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The second is his universality--the word is not over-exact, but I can find no other. I mean that Froude was the exact opposite of the sciolist and was even other than the student. He was kneaded right into his own time and his own people. The arena in which he fought was small, the ideas he combated were few. He was not universal as those are universal who appeal to any man in any country. But he was eager upon these problems which his contemporaries wrangled over. He was in tune with, even when he directly opposed, the class from which he sprang, the mass of well-to-do Protestant Englishmen of Queen Victoria's reign. Their furniture had nothing shocking for him nor their steel engravings. He took for granted their probity, their common sense, and their reading. He knew what they were thinking about and therefore all he did to praise or blame their convictions, to soothe or to exasperate them, told. He could see the target.

Well-born, ennobled by royalty, successful in both court and studio, Rubens lived brilliantly and his life was a series of triumphs. He painted enormous canvases, and the number of pictures, altar-pieces, mythological decorations, landscapes, portraits scattered throughout the galleries of Europe, and attributed to him, is simply amazing. He was undoubtedly helped in many of his canvases by his pupils, but the works painted by his own hand make a world of art in themselves. He was the greatest painter of the North, a full-rounded, complete genius, comparable to Titian in his universality. His precursors and masters, Van Noort (1562-1641) and Vaenius (1558-1629), gave no strong indication of the greatness of Ruben's art, and his many pupils, though echoing his methods, never rose to his height in mental or artistic grasp.



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