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)

176

RUBENS.

gray charger, the bridle of which is held by a beautiful young
Sabine; on her left stands another, whose countenance and
gesture strongly depict her mental anxiety ; still farther on are
four other interesting young females, one of whom carries a fine
babe in her arms, a second is on her knees, and a third holds
up to view the pledge of the conjugal union ; these form a line
in the centre of the composition, and face the Sabine army.
The Sabines are represented by three infantry and two cavalry
soldiers, the advance of the column; one of the former, and the
nearest to the spectator, armed with a sword and shield, who,
bearing defiance in his looks, and showing by his action eager-
ness to rush upon his opponent, is suddenly arrested in his
purpose by a young female, who has thrown herself at his feet,
clasping his arm with nervous energy, and with imploring looks
pleading for reconciliation ; a fine infant, lying on the ground
by her side, adds force and effect to the moving appeal; such
an unexpected interposition appears to have paralyzed the move-
ments of the soldiers ; the horseman suspends the intended cast
of his spear, and a soldier stands motionless with his half-drawn
sword. Symptoms of hesitation are exhibited on both sides.
1st. 10 in. by 2 ft. 10 in.—P.
To expatiate on the many beauties which these pictures possess
would exceed the limits allotted to this work ; it may, however, be
observed, that the artist has, with consummate judgment, given to
the first picture a richness of colour, and force of effect, which
accord with the action and energy of the subject, while delicacy and
tenderness of tone pervade the latter. It may also be noticed, that
the positions and sorms of the females are graceful and elegant, and
free from the defects so frequently censured in Rubens by critics.
These pictures are what is termed finished sketches, or, more
properly, matured studies for the large pictures now in the Escurial,
and are of rare excellence and beauty.
Sir Joshua Reynolds, in his Journey through Flanders, observes,
“ that few pictures by Rubens, even of his most finished works, give
a higher idea of his genius; all the parts are more determined than
is usual in sketches. The latter picture (he says) has more novelty,
and is the most interesting of the two.”