she.

When Rubens went to England on "an artistic commission," we see that he
captured Charles the First just as he captured the court of Spain. He
painted five portraits of the King that we can trace. The mild-mannered
Charles was greatly pleased with the fine portrait of himself bestriding
the prancing cream-colored charger.

Several notable artists, Sir Joshua Reynolds among them, have
complimented the picture by taking the horse, background and pose, and
placing another man in the saddle--or more properly, taking off the head
of Charles the First and putting on the head of any bold patron who would
furnish the price. In looking through the galleries of Europe, keep your
eye out for equestrian portraits, and you will be surprised to see on
your tab, when you have made the rounds, how many painters have borrowed
that long-maned, yellow horse that still rears in the National Gallery in
London, smelling the battle afar off--as Charles himself preferred to
smell it.

Rubens had a good time in England, although his patience was severely
tried by being kept at painting for months, awaiting an opportune time to
give King Charles some good advice on matters political.

English ways were very different from those of the Continent, but Rubens
soon spoke the language with fluency, even if not with precision.

Rubens spoke seven languages, and to speak seven languages is to speak no
one well. On this point we have a little comment from high authority.
Said Charles the First, writing to Buckingham, "The Fleming painter
prides himself on being able to pass for an Englishman, but his English