As a sort of parting work and, perhaps, because he wished to impress more vividly on his mind those dear, strong features of his mother, he painted that portrait of her which we so much admire both for its subject and its art. This image of his mother was an effectual charm to carry with him in his travels—a charm to save him perhaps, from some of the stumbling places into which a handsome young man away from home might wander.
In May of 1600, after making all needful preparation, our artist set out on his journey. It was natural that he should direct his steps first to Venice. Titian had but recently completed his productive life of nearly a century. His misty atmosphere, his intense interest in human life and, above all, his glowing color touched a kindred cord in Rubens’ nature. Then there were Tintoretto and Veronese, almost as interesting to our painter.
The Duke of Mantua, a most liberal and discerning patron of art, was in Venice when Rubens reached that city. One of the Duke’s suite happened to be in the house with Rubens. He took notice of the painter’s courtly bearing, his fine physique, and his ability to paint, and introduced him to the Duke. Never did our painter’s handsome face and fine presence so quickly win a patron. He was at once attached to the Duke’s court and began copying for him the masterpieces of Italy—the pictures of Titian, Correggio, Veronese, leading all others. He also studied carefully the work of Julio Romano, Raphael’s famous pupil. He accompanied the Duke to Milan, where he copied Leonardo’s great picture, “The Last Supper,” besides doing some original work.
The Duke had observed Rubens’ courtly manner and his keen mind. He decided that the painter was just the person to send in charge of some presents to the King of Spain, whose favor he was anxious to gain. The gifts were made up of fine horses, beautiful pictures, rare jewels and vases. Early in 1603, the painter set out with his cavalcade, and after a stormy journey of about three months they reached the Court of Spain. He was cordially received and the gifts were delivered, although the pictures had been somewhat damaged by the rains which marked the last days of their trip. He was asked to paint several portraits of eminent personages of the court and he complied graciously.
He returned to Italy after somewhat more than a year’s absence. For some time he remained at Mantua to paint an altar-piece for the chapel where the Duke’s mother was buried.
HOLY FAMILY
(Pette Gallery, Florence) Rubens
Later he went to Rome where he studied carefully the works of Michael Angelo. In turn he visited all the great art cities of Italy except Naples. He stopped for some time at Florence, Bologna, and Genoa. At the last place he received so many orders for his work that he could not attend to them all. Everywhere he went the fame of “the Fleming,” as he was called in Italy, had gone before him. In many of the cities he made lengthy sojourns, copying the masterpieces that pleased him, and painting originals highly prized to-day in the galleries of Italy.
He had been in Italy eight years, when one day from over the Alps came a courier in hot haste bearing to Rubens the sad news that his mother lay at home very ill. Not even waiting for permission from his patron, the Duke, Rubens started north with a heavy heart, for he felt sure that he should never see his mother again. Although he rode with all haste, as he neared his home city of Antwerp, he received the sad tidings he had so much dreaded. Marie Pypeling had died nine days before he left Italy. As was the custom in his country, he secluded himself for four months in a convent attached to the church where his mother was buried.