they insinuated that he owed the best part of his reputation in the great variety of his works, for which he was celebrated, to the talents of two of his disciples, Snyders and Wildens, whom he employed occasionally in forwarding the animals and landscapes in his pictures. The principal of these vilifiers were Abraham Janssens, Cornelius Schut, and Theodore Rombouts; the first had the hardihood to challenge him to paint a picture in competition with him. Rubens treated these attacks with a dignity and philanthropy that shows his exalted mind, and the goodness of his heart; he relieved the necessities of his accusers, and exposed his immortal production of the Descent from the Cross.
THE GALLERY OF THE LUXEMBOURG.
In 1620, Mary of Medicis commissioned Rubens
to decorate the gallery of the Luxembourg with a
series of emblematical paintings, in twenty-four
compartments, illustrative of the principal events of
her life. The series was painted at Antwerp, except
two pictures, which he finished at Paris in 1623,
when he arranged the whole in the gallery. These
great works, executed in less than three years, are
alone sufficient to attest the abundant fertility of his
genius, and the wonderful facility of his hand.
RUBENS SENT AS AMBASSADOR TO THE COURTS
OF SPAIN AND ENGLAND.
In 1628, the Infanta Isabella despatched Rubens
on a delicate political mission to the court of Spain,
