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Peter Paul Rubens 1577-1640 is in Painters.
On 28th June 1577 Peter Paul Rubens was born.
1605-1615. Peter Paul Rubens (age 27). Portrait of Vincenzo Gonzaga II Duke of Mantua (age 10).
Vincenzo Gonzaga II Duke of Mantua: On 8th February 1594 he was born to Vincenzo Gonzaga III Duke Mantua and Eleanor de Medici Duchess Mantua. On 29th October 1626 Ferdinando Gonzaga Duke of Mantua died. His brother Vincenzo succeeded Duke Mantua. On 25th December 1627 Vincenzo Gonzaga II Duke of Mantua died.
Around 1607. Peter Paul Rubens (age 29). "Marchesa Maria Serra Pallavicino". acquired by William Bankes (1786–1855) in 1840 as a portrait of the Marchesa Isabella Grimaldi. It would appear that the identification of the sitter had been made by the Grimaldi family, which had latterly owned it. When first referred to, in Ratti's guide to Genoa of 1780, the sitter was anonymous. New research into the heraldic motifs of the curtain drawn up above the sitter's head has identified her as Maria Serra, the wife of Niccolò Pallavicino, banker and host to Rubens' employer, Duke Vincenzo Gonzaga I of Mantua.
Around 1607. Peter Paul Rubens (age 29). "Marchesa Maria Grimaldi, and Her Dwarf".
1608-1609. Peter Paul Rubens (age 30). "Cain Slaying Abel".
1609. Peter Paul Rubens (age 31). Self-portrait known as 'The Honeysuckle Bower'.
1614. Peter Paul Rubens (age 36). "St. Sebastian".
1616. Peter Paul Rubens (age 38). "The Tiger Hunt".
1617-1618. Peter Paul Rubens (age 39). "Head of Medusa".
1622-25. Peter Paul Rubens (age 44). "Le Chapeau de Paille". Portrait of Susanna Lunden(?) née Fourment (1599–1628), the older sister of Rubens' future second wife Helena Fourment.
1623. Peter Paul Rubens (age 45). Self-portrait.
All About History Books
The Deeds of King Henry V, or in Latin Henrici Quinti, Angliæ Regis, Gesta, is a first-hand account of the Agincourt Campaign, and subsequent events to his death in 1422. The author of the first part was a Chaplain in King Henry's retinue who was present from King Henry's departure at Southampton in 1415, at the siege of Harfleur, the battle of Agincourt, and the celebrations on King Henry's return to London. The second part, by another writer, relates the events that took place including the negotiations at Troye, Henry's marriage and his death in 1422.
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Around 1625. Peter Paul Rubens (age 47). Portrait of Anne of Austria Spain Queen Consort France (age 23) in her coronation robes.
Around 1625. Peter Paul Rubens (age 47). Portrait of George Villiers 1st Duke of Buckingham (age 32).
Around 1625. Peter Paul Rubens (age 47). Portrait of Anne of Austria Spain Queen Consort France (age 23).
1627-28. Peter Paul Rubens (age 49). Portrait of Anthony Van Dyck (age 27).
1628. Peter Paul Rubens (age 50). "Allegory of War".
Around 1629 Peter Paul Rubens (age 51). Portrait of Thomas Howard 14th or 21st Earl of Arundel 4th Earl of Surrey 1st Earl Norfolk (age 43).
1630. Peter Paul Rubens (age 52). "Teresa of Avila's Vision of the Dove".
1630-1609. Peter Paul Rubens (age 52). "Baldassare Castiglione".
1630. Peter Paul Rubens (age 52). "Joan of Arc".
On 30th May 1640 Peter Paul Rubens (age 62) died.
John Evelyn's Diary. 4th October 1641. The lodgings here are very handsome and convenient. I lost little time; but, with the aid of one Mr. Lewkner, our conductor, we visited divers churches, colleges, and monasteries. The Church of the Jesuits is most sumptuous and magnificent; a glorious fabric without and within, wholly incrusted with marble, inlaid and polished into divers representations of histories, landscapes, and flowers. On the high altar is placed the statue of the Blessed Virgin and our Saviour in white marble, with a boss in the girdle set mth very fair and rich sapphires, and divers other stones of price. The choir is a glorious piece of architecture; the pulpit supported by four angels, and adorned with other carvings, and rare pictures by Rubens, now lately dead, and divers votive tables and relics. Hence, to the Vrou Kirk, or N6tre Dame of Antwerp: it is a very venerable fabric, built after the Gothic manner, especially the tower, which I ascended, the better to take a view of the country adjacent; which, happening on a day when the sun shone exceedingly bright, and darted his rays without any interruption, afforded so bright a reflection to us who were above, and had a full prospect of both land and water about it, that I was much confirmed in my opinion of the moon's being of some such substance as this earthly globe. Perceiving all the subjacent country, at so small an horizontal distance, to repercuss such a light as I could hardly look against, save where the river and other large water within our view, appeared of a more dark and uniform colour, resembling those spots in the moon supposed to be seas there, according to Hevelius, and as they appear in our late telescopes. I numbered in this church thirty privileged altars, that of St. Sebastian adorned with a painting of his martyrdom.
John Evelyn's Diary. 8th October 1641. By an accident, we could not see the library. There is a fair terrace which looks to the vineyard, in which, on Pedestals, are fixed the statues of all the Spanish kings of the house of Austria. The opposite walls are painted by Rubens, being an history of the late tumults in Belgia: in the last piece, the Archduchess shuts a great pair of gates upon Mars, who is coming out of hell, armed, and in a menacing posture; which, with that other of the Infanta taking leave of Don Philip the Fourth, is a most incomparable table.
John Evelyn's Diary. 8th October 1641. Being the morning I came away, I went to see the Prince's Court, an ancient, confused building, not much unlike the Hofft, at the Hague: there is here likewise a very large Hall, where they vend all sorts of wares. Through this we passed by the chapel, which is indeed rarely arched, and in the middle of it was the hearse, or catafalco, of the late Archduchess, the wise and pious Clara Eugenia. Out of this we were conducted to the lodgings, tapestried with incomparable arras, and adorned with many excellent pieces of Rubens, old and young Breugel, Titian, and Stenwick, with stories of most of the late actions in the Netherlands.
1650. Peter Paul Rubens. Portrait of George Villiers 2nd Duke of Buckingham (age 21).
All About History Books
The Chronicle of Walter of Guisborough, a canon regular of the Augustinian Guisborough Priory, Yorkshire, formerly known as The Chronicle of Walter of Hemingburgh, describes the period from 1066 to 1346. Before 1274 the Chronicle is based on other works. Thereafter, the Chronicle is original, and a remarkable source for the events of the time. This book provides a translation of the Chronicle from that date. The Latin source for our translation is the 1849 work edited by Hans Claude Hamilton. Hamilton, in his preface, says: "In the present work we behold perhaps one of the finest samples of our early chronicles, both as regards the value of the events recorded, and the correctness with which they are detailed; Nor will the pleasing style of composition be lightly passed over by those capable of seeing reflected from it the tokens of a vigorous and cultivated mind, and a favourable specimen of the learning and taste of the age in which it was framed." Available at Amazon in eBook and Paperback.
John Evelyn's Diary. 21st June 1693. I saw a great auction of pictures in the Banqueting house, Whitehall [Map]. They had been my Lord Melford's (age 42), now Ambassador from King James (age 59) at Rome, and engaged to his creditors here. Lord Mulgrave (age 45) and Sir Edward Seymour (age 60) came to my house, and desired me to go with them to the sale. Divers more of the great lords, etc., were there, and bought pictures dear enough. There were some very excellent of Vandyke, Rubens, and Bassan. Lord Godolphin (age 48) bought the picture of the Boys, by Murillo the Spaniard, for 80 guineas, dear enough; my nephew Glanville, the old Earl of Arundel's head by Rubens, for £20. Growing late, I did not stay till all were sold.
