despised the arts, while the Roman Catholics were effete or insincere, and could not retain influence over men of strong reasoning power. The painters could only associate frankly with men of the world, and themselves became men of the world. Men, I mean, having no belief in spiritual existences, no interests or affections beyond the grave. Not but that they still painted Scriptural subjects. Altarpieces were wanted occasionally, and pious patrons sometimes commissioned a cabinet Madonna. But there is just this difference between men of this modern period and the Florentines or Venetians--that, whereas the latter never exert themselves fully except on a sacred subject, the Flemish and Dutch masters are always languid unless they are profane." Rubens was thus a man of the world. When a boy he was for some time page in the family of a countess at Brussels. But his bent towards art was too strong to be gainsaid. When only twenty-two he was already a master-painter in the Antwerp Guild. Two years later he went to Italy, and for eight years he was in the service of the Duke of Mantua. An excellent Latin scholar, he was also proficient in French, Italian, English, German, and Dutch. These gifts procured him diplomatic employment. In 1603 "the Fleming," as they called him, was sent on a mission to Spain. In 1608 news of his mother's illness reached him, and he hastened home, when he was appointed court-painter to the Archduke Albert, then Governor of the Netherlands. In 1620 he visited Paris, at the invitation of Mary de' Medici (a sister of the Duchess of Mantua), and received the commission for the celebrated series of pictures now in the Louvre, commemorating the marriage of that princess with Henry IV. of France. In 1628 Rubens was sent on a mission to Philip IV. of Spain, and made the acquaintance of Velazquez. The great decorative master and the great realist (his junior by twenty-two years) painted together, travelled together, and talked together for eight or nine months. Rubens, we are told, was never so well pleased as when he was in the company of Velazquez, and Velazquez showed no resentment at the commissions given by the court to the foreign painter. In 1629 Rubens was sent to Charles I. of England (_see under_ 46), by whom, in the following year, he was knighted. He was also given an honorary degree by the University of Cambridge. On this occasion, Rubens was commissioned to paint the pictures which adorn the ceiling of the Banqueting Hall of Whitehall (now the United Service Institution). Wherever he went Rubens continued to paint, and his diplomacy he considered as mere recreation. "The painter Rubens," he is reported to have said