138 Route 10. BRUSSELS. Eastern Quarters;

case near the entrance: *2096. Reliquary in the form of a bust of Pope
St. Alexander (d. 117), in beaten silver, from Stavelot (p. 280; ca. 1145);
on the right, °2800. Gilded copper portable altar, also from Stavelot, with
scenes from the Passion in enamel (ca. 1200); below the pope’s bust, Gilded
triptych of the 13th cent.; on the left, 127. Enamelled copper plaquettes
belonging to a reliquary of the 12th cent.; 10,423. Pax of translucent
enamel (second half of the 14th cent.). — The cases to the right and left
contain smaller objects of the 11-18th centuries. On the wall to the left
of the entrance is a beautiful Brussels tapestry, representing the Descent
from the Cross, Entombment, and Christ in Purgatory (beginning of the
16th cent.). — In the glass-case farther on in the middle: 10,283. Double
cross adorned with filigree-work and niello-work, by the monk Hugo
@Oignies (beginning of the 13th cent.). Case to the left: Processional
crosses (12-415th cent.). Case to the right: Reliquaries, chalices, and mon-
strances (12-45th cent.). On the right wall, Late-Gothic altar from the
Abbey of Liessies in N.E. France, with carving of the martyrdoms of SS.
Leodegar and Barbara. — The following cases contain examples of the
goldsmith’s art from the Netherlands, Germany, and France (chiefly 47th
cent.), insignia of the presidents of a guild (the most important in the
large central glass-case), and watches and watch-cocks. In the wall-cases
on the left: Vessels of pewtér, brass, and bronze. Between these, ela-
borate, gold-embroidered antependium with scenes from the life of Christ
(6th cent.). In the table-case on the left, Elephant’s tusk with Romanesque
gold mounting (German, 12th cent.). In the case to the left: Large ivory
diptych (8th cent.); ivory reliquary in the form of a Romanesque church
(from the Rhine; 12th cent.); two figures of the Madonna (French, ca. 1300);
combs. In the case to the right, Renaissance goblets; goblet with relief
of the birth of Venus (Dutch; 17th cent.); high-relief of the Graces (17th
cent.). On the wall to the left are two sepulchral brasses with engraved
figures (16th and 14th cent.). — Farther on, in the middle of the room:
Two Gothic choir-desks, in metal (15th cent.); Romanesque font, cast in
bronze (1149), with noteworthy figures in high relief, from the church of
St. Germain, at Tirlemont; two Easter candelabra (12th and 13th cent.) ;
Gothic *Altar in carved wood, with the martyrdom of St. George, by Jan
Borman of Brussels (1493). — On the back of the altar of St. George are
some Dutch cabinets and an elaborately-carved picture-frame (17th cent.).

The last section of the hall contains the collection of FAYENCE, PORCELAIN,
and Guass. First come Hispano-Moorish, Oriental, and Italian majolica,
including among the last (case to the right) fine specimens from Gubbio,
Casteldurante, and Urbino. In a case to the left is French fayence (Palissy
ware). Farther on, Dutch and Flemish fayence (47th cent.) and porcelain
(48th cent.) from Tournai, Delft, Brussels, Andenne, Liége, etc.; German
porcelain, chiefly from Meissen and Hochst; Chinese and Japanese por-
celain. Venetian, German, and Bohemian glass. Stoneware from the
lower Rhine, Westerwald, and Kreussen. On the left wall, between the
cabinets: “Brussels tapestry (46th cent.) representing St. Anna, the Virgin
and Child, and two female attendants. On the end-wall: Representation
of the Battle of the Dunes near Nieuport (p. 48).

We ascend the steps to the right leading to the side-rooms, of which
the two last, which we enter first, contain EociesrasTrcaL ANTIQUITIES,
We turn immediately to the left and pass through a carved oak chapel-
screen ({5th cent.) into the end room, with painted and gilded altars in
carved wood ({5th and 46th cent.) on the walls; a votive relief in stone (Burial
of a monk; 45th cent.); an antependium embroidered in silver and gold (end
of the 16th cent.); and, in the middle, carved and painted cradle of the
children of Maximilian of Austria and Maria of Burgundy. We return
to the preceding room (2): on the left, choir stalls from Cologne (15th
cent.); above, Gothic oak singing-gallery, with figures of the Apostles,
from the church of Vianen (15th cent.); between the windows, domestic
altar with ivory figures (17th cent.); brass of W. de Goux (1555); on the
exit-wall, large carved and gilded reredos with scenes from the life of
Christ, abounding in figures (from Oplinter; 16th cent.); by the colamn