In the mean time Rubens' first wife died, after a union of seventeen years, in 1626; and four years later, in 1630, the painter, when he was a man of fifty years, re-married another connection of his own, Helena Fourment, a girl only in her sixteenth year. Both of his wives were handsome, fair, full-formed Flemish beauties. Elizabeth (in Spanish, Isabella) Brant's beauty was of a finer order than that of her successor, expressing larger capacity of affection and intellect. But on Helena Fourment Rubens doted, while to both women he seems to have been affectionately attached. He has painted them so often, that the face of no painter's wife is so familiar to the art world, and even to the greater world without, as are the faces of these two women, and above all, that of Helena Fourment. He had seven children, who frequently figure in their mothers' portraits. He has left notable portraits of his two sons by his first wife, of his eldest daughter, Clara Eugenia, when eight years of age, and of his daughter Elizabeth, a buxom baby, dressed in velvet and point lace, playing with toys.
After a life of unbroken success and the highest honours, the last distinction conferred on Rubens was, that he was chosen to arrange the gala, and to be the right-hand man who should conduct the Cardinal Infant, the successor of Clara Eugenia, on his first entrance into Antwerp. But the hand of premature disease and death, which not even he could resist, was already on the great painter; his constitution had been undermined by repeated attacks of gout, and he died at the age of sixty years, in 1640. He was the possessor of great wealth at the time of his death, and only a part of his collection, which was then sold, brought so large a sum in those days, as twenty thousand pounds. Rubens' second wife, Helena Fourment, to whom he had been married ten years, survived him, a widow at twenty-six years of age Rubens' portrait is even better known than those of his wives, for, as I have said of Raphael in his popularity, Rubens in his life is the beau-ideal of a painter to the many. The portrait is worthy of the man, with something gallant in the manliness, and with thought tempering what might have been too much of bravado and too much of débonnaireté in the traits. His features are handsome in their Flemish fulness, and match well with hazel eyes, chestnut hair, and a ruddy complexion; his long moustache is turned up, and he wears the pointed beard which we see so often in the portraits by Rubens' scholar, Van Dyck. The great flapping hat, worn alike by men and women, slightly cocked to one side, is the perfection of picturesque head gear. Equally picturesque, and not in the slightest degree effeminate on a man like Rubens, is the falling collar of pointed mechlin, just seen above the cloak draped in large folds.