buried, the good old priest who acted as guide called my attention to a
picture by Van Noort, showing Peter finding the money in the mouth of the
fish. "A close study of that picture will reveal to you the germ of the
Rubens touch," said the priest, and he was surely right: its boldness of
drawing, the strong, bright colors and the dexterity in handling all say,
"Rubens." Rubens builded on the work of Van Noort.

Twenty years after Rubens had left the studio of Van Noort he paid
tribute to his old master by saying, "Had Van Noort visited Italy and
caught the spirit of the classicists, his name would stand first among
Flemish artists."

Rubens worked four years with Van Noort and then entered the studio of
Otto van Veen. This man was not a better painter than Van Noort, but he
occupied a much higher social position, and Peter Paul was intent on
advancing his skirmish-line. He never lost ground. Van Veen was Court
Painter, and on friendly terms with the Archduke Albert, and Isabella,
his wife, daughter of Philip the Second, King of Spain.

Van Veen took very few pupils--only those who had the ability to aid him
in completing his designs. To have worked with this master was an
introduction at once into the charmed circle of royalty.

Rubens was in no haste to branch out on his own account: he was quite
content to know that he was gaining ground, making head upon the whole.
He won the confidence of Van Veen at once by his skill, his cheerful
presence, and ability to further the interests of his master and patrons.
In Fifteen Hundred Ninety-nine, when Rubens was twenty-two, he was
enrolled as a free master at the Guild of Saint Luke on the nomination of
Van Veen, who also about this time introduced the young artist to Albert