that when he had reached his twenty-third year, Venius frankly told him that he could be of no further service to him, and that nothing more remained for his improvement but a journey to Italy, which he recommended as the surest means of ripening his extraordinary talents to the greatest perfection.

RUBENS' VISIT TO ITALY.

Rubens having secured the favor and patronage of the Archduke Albert, governor of the Netherlands, for whom he executed several pictures, set out for Italy, with letters from his patron, recommending him in the most honorable manner to the Duke of Mantua, that at his court he might have access to his admirable collection of paintings and antique statues. He was received with the most marked distinction by the Duke, who took him into his service, and appointed him one of the gentlemen of his bed-chamber, an honor which was the more acceptable to Rubens, as it gave him greater facility for studying the great works of Giulio Romano in the Palazzo del Te, which were the objects of his particular admiration.

RUBENS' ENTHUSIASM.

Giulio Romano's masterly illustrations of the sublime poetry of Homer excited Rubens' emulation in the highest degree. One day, while he was engaged in painting the history of Turnus and Eneas, in order to warm his imagination with poetic rapture,

he repeated with great energy, the lines of Virgil, beginning,

"Ille etiam patriis agmen ciet," &c.

The Duke, overhearing his recitations, entered the apartment, and was surprised to find the young painter's mind richly stored with classical literature. Rubens remained in the service of the Duke of Mantua, who had conceived the strongest attachment to him, nearly eight years, visiting Venice, Rome, Genoa, and other cities, executing many commissions, and leaving everywhere superb specimens of his magic pencil. In 1605, the Duke having occasion to send an envoy to the court of Spain, employed Rubens as a person eminently fitted for the delicate mission. He successfully accomplished the negotiations confided to him, painted the portrait of Philip III., and received from that monarch the most flattering marks of distinction.

RUBENS' RETURN TO ANTWERP.

In 1608, after an absence of eight years, Rubens was suddenly recalled to Antwerp by the severe illness of his mother, who died before his arrival. The loss of his dearly beloved parent was a severe affliction to him. He had proposed to return to Italy, but the Archduke Albert, and the Infanta Isabella, induced him to settle at Antwerp, where he married, built a magnificent house, with a saloon in the form of a rotunda, which he embellished with a rich collection of antique statues, busts, vases, and pictures

by the greatest masters. This collection he sold many years afterwards to the Duke of Buckingham for £10,000. Amidst these select productions of art, he passed about twelve years in the tranquil exercise of his great abilities, producing an astonishing number of admirable pictures for the churches and public edifices of tle Low Countries.

RUBENS' HABITS.

In order to continue his mental improvement, to enjoy the sweets of friendly intercourse, and to economize his precious time, Rubens regulated his affairs with a precision which nothing was permitted to derange. He received company at stated times, took regular exercise out of doors, usually on horseback, and it is said that he never painted without having some one to read to him from a classic work of history or poetry. He possessed an extraordinary memory, and understood the ancient and several modern languages, writing and speaking them with ease and fluency. His familiar acquaintance with ancient and modern literature, had enriched his mind with inexhaustible resources.

RUBENS' DETRACTORS.

Rubens' great popularity naturally excited envy, and created enemies. Generous and affable to all, and a liberal encourager of art, he found himself assailed by those who were most indebted to him for assistance. With the most audacious effrontery,

they insinuated that he owed the best part of his reputation in the great variety of his works, for which he was celebrated, to the talents of two of his disciples, Snyders and Wildens, whom he employed occasionally in forwarding the animals and landscapes in his pictures. The principal of these vilifi. ers were Abraham Janssens, Cornelius Schut, and Theodore Rombouts; the first had the hardihood to challenge him to paint a picture in competition with him. Rubens treated these attacks with a dignity and philanthropy that shows his exalted mind, and the goodness of his heart; he relieved the necessities of his accusers, and exposed his immortal production of the Descent from the Cross.

THE GALLERY OF THE LUXEMBOURG..

In 1620, Mary of Medicis commissioned Rubens to decorate the gallery of the Luxembourg with a series of emblematical paintings, in twenty-four compartments, illustrative of the principal events of her life. The series was painted at Antwerp, except two pictures, which he finished at Paris in 1623, when he arranged the whole in the gallery. These great works, executed in less than three years, are alone sufficient to attest the abundant fertility of his genius, and the wonderful facility of his hand.

RUBENS SENT AS AMBASSADOR TO THE COURTS OF SPAIN AND ENGLAND.

In 1628, the Infanta Isabella despatched Rubens on a delicate political mission to the court of Spain,

relative to the critical state of the government of the Low Countries, and for instructions preparatory to a negotiation of peace between Spain and England. On his arrival at the Spanish capital, he was received in the most gracious manner by Philip IV., acquitted himself of his diplomatic mission to the entire satisfaction of the Infanta and the King, and completely captivated that monarch, and his minister, the Duke de Olivares, by the magnificent productions of his pencil. He executed several great works, for which he was munificently rewarded, received the honors of knighthood, and was presented with the golden key, as a Gentleman of the Royal Bed-Chamber.

In 1629 he returned to Flanders, and was immediately despatched to England by the Infanta, on a secret mission, to ascertain the disposition of the government on the subject of peace. The king, Charles I., an ardent lover of the fine arts, received the illustrious painter with every mark of distinction, and immediately employed him in painting the ceiling of the Banqueting House at Whitehall, where he represented the Apotheosis of his father, James I., for which he received £3,000. Here Rubens showed himself no less skillful as a diplomatist than as a painter. In one of the frequent visits with which the king honored him during the execution of the work, he alluded with infinite delicacy and address to the subject of a peace with Spain, and finding the monarch not averse to such a measure, he