excellent
scholar had nearly completed the dead colouring, when their re-
verences intimated to him that they had agreed for the picture to
be painted by the master and not by his scholar. They accordingly
ordered him to desist, and wrote to Rubens to express their dis-
pleasure, who, in reply, assured them that he constantly employed
his pupils to commence his pictures, and that he afterwards cor-
rected and finished them himself, adding a request that his pupil
might be allowed to continue the work, and that he Would, on his
first visit to his country seat at Steen, call and perfect the picture
to their entire satisfaction.”
This large altar-piece has disappeared, and all the endeavours of
the writer to ascertain where it now is have been unsuccessful.

12G. The Adoration of the Magi. The subject is composed
of about twenty figures, and represents the Virgin, clothed in a
light blue robe and a dark blue mantle, standing on the right,