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Page 23
which are still to be seen over the high -altar, representing the Queen of Heaven
with three Saints on either hand. He reserved for himself however the picture that
he had first painted, in which, besides the two Patrons of the church, he had ...
which are still to be seen over the high -altar, representing the Queen of Heaven
with three Saints on either hand. He reserved for himself however the picture that
he had first painted, in which, besides the two Patrons of the church, he had ...
Page 29
U--' For this act the Queen of Heaven herself descended into his cathedral in
visible shape and presented him with a mantle of celestial texture. The
Archbishop is represented here on his knees before a throne, which occupies the
centre of ...
U--' For this act the Queen of Heaven herself descended into his cathedral in
visible shape and presented him with a mantle of celestial texture. The
Archbishop is represented here on his knees before a throne, which occupies the
centre of ...
Page 86
In the beginning of 1622 he came to Paris to make arrangements with the Queen
herself: and it was on this occasion that he most probably painted the fine portrait
of her now in the Museum at Madrid (Fig. 68). Three years later the paintings, ...
In the beginning of 1622 he came to Paris to make arrangements with the Queen
herself: and it was on this occasion that he most probably painted the fine portrait
of her now in the Museum at Madrid (Fig. 68). Three years later the paintings, ...
Page 89
... Maria de Medici, journeying to Pont de Ce, is represented as J\Iincn<a on
rrofsebaek-(Frg-. 70). The face is here idealized to harmonize with the --helmet of
the goddess : — although otherwise the Queen always appears in her own
likeness ...
... Maria de Medici, journeying to Pont de Ce, is represented as J\Iincn<a on
rrofsebaek-(Frg-. 70). The face is here idealized to harmonize with the --helmet of
the goddess : — although otherwise the Queen always appears in her own
likeness ...
Page 90
... conceived rather . superficially; but there are traits which unquestionably testify
power of observation and deep sentiment : as, for instance, where the King
examines for the first time the portrait of his Bride; or when the Queen is
overcome by ...
... conceived rather . superficially; but there are traits which unquestionably testify
power of observation and deep sentiment : as, for instance, where the King
examines for the first time the portrait of his Bride; or when the Queen is
overcome by ...
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Bibliographic information
| Title | Rubens Monographs on artists ... IX |
| Author | Hermann Knackfuss |
| Translated by | Luise Marie Schwaab Richter |
| Publisher | Velhagen & Klasing, 1904 |
| Original from | Harvard University |
| Digitized | 3 Mar 2009 |
| Length | 168 pages |
| Export Citation | BiBTeX EndNote RefMan |