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Picture Gallery. BRUSSELS. 10. Route. 111
(painted ca. 1633 for the Franciscans at Ghent); #383, #384. Por-
traits, over life-size, of Archduke Albert (d. 1624) and his consort,
the Infanta Isabella (d. 1633), painted for the triumphal arch erected
on their entry into Antwerp in 1635 (comp. p. 192). Between the
last two, #241. Jordaens, Susannah and the Elders; #126. G. de
Crayer, The miraculous draught of fishes; 375. Rubens, Martyrdom
of St. Livinus, whose tongue the executioner has torn out and offers
to a hungry dog, one of the great master’s most repulsive pictures,
painted about 1635 for the Jesuits at Ghent; 437. Snyders, Stag-
hunt. — 178. Jan Fyt, Dead game on a cart drawn by dogs; 435.
Fr. Snyders (?, or Adr. van Utrecht), Still-life. — On easels: 771.
P. Francois, Portrait; 769. Jan Fyt, Boar-hunt; #777. A. van Dyck,
F. Duquesnoy, the sculptor, acquired from King Leopold II. in 1909.
Room IV (Salle van Dyck). To the right: #388. Rubens(?), Theo-
phrastus Paracelsus; G. van Tilburg, Family portrait; 669. Seb.
Vranex, Horse-market; 458. D. Teniers the Younger, Picture-gallery
of Archduke Leopold William, with the names of the masters on
the frames (1654); 245. Jordaens, Head of an Apostle (study); 167.
A. van Dyck, Crucifixion (sketch for the altar-piece mentioned on
p. 65); 243. Jordaens, St. Ives, patron-saint of lawyers (1645);
*163. A. van Dyck, Drunken Silenus supported by a Satyr and a
Bacchante; 157. Fr. Duchatel, Two children; #161. Van Dyck, Full-
length portrait of the Genoese admiral, Gian Vincenzo Imperiale,
from the Palazzo Balbi in Genoa (1626); 288. P. Meert, Presidents
of the guild of fishmongers at Brussels; 164. Van Dyck, Crucifixion
of St. Peter; 438. Snyders, Still-life; 268. P. van Lint, Portrait of
the artist; #1241. J. van Craesbeeck, Merry musical party; 687.
D. Ryckaert, Old man by the fire; 678. Jer. Janssens, Game of for-
feits (‘la main chaude’); 663. Jan Fyt, Still-life; 374. J. de Reyn,
Portrait.
Room V (Salle Rubens). To the left of the entrance: 659. Van
Dyck or Rubens, Portrait; 478. A. van Utrecht, Still-life (1648);
448, H. Steenwyck the Elder, Interior of St. Peter's Church in Louvain.
— To the right, further on: 698. J. Suttermans, Portrait; 675.
Ehrenberg, Interior of the Jesuits’ Church in Antwerp in 1667, —
652. G. de Crayer, Five saints; Phil. de Champaigne, 96. St. Am-
brose, 97. St. Stephen; between these, Rubens, Christ and the
woman taken in adultery (studio-piece); #378. Rubens, Assumption,
the artist’s first work of the kind, painted ca. 1618-20 for the Car-
melite church in Brussels; A. van Dyck, 165. St. Anthony of Padua,
166. St. Francis of Assisi; between these,
the 17th Cent, (or Van Dyck?), Family group; 183. G. de Crayer,
Christ appearing to St. Julian Hospitator and his wife Basilissa,
who had received him the day before as a weary traveller. — 423.
Jan Siberechts, Flemish farm-yard (1660); 100. Ph. de Champaigne,
Portrait of the artist (1668); above, 229. J. B. Huysmans, Land-
Scape with cattle; further on, 453. J. Suttermans, Christina of Lor-
*605. Flemish School of |