As Rubens grew in fame, he found that many were jealous of him, and on one occasion a rival proposed that he and Rubens each paint a picture upon a certain subject and leave it to judges to decide which work was the best--Rubens's or his own. "No," said Rubens. "My attempts have been subjected to the scrutiny of connoisseurs in Italy and Spain. They are to be found in public collections and private galleries in those countries; gentlemen are at liberty to place their works beside them, in order that comparison may be made." This was a dignified way of disposing of the case. Rubens loved to paint animals, and he had a great lion brought to his home, that he might study its poses and movements. The flesh of his figures was so lifelike that Guido declared he must mix blood with his paints. He was called "the painter of life." Rubens, a seventh child, had also seven children, two belonging to his first wife, five to the second. Many stories are told of his patience and his kindness. It is said that at one time his old pupil, Van Dyck, returned to Antwerp after an absence, greatly depressed and in need of money. Rubens bought all his unsold pictures, and he did this charitable act more than once, and is known to have done the same thing for a rival and enemy, out of sheer goodness of heart. Kings and queens came to the Rubens house, people of many nations did him honour; and toward his closing days, when gout had disabled him, ambassadors visited him, since he could not go to them. In a description of his death and burial which took place at Antwerp we read: "He was buried at night as was the custom, a great concourse of citizens ... and sixty orphan children with torches followed the body." He was placed in the vault of the Fourment family, and as he had requested, "The Holy Family" was hung above him. In that picture, we find the St. George to be Rubens himself; St. Jerome, his father; an angel, his youngest son, while Martha and Mary are Isabella and Helena, his two wives. He left many sketches "to whichever of his sons became an artist, or to the husband of his daughter who should marry an artist." But there were none such to claim the bequest. PLATE--THE INFANT JESUS AND ST. JOHN The little girl behind Jesus is supposed to represent his future bride, the Christian Church. The thoughtful, far-seeing look upon the face of the Christ-child, though it does not clash with His youthful charm, is meant to suggest that He has a premonition of His work in the world. The other joyous little figures also demonstrate the artist's love for children. He brings them into his pictures, as cherubs, wherever he can, and they are frequently just as well painted and more universally appreciated than his stout women. In this picture he has a good opportunity to show his adorable flesh tints, combined with the movement and freedom naturally associated with child life.