THE PICTURES IN BELGIUM.

To make the present volume more useful to the tourist, and to save the cost of purchasing the French catalogues usually sold at the doors of each collection, the following translated Lists of Pictures are given, together with additional matter likely to be interesting to the connoisseur.

ANTWERP.

Before giving a catalogue of the works of art in the museum at Antwerp, let us turn to see what our great English authority, Sir Joshua Reynolds, says about pictures seen by him in this town at the time of his tour in Flanders and Holland.

THE CATHEDRAL.

In the Cathedral, Antwerp, Reynolds found many subjects for observation and criticism. Taking the painters in the succession in which their works met his view, we find him saying:

"On entering the great door on the right, is the Last Judgment, said to be by B. Van Orlay, but I suspect it to be by some of his descendants; it is much inferior to what we saw of him at Brussels. On the folding-doors are the Seven Acts of Mercy: it has no excellence of any kind to make amends for its extreme hardness of

manner.

The Altar of the Archers; St. Sebastian, by Koeberger. There are good parts in this picture, but it is not equal to his Pieta at Brussels: the boy in half-shadow, who holds a bow and arrows, and the priest, who holds an image in his hand, the face seen by a reflected light, are the best parts of the picture. The body of the saint is well coloured, and in a broad manner. Two women's heads are introduced very awkwardly in the bottom of the picture.

The Fall of the Angels, by F. Floris, 1554; which has some good parts, but without masses, and dry. On the thigh of one of

the figures he has painted a fly for the admiration of the vulgar; there is a foolish story of this fly being painted by J. Matsys, and that it had the honour of deceiving Floris.

Rubens' famous Descent of the Cross, of all his works, is that which has the most reputation. I had consequently conceived the highest idea of its excellence; knowing the print, I had formed in my imagination what such a composition would produce in the hands of such a painter. I confess I was disappointed. However, this disappointment did not proceed from any deficiency in the picture itself; had it been in the original state in which Rubens left it, it must have appeared very different; but it is mortifying to see to what degree it has suffered by cleaning and mending: that brilliant effect which it undoubtedly once had, is lost in a mist of varnish, which appears to be chilled or mildewed. The Christ is in many places retouched, so as to be visible at a distance; the St. John's head repainted; and other parts, on a close inspection, appear to be chipping off, and ready to fall from the canvas. However, there is enough to be seen to satisfy any connoisseur that in its perfect state it well deserved all its reputation.

The composition of this picture is said to be borrowed from an Italian print. This print I never saw; but those who have seen it say that Rubens has made no deviation from it, except in the attitude of the Magdalen. On the print is written, Peter Passer Invenit; Hieronymus Wirix sculpsit.'

The greatest peculiarity of this composition is the contrivance of the white sheet, on which the body of Jesus lies: this circumstance was probably what induced Rubens to adopt the composition. He well knew what effect white linen, opposed to flesh, must have, with his powers of colouring; a circumstance which was not likely to enter into the mind of an Italian painter, who probably would have been afraid of the linen's hurting the colouring of the flesh, and have kept it down of a low tint. And the truth is, that none but great colourists can venture to paint pure white linen near flesh; but such know the advantage of it; so that possibly what was stolen by Rubens, the possessor knew not how to value; and certainly no person knew so well as Rubens how to use. After all, this may perhaps turn out another Lauder's detection of plagiarism. I could wish to see this print, if there is one, to ascertain how far Rubens was indebted to it for his Christ, which I consider as one of the finest figures that ever was invented; it is most correctly drawn, and I apprehend in an attitude of the utmost difficulty to execute. The hanging of the head on his shoulder, and the falling of the body on one side, gives such an appearance of the heaviness of death, that nothing can exceed it.

Of the three Marys, two of them have more beauty than he generally bestowed on female figures; but no great elegance of

character. The St. Joseph of Arimathea is the same countenance which he so often introduced in his works; a smooth fat face,-a very unhistorical character.

The principal light is formed by the body of Christ and the white sheet; there is no second light which bears any proportion to the principal; in this respect it has more the manner of Rembrandt's disposition of light than any other of Rubens' works; however, there are many little detached lights distributed at some distance from the great mass, such as the head and shoulders of the Magdalen, the heads of the two Marys, the head of St. Joseph, and the back and arm of the figure leaning over the cross; the whole surrounded with a dark sky, except a little light in the horizon, and above the cross.

The historical anecdote relating to this picture says that it was given in exchange for a piece of ground, on which Rubens built his house; and that the agreement was only for a picture representing their patron, St. Christopher, with the Infant Christ on his shoulders. Rubens, who wished to surprise them by his generosity, sent five pictures instead of one, a piece of gallantry on the side of the painter, which was undoubtedly well received by the Arquebusers; since it was so much to their advantage, however expensive to the maker of it.

All these pictures were intended to refer to the name of their patron Christopher.

In the first place the body of Christ on the Altar is borne by St. John, St. Joseph of Arimathea, Mary Magdalen, &c.

On one side of the left door, is the Salutation of Mary and Elizabeth. The Virgin here bears Christ before he is born.

On the reverse of the same door is St. Christopher himself, bearing the infant on his shoulders. The picture which corresponds with this on the other side, is the only one which has no reference to the word Christopher. It represents a hermit with a lantern, to receive Christ when he arrives at the other side of the river. The hermit appears to be looking to the other side; one hand holds the lantern, and the other is very naturally held up to prevent the light from coming upon his eyes. But on the reverse of this door we have another Christopher; the priest Simeon bearing Christ high in his arms, and looking upwards. This picture, which has not suffered, is admirable indeed, the head of the priest more especially, which nothing can exceed; the expression, drawing, and colouring, are beyond all description, and as fresh as if the piece were just painted.

The colouring of the St. Christopher is too red and bricky, and the outline is not flowing. This figure was all that the company of the Arquebusers expected; but Rubens justly thought that such a figure would have made but a poor subject for an altar.

There is a print of the Descent, by Luc Vostermans, of the St.

Christopher, by Remy Eyndhout; of Simeon, by P. Pontus: those which have a dedication to Gasp. Hubert are bad impressions and retouched. The Visitation is engraved by P. de Jode. The Hermit has not been engraved.

On the side of the choir are the monuments of the two celebrated printers of the Netherlands, John Baptist Moretus and Martin Plantin; that of the former is ornamented with an admirable picture by Rubens, about half the size of life; Christ coming out of the Sepulchre in great splendour, the soldiers terrified, and tumbling one over the other: the Christ is finely drawn, and of a rich colour. The St. John the Baptist on the door is likewise in his best manner; only his left leg is something too large. On the other door is St. Barbara; the figure without character, and the colouring without brilliancy. The predominant colour in her dress is purple, which has but a heavy effect. The monument of Plantin has for its ornament the Last Judgment, by Backer, correctly drawn, but without any skill in disposition of light and shadow.

Christ among the Doctors, by Francis Franck, called the young Franck, exhibits some fine heads in this picture; particularly the three men that are looking on one book are admirable characters; the figures are well drawn and well grouped: the Christ is but a poor figure.

On a pillar opposite, and not far from the Descent from the Cross, is the Adoration of the Magi. The Virgin and the Infant Christ are admirable. It appears to be the work of B. Van Orlay. On the doors on each side are portraits well painted, the woman especially. On one of the pillars is a picture of Rubens, which serves as a monument for the family of Goubau: he and his wife are represented, half length, at prayers, addressing themselves to the Virgin and Infant Christ: the old man is well painted, the Virgin but indifferently.

The martyrdom of St. Crépin and Crepinianus, by Ambrose Franck, has some good heads, but in a dry manner.

The Martyrdom of St. George, by Schut, is well composed and well drawn, and is one of his best pictures; but the saint has too much of that character which painters have fixed for Christ. There is a want of brilliancy from its having too much harmony; to produce force and strength, a stronger opposition of colours is required.

Passing by the chapels, in which are altars by Martin and Simon de Vos, and others, which have nothing worth attention, we come to the famous work of Quintin Matsys, the blacksmith, in the Chapel of the Circumcision. The middle part is what the Italians call a Pieta; a dead Christ on the knees of the Virgin, accompanied by the usual figures. On the door on one side is the daughter of Herod bringing in St. John's head at the banquet; on the other, the Saint in the Caldron. In the Pieta the Christ appears as if