"Sir, if the canvases of Guido, lately introduced into the Gallery, had been good works of even that bad master, which they are not,—if they had been genuine and untouched works, even though feeble, which they are not,—if, though false and retouched remnants of a feeble and fallen school, they had been endurably decent or elementarily instructive,—some conceivable excuse might perhaps have been by ingenuity forged, and by impudence uttered, for their introduction into a gallery where we previously possessed two good Guidos (11 and 177) ... but now, sir, what vestige of an apology remains for the cumbering our walls with pictures that have no single virtue, no colour, no drawing, no character, no history, no thought?" (Arrows of the Chace, i. 64, 65).
194. THE JUDGMENT OF PARIS.
Rubens (Flemish: 1577-1640). See 38.
At the wedding of Thetis and Peleus an apple was thrown amongst the guests by the Goddess of Discord, to be given to the most beautiful. Paris, the Trojan shepherd, was ordered by Jupiter to decide the contest. He is here seated with Mercury, the messenger of the gods, at his side, about to award the apple to Venus. On the right of Venus is Juno with her peacock at her feet; on the left, Minerva, with her owl perched behind her. Paris thus chose Pleasure, instead of Power or Wisdom; and from his choice came, the story adds, all the troubling of domestic peace involved in the Trojan War. The Goddess of Discord, already assured of her victory and its consequences, hovers in the clouds above, spreading fire and pestilence.
This picture—one of Rubens's masterpieces and "evidently entirely the work of his own hand"—belongs to his latest period; "never did he show his intense appreciation of the beauty of flesh and the delights of colour more conspicuously than in the pictures of his old age." Characteristic also is the painter's treatment of the subject. The goddesses are as substantial as any figures of flesh and blood; the picture is realistic, not symbolic. An exactly opposite method of treatment was exemplified in Mr. Watt's "Judgment of Paris," exhibited at the Grosvenor Gallery in 1887. Paris was left out, for does not every lover have the same choice to make for himself? and the goddesses were soft visionary forms of purely ideal beauty (cf. Modern Painters, vol. iii. pt. iv. ch. viii. § 7).
195. A MEDICAL PROFESSOR.
Unknown (German School).
The interest of this picture lies in the history of its purchase. It was bought by the trustees in 1845, on the advice of the then Keeper, as a Holbein. "The veriest tyro might well have been ashamed of such a purchase" (Arrows of the Chace, i. 65); and very much ashamed the trustees were, when immediately after the purchase the hoax was discovered. There and then they subscribed £100 between them, which they offered to M. Rochard, the dealer, "to induce him to annul the bargain, but he declined, and there was an end of it."[108]
196. SUSANNAH AND THE ELDERS.
Guido Reni (Eclectic-Bologna: 1575-1642). See 11.