DOI Page / Citation link:
https://doi.org/10.11588/diglit.62819#0237
RUBENS.
163
attendant upon the saint are on the left; one of them, mounted
on a gray charger, is armed cap-a-pie ; the other stands on
the farther side of his horse, holding its rein ; beyond them are
about nine figures, posted upon a high bank, overlooking the
passing scene. Three females are at the extremity of the com-
position embracing each other, and beholding, with astonish-
ment, the exploits of the saint. Two angels, each bearing a
chaplet, are ssying towards the conqueror.
4st. 5 in. by 7st.—-C.
Engraved in the Orleans Gallery, by Lienard. There is also a
print which appears to have been engraved after a picture by
Teniers, in which several of the figures in the original composition
are omitted.
This picture is described in the catalogue of Charles I.’s Col-
lection (No. I., p. 166) as the great St. George; and, if it be the same
picture, it is stated in that catalogue, that the king bought it of Mr.
Endymion Porter. Rubens, however, is said to have presented it
to that monarch, in order to testify his gratitude for the many dis-
tinguished favours he had received from the royal hands ; and the
subject was selected in compliment to the English nation. At the
distribution of the royal collection it was taken to Paris, and sub-
sequently became the property of the Duke of Orleans, at the sale
of whose collection, in 1798, it was valued at 1000 gs., and bought
by Mr. Morland, from whom it has passed into the royal collection.
Exhibited in the British Gallery in 18,26 and 1827.
564. A Triumph os Silenus. The composition consists of
eight figures, in the centre of which is Silenus supported
by two satyrs; one of them, with his mouth open, appears to
be straining with the weight, while the other bends under it.
On the farther side of Silenus is a beautiful nymph, whose wild
and sparkling eyes, smiling face, and uplisted hands, indicate
the effects of the exhilarating beverage, and in playful wan-
tonness is squeezing the juice of a bunch of grapes on the
temples of the demi-god; this group is preceded by a faun,
playing on a double pipe, and followed by an old bacchante
bearing a torch, whom a satyr is embracing; in front of these
are two infants, one of them taking a branch of vine from the
163
attendant upon the saint are on the left; one of them, mounted
on a gray charger, is armed cap-a-pie ; the other stands on
the farther side of his horse, holding its rein ; beyond them are
about nine figures, posted upon a high bank, overlooking the
passing scene. Three females are at the extremity of the com-
position embracing each other, and beholding, with astonish-
ment, the exploits of the saint. Two angels, each bearing a
chaplet, are ssying towards the conqueror.
4st. 5 in. by 7st.—-C.
Engraved in the Orleans Gallery, by Lienard. There is also a
print which appears to have been engraved after a picture by
Teniers, in which several of the figures in the original composition
are omitted.
This picture is described in the catalogue of Charles I.’s Col-
lection (No. I., p. 166) as the great St. George; and, if it be the same
picture, it is stated in that catalogue, that the king bought it of Mr.
Endymion Porter. Rubens, however, is said to have presented it
to that monarch, in order to testify his gratitude for the many dis-
tinguished favours he had received from the royal hands ; and the
subject was selected in compliment to the English nation. At the
distribution of the royal collection it was taken to Paris, and sub-
sequently became the property of the Duke of Orleans, at the sale
of whose collection, in 1798, it was valued at 1000 gs., and bought
by Mr. Morland, from whom it has passed into the royal collection.
Exhibited in the British Gallery in 18,26 and 1827.
564. A Triumph os Silenus. The composition consists of
eight figures, in the centre of which is Silenus supported
by two satyrs; one of them, with his mouth open, appears to
be straining with the weight, while the other bends under it.
On the farther side of Silenus is a beautiful nymph, whose wild
and sparkling eyes, smiling face, and uplisted hands, indicate
the effects of the exhilarating beverage, and in playful wan-
tonness is squeezing the juice of a bunch of grapes on the
temples of the demi-god; this group is preceded by a faun,
playing on a double pipe, and followed by an old bacchante
bearing a torch, whom a satyr is embracing; in front of these
are two infants, one of them taking a branch of vine from the