IV. Isabella Brandt 34 In the Wallace Collection V. Le Chapeau de Paille 40 In the National Gallery VI. The Descent from the Cross 50 In the Cathedral, Antwerp VII. Henry IV. leaving for a Campaign 60 In the Louvre VIII. The Virgin and the Holy Innocents 70 In the Louvre [Illustration] I INTRODUCTION The name of Peter Paul Rubens is written so large in the history of European art, that all the efforts of detractors have failed to stem the tide of appreciation that flows towards it. Rubens was a great master in nearly every pictorial sense of the term; and if at times the coarseness and lack of restraint of his era were reflected upon his canvas, we must blame the sixteenth and seventeenth centuries rather than the man who worked through some of their most interesting years, and at worst was no more than a realist. There may have been seasons when he elected to attempt more than any man could hope to achieve. There were times when he set himself to work deliberately to express certain scenes, romantic or mythological, in a fashion that must have startled his contemporaries and gives offence to-day; but to do justice to the painter, we must consider his work as a whole, we must set the best against the worst. [Illustration: PLATE II.--CHRIST À LA PAILLE (At Antwerp Museum) Whatever the Biblical story Rubens chose, he handled it not only with skill, but with a certain sense of conviction that is the more remarkable in one who owed no allegiance to the Church. There is fine feeling and deep reverence in the "Christ à la Paille," in addition to the dramatic feeling that accompanied all his religious pictures. The colouring, though very bold, is most effective; in the hands of a less skilled painter such a display of primary colouring might well have seemed violent or even vulgar.]