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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

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https://doi.org/10.11588/diglit.62819#0211
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RUBENS.

137

Escurial.
485. The Three Graces.
486. Europa.
487. Venus and Adonis.
The preceding three pictures are copies by the artist, after Titian.
488. The Flagellation. A finished sketch for the picture
in the church of the Dominicans at Antwerp.
489- Nymphs surprised by Satyrs.
490. The Triumph of Bacchus. A composition of six
figures of the size of life.
491. A grand Lion Hunt.
492. A large Picture, with several figures and a great
quantity of vegetables and fruit. It exhibits, in an allegorical
manner, the retirement of Numa Pompilius, who is represented
sitting at the foot of a tree on the right, and three Roman
citizens standing near him ; Numa is nearly in a state of nudity,
intended perhaps to indicate the simplicity of his manners and
his sylvan retirement, which is further indicated by the intro-
duction of three wood nymphs and two satyrs, distributed among
the trees on the left. On the fore-ground lie piles of fruit and
vegetables; these are by the hand of Snyders. The figures
only are by Rubens.
8 st. 8 in. by 12 ft. 6 in.—C.
This is probably the picture which was imported into England
in 1825, and with many others was put up to sale by Mr.
Stanley, having been the property of the ex-king of Spain, Joseph
Buonaparte. It is now in the hands of Mr. Buchanan, for sale.
A picture, corresponding with the preceding, is noticed in the
catalogue of the artist’s effects after his decease.—-See p. 34.
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