Modern Paintings. ANTWERP. 13. Route. 197

This extensive work is crowded with figures falling headlong in
every conceivable attitude, and is destitute of any depth of perspective.
y of the figures are beautiful, even in their distorted positions. A fly
painted on the leg of one of the falling angels has given rise to the absurd
story that it was painted by Quinten Matsys , and that Floris, whose
daughter Matsys was wooing, having been deceived by it, was satisfied
with this proof of his , and gave his consent to the marriage. The
name of the painter whose daughter Matsys perhaps married (see p. 176)
is unknown, while Floris was only 10 years old when Matsys died.

  

   
 

  

?

88. Mart. de Vos, St. Luke painting the Virgin. — At the
exit: 1056. Paul de Vigne, Sunday (girl praying).

 

Passing straight through Rooms B, A, and O, we reach the
Gallery of Modern Paintings (Musée des Modernes and Musée des
Académiciens), which is inferior in importance to the Brussels col-
lection (p. 418 Comp. the Introduction, p. lxxii.

Room P. To the right: 1367. O. Heichert, Approach of death

 

 

   

    

   

 

(4898) ; 1253. Nic. de Keyser, Easter procession in Seville. — 1357.
Couture, Washerwomen; above, 1108. Rob. Mols, Roads of Ant-
werp before the construction of the new quays, 1370.

 

Room W contains portraits of Antwerp artists and a few of
German and French artists. To the right: 1542. N. Robert-Fleury;
A. Bouguereau; 1581. J. Breton; 1506. Alex. Cabanel
: 1552. P. von Cornelius (by O. Be — 1588. Fr. Lamo-
rinizre (by Verlat; 1886); 1556. G. Wappers; above, 1504. Ed
Bendemann, Penelope (1877); #1526. Ingres. — 1534. Navez. —
1515. Paul Delaroche (by Portaels); 1554. Schadow (by Bende-
; avr 536. Fr. Overbeck (by ©. Hoffmann). — Also (over
the doo or) : Overbeck, Christ escaping from his persecutors. —
1592. Sir . ae a Tadema (b ronze bust by Onslow Ford); in the next
room, in front, 1068. Nic. de K (marble bust by J. Geefs) and
1030. G. Wappers (marble bust by J. J. de Braekeleer).

Room V. Yo the right: 1544. NV. ee Fleury, Titian lying in
state in the Palazzo Barbar £0 at YV enice, 1576 (186 2) 5 1057. A. de
Vriendt, Pope Paul III. before the portrait of Luther (1883); above,
1174. Ch. Verlat, Rising in Antwerp on 24th Aug., 1577, with the
shattered statue of the Duke of Alva (p.176) being dragged through
the streets; 1159. J, van Lertus, Lady Godiva (1870). — Above:
1173. Verlat, Cart and horses (a huge canvas, painted at Paris in
1857); 1505. A, Cabanel, Cleopatra testing poisons on criminals
(1887). — In the tre, C. Meunier, 1603. Harve 1604. Masons
(high reliefs in bi At the exit and in the passage leading
to the next room are § of artists.

          

 
   

 

 

 

 

  

 

 
   
  

  
   

 

   
   

 

   

a x U. To the right : . F. de Braekeleer the Elder, Vil-
lage school (1882); 500. A. ai ienbach, Stormy weather in Oste nd
harbour (4878). — 7 B. Madou, 15% 34) The gallant youth (1862),
1634. Picture-sale; above, 1380. Carolus-Duran, Portrait of Mme.

  

de Rute. — 44 99. C. Verlat, Oriental study (1857); « above: 1024.
I’, de Braekeleer the Elder, Plundering of Antwerp by the Spaniards
in 1576 (‘Furie Hspagnole’; p. 169); 1343. Alex. Falguire, Salome,