DOI Page / Citation link:
https://doi.org/10.11588/diglit.62819#0228
154
RUBENS.
537. Saint Ignatius Loyola healing the Sick and the
Possessed. The saint, habited in a splendid chasuble, stands
before an elevated altar on the right; his hands are extended,
and his countenance directed upwards; he is attended by six
monks on his left, and a seventh, holding his book, is on his
right. Among the afflicted, who are assembled at the base of
the altar, is a maniac woman, whom a powerful man holds in
his arms, while her anxious parents are on their knees suppli-
cating for her restoration ; near the centre and front stands a
handsome female, in a purple varied silk dress, holding a
sickly infant on her arm, and leading two other children by
her side ; behind these is a bereaved mother bending in agony
over her dead babe. On the farther side of this group are an
old man supported on crutches, and an elderly female, both of
whom look with the eye of entreaty towards the saint. A red
curtain extends over a large portion of the temple on the right,
and in the upper part are two angels. This excellent work is
painted in the artist’s free and ssorid manner ; it abounds -with
powerful expression, and is brilliant and effective.
14 st. 6 in. by 9st. 6 in.—C. (about.)
Painted for the Society of Jesuits, for their church of St.
Ambrose, at Genoa, whose side altar it now adorns.
A picture of the same subject, but of a more extended compo-
sition, is described in pp. 19 and 87.
538. A full-length Portrait of Philip III. of Spain, habited
in black silk adorned with numerous small gold buttons, a
plain stiff* collar round the neck, a gold chain bearing the Order
of the Golden Fleece, and a dagger stuck in his belt; he is
represented erect, his left hand placed on the hilt of his sword,
and the right hanging down at his side.
6 ft. 6 in. by 4>ft. (about.)
Now in the Durazzo Palace at Genoa.
539. Love and Wine. In the composition of this allegory
the artist has introduced the portraits of himself and his wife
RUBENS.
537. Saint Ignatius Loyola healing the Sick and the
Possessed. The saint, habited in a splendid chasuble, stands
before an elevated altar on the right; his hands are extended,
and his countenance directed upwards; he is attended by six
monks on his left, and a seventh, holding his book, is on his
right. Among the afflicted, who are assembled at the base of
the altar, is a maniac woman, whom a powerful man holds in
his arms, while her anxious parents are on their knees suppli-
cating for her restoration ; near the centre and front stands a
handsome female, in a purple varied silk dress, holding a
sickly infant on her arm, and leading two other children by
her side ; behind these is a bereaved mother bending in agony
over her dead babe. On the farther side of this group are an
old man supported on crutches, and an elderly female, both of
whom look with the eye of entreaty towards the saint. A red
curtain extends over a large portion of the temple on the right,
and in the upper part are two angels. This excellent work is
painted in the artist’s free and ssorid manner ; it abounds -with
powerful expression, and is brilliant and effective.
14 st. 6 in. by 9st. 6 in.—C. (about.)
Painted for the Society of Jesuits, for their church of St.
Ambrose, at Genoa, whose side altar it now adorns.
A picture of the same subject, but of a more extended compo-
sition, is described in pp. 19 and 87.
538. A full-length Portrait of Philip III. of Spain, habited
in black silk adorned with numerous small gold buttons, a
plain stiff* collar round the neck, a gold chain bearing the Order
of the Golden Fleece, and a dagger stuck in his belt; he is
represented erect, his left hand placed on the hilt of his sword,
and the right hanging down at his side.
6 ft. 6 in. by 4>ft. (about.)
Now in the Durazzo Palace at Genoa.
539. Love and Wine. In the composition of this allegory
the artist has introduced the portraits of himself and his wife