Later, when Van Dyck came back from Italy, after five years of study there, he found little sale for his pictures, and was depressed. Rubens went to his studio, comforted him, and bought all his paintings which were finished. He did the same thing with a rival who had maligned him because he was not as successful as the great painter. When Rubens died, he owned in his gallery over three hundred pictures, many by Titian, Paul Veronese, Tintoretto, and Van Dyck, and ninety by his own hand. In 1635, when Philip IV. of Spain had appointed as governor of the Netherlands his own brother, the Cardinal Infanta Ferdinand, Sir Peter Paul Rubens was deputed to design the triumphal arches and ornamental temples for his solemn entry into Antwerp. These beautiful designs were afterwards engraved and published, with a learned Latin description by his friend Gevaerts, though they were not ready for the press till the year after Rubens's death. On the day when Ferdinand entered Antwerp, Rubens was ill at his house, but the new governor showed his appreciation of his talent and learning by calling upon him in his own home, as Queen Marie de' Medici, the Infanta Isabella, and other famous persons had done. His last piece of work was the "Crucifixion of St. Peter," for St. Peter's Church at Cologne. He asked for a year and a half to complete the picture, but death came before it was finished. It represents the apostle nailed to the cross with his head downwards, surrounded by six executioners. "He has proved," says Gustave Planche, "over and over again that he knew all the secrets of the human form, but never has he proved it so clearly as in the Crucifixion of Peter." May 30, 1640, Antwerp was in mourning for her world-renowned painter. He was buried at night, as was the custom, a great concourse of citizens, all the artistic and literary societies, and sixty orphan children with torches, following his body to the grave. It was temporarily placed in the vault of the Fourment family, and March 4, 1642, was removed to a special chapel built by his wife in the Church of St. James in Antwerp. At his own request, made three days before his death, a "Holy Family," one of his best works, was hung above his resting-place. In the picture, St. George is a portrait of himself, St. Jerome of his father, an angel of his youngest son, and Martha and Mary of Isabella and Helena, his two wives. "A group of tiny angels, floating in the air, crown the Holy Child with a wreath of flowers." The learned nephew of Rubens, Gevaerts, wrote the following epitaph, in Latin, now inscribed on his monument:--