The Spell of Belgium

by Isabel Anderson

Fromentin, writing of Rubens in 1876, thus spoke of Malines and works of the great artist that were treasured there: “There are only two things that have outlived its past splendour, some extremely costly sanctuaries and the pictures by Rubens. These pictures are the celebrated triptych of the Magi, in St. John’s, and the no less celebrated triptych of the Miraculous Draught of Fishes, which belongs to the Church of Notre Dame.”

In this connection it is interesting to read how, when the Germans were shelling Malines for the second time, early last September, a Red Cross worker saved the Adoration of the Magi. The church had not yet suffered from the German shells. “This large work, composed of two side panels and a center piece, being on panel, was too heavy for two men to handle. I was first compelled to break into the church, for everybody had fled from the stricken town, and after many endeavours to find help, commandeered the only police officer available, two fine gendarmes and a locksmith. These men, with the utmost good will, helped us to rig a tackle over the famous picture, and, after two or three hours’ work, we were rejoiced to see our exertions crowned with success, for the three parts of the picture were down, without the slightest scratch. We commandeered from a village close by a dray and two horses, lashed the central piece of the picture between soft pads of hay and blankets, and sent it under the care of one of our men into safety at ——. The two side panels I took away myself in my own car.”

The Miraculous Draught of Fishes, which had been removed from the church of Notre Dame, and was found in a corridor of a public gymnasium, lying bare against the wall and without any protection whatever, was saved in the same way. The shrine of St. Rombaut, “a very costly work of silver and gold, about three feet high and five feet long,” was rescued before the destruction of the cathedral, and sent to a secret place of safety. It is a “valuable specimen of antique goldsmith’s work.” Many altar furnishings in gold and silver, beautiful laces, and a number of paintings, among them two more that are attributed to Rubens, were also included among the articles saved.

PORTRAIT OF A MAN AND HIS WIFE.—RUBENS.

Rubens was a prolific artist, and his pictures are to be found in all the great galleries of Europe, besides a small number in American private houses and museums. An interesting example of these is the portrait of a man and his wife, in the collection of Mrs. Robert D. Evans of Boston, now in the Museum of Fine Arts.

Rubens had all the industry, honesty, and brilliancy of colour of the great Flemings. He had, besides, greatness of conception and breadth of composition. A distinguished English painter calls him “perhaps the greatest master in the mechanical part of the art, the best workman with his tools, that ever exercised a pencil.” His paintings glow with vitality; they depict natural life in landscapes, in animals, in human beings. Many of his works are on large canvases and depict gross and sensual subjects. His Madonnas are often unsatisfying; his figures of Christ seldom bear the impress of the Godhead; with one or two notable exceptions the life of the spirit is lacking in his work. One of these exceptions is the Last Communion of St. Francis, which was at last accounts in the Antwerp Museum. The dying saint in the foreground has raised himself on his knees, and is even stretching toward the officiating priest on the left. His weak body is supported by a monk on the right. His face is radiant with spiritual exaltation and an earnestness of purpose that would hold even death in check until the holy wafer has passed his lips. In this picture Rubens has pierced the veil and revealed the things that cannot be known by the senses. Fromentin says of it: “When one has made a prolonged study of this unequalled work in which Rubens is transfigured, one can no longer look at anything, neither any person, nor other paintings, not even Rubens himself; for today one must leave the Museum.”

But Rubens was the head of a school of painting—the later Flemish school. His studio was thronged with young artists, who were assistants as well as students. With his keenness of observation directed to a line of business, the master quickly discovered what each pupil could do best, and set him at that part of a composition. In this way Rubens was enabled to produce the immense number of pictures that bear his name—thirteen hundred have been catalogued. One student would paint nothing but landscapes, another all the animals, while the teacher put in the most important parts and added the finishing touches to the whole. There was no deceit in this method of working, for the amount of Rubens’ own work a given piece contained depended upon the price his clients were willing to pay. The design was always his, but those who paid the lowest price got nothing but the design from his hand, while his wealthy patrons who could afford the maximum received pieces that were entirely his own handiwork, and between the two extremes there were all grades of collaboration.

Jacob Jordaens was one of the most famous of Rubens’ pupils. It is said that “they are of the same family and the same temperament; and Rubens stands between Jordaens and van Dyck. Rubens is gold, van Dyck silver, and Jordaens blood and fire.” The latter was an indefatigable painter and a rapid worker, often completing a portrait at a single sitting. He covered a wide range of subjects, religious, allegorical, landscapes, portraits and animals, and he succeeded so well that “there are Jordaens attributed to Rubens and Rubens to Jordaens.”