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.

79

Munich Gallery.
244. Job, in the extremity of his sufferings, seated on a
dung-heap, importuned by his wife, and tormented by demons.
A finished sketch for the large picture, which was burnt
during the bombardment of Brussels.—See p. 54.
1 ft. 1 in. by 9| in.—P.
Engraved by Vosterman and Krafft.

245. Saint Ambrose refusing the Emperor Theodosius
admittance into the Church. A study for the finished picture
at Vienna.
Engraved by Schmuzer.

246. Christ discovering himself to the two Disciples at
Emmaus. The Saviour (seen in a profile view) is seated at the
end of the table, blessing the bread ; one of the disciples sits
opposite to him, and is also represented in profile; the other
has risen from his seat, and is taking ofs his hat to his Lord;
the fat host stands behind them.—See p. S3.
Engraved by Witdouc. This subject is also engraved by
Swanenberg and Sompelin.
247. A Lion Hunt. The subject consists of seven hunts-
men, four of whom are mounted on spirited horses. The
group is thrown into confusion by an enraged lion, which has
fastened on the abdomen of one of the hunters, who is falling
head foremost from his rearing horse, while the rest (their
terrified animals kicking and plunging in all directions) are
attacking the lion with spears and swords; close to the front is
a man lying on the ground, defending himself with a sword
against a young lion that has sprung upon him; at the same
moment one of his companions, armed with a sword and
shield, is cautiously advancing to his assistance; on the oppo-
site side lies a dead man. This capital production appears to
be wholly by the pencil of Rubens; his powerful handling