Salvator Rosa was at Naples 1647, and took part in the riots, so famous in song and story, which made Masaniello, the young fisherman, for a time Captain-General and Master of Naples, when it was, according to law, a Spanish dependency governed by a viceroy. Salvator was in the Compagnia della Morte commanded by Falcone, a battle painter, during the troubles, a wild enough post to please the wild painter, even had he not been in addition a personal adherent of the ruling spirit Masaniello, whom Salvator Rosa painted more than once. After so eventful a life, the painter died peaceably enough in his fifty-ninth year, of dropsy, at Rome, and left a considerable fortune to his only son.
Salvator Rosa was the incarnation of the arrogant, fickle, fierce Neapolitan spirit, and he carried it out sufficiently in an undisciplined, stormy life, without the addition of the popular legend that he had at one time joined a troop of banditti, and indulged in their excesses. The legend seems to have arisen from Salvator Rosa's familiarity with mountain passes, and his love of peopling them appropriately with banditti in action. Salvator Rosa was a dashing battle painter, a mediocre historical painter, and an excellent portrait painter as well as landscape painter. But it is chiefly by the savage grandeur of his mountain or forest landscapes, with their fitting dramatis personæ, that he has won his renown. Mr Ruskin, while he allows Salvator's gift of imagination, denounces him for the reckless carelessness and untruthfulness to nature of his painting. Many of Salvator Rosa's pictures are in the Pitti Palace in Florence, and many are in England.
CHAPTER VIII.
RUBENS, 1577-1640—REMBRANDT, 1606 OR 1608-1669—TENIERS, FATHER AND SON, 1582-1694—WOUVERMAN, 1620-1668—CUYP, 1605; STILL LIVING, 1638—PAUL POTTER, 1625-1654—CORNELIUS DE HEEM, 1630.
A long interval elapsed between the Van Eycks and Quintin Matsys, and Rubens; but if Flemish art was slow of growth and was only developed after long pauses, it made up for its slowness and delays by the burst of triumph into which Flemish and Dutch art broke forth in Rubens and his school, in Rembrandt and Cuyp and Ruysdael.
Peter Paul Rubens was born at Siegen in Westphalia, on the day of St Peter and St Paul, 1577. But though Rubens was born out of Antwerp, he was a citizen of Antwerp by descent as well as by so many later associations. His father, John Rubens, a lawyer, an imprudent, thriftless man in character and habits, had been compelled to leave Antwerp in consequence of religious disturbances which broke out there about the time that the northern provinces, more at one and more decided in their union than the southern provinces, established their independence. Rubens spent his early boyhood at Cologne, but on the death of his father when he was ten years of age, his mother, a good and 'discreet' woman, to whom the painter owed much, and confessed his debt, returned with her family to Antwerp. His mother had destined him for his father's profession, but did not oppose her son's preference for art.
After studying under two different artists, and becoming a master in the guild of St Luke, Rubens went to Italy in 1600, when he was a young man of three-and-twenty years of age. He was eight years absent, entering the service of the ducal sovereign of Mantua, being sent by him on a diplomatic mission to Madrid to Philip III, of Spain, visiting on his own account Rome, where he found the Carracci and Guido [22] at the height of their fame, Venice and Genoa, 'leaving portraits where he went.'
With Genoa, its architecture, and its situation, Rubens was specially charmed, but he quitted it in haste, being summoned home to attend the death-bed of his mother, from whom he had parted eight years before; and arriving too late to see her in life. A man of strong feelings in sorrow as in joy, he withdrew into retirement, and resided for his season of mourning in a religious house.
Loving Italy with a painter's enthusiasm, so that to the latest day of his life he generally wrote in Italian, and loved to sign his name 'Pietro Paolo Rubens,' he had intended to return and settle in Mantua, but having been named court painter to the Governess of the Netherlands, Clara Eugenia, and her husband Albert, Rubens had sufficient patriotism and sufficient worldly foresight to induce him to relinquish his idea, and establish himself in his native Antwerp. He was already a man of eminence in his profession, and a man of mark out of it. Go where he would he made friends, and he so recommended himself to his royal patrons by his natural suavity, tact, and sagacity, that he was not only in the utmost favour with them as a right courtly painter, but was employed by them, once and again, on delicate, difficult, private embassies. But it was not only to his patrons that Rubens was endeared, he was emphatically what men call 'a good fellow,' alike to superiors, equals, and inferiors; a frank, honest, bountiful, and generous man. His love of courts and their splendour was the chivalrous homage which a man of his cast of mind paid to the dignity and picturesqueness of high estate.