It was finished
in 1625, and, of twenty repetitions of the subject, is the only
example still preserved at the place it was intended by the painter
to occupy. In spirit we are reminded of Titian's "Assumption" in the
cathedral at Verona, but Rubens' proves perhaps a higher conception
of the subject. The work is seen a considerable way off, and every
outline is bathed in light, so that the Virgin is elevated to dazzling
glory with a power of accession scarcely, if ever, attained by any
master.
In the celebrated "Descent from the Cross," which hangs in the
south transept, the boldness of the composition, the energy in the
characters, the striking attitudes and grouping, the glowing, vigorous
coloring, are astonishing proofs of Rubens' power. The circumstances
which gave rise to this wondrous effort of art are interesting. It is
said that Rubens, in laying the foundations of his villa near Antwerp,
had unwittingly infringed on some ground belonging to the Company
of Gunsmiths (arquebusiers). A law suit was threatened, and Rubens
prepared to defend it, but, being assured by one of the greatest
lawyers of the city that the right lay with his opponents, he
immediately drew back, and offered to paint a picture by way of
recompense.
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