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104 Route 10. BRUSSELS. Upper Town:
Count Egmont. The right wing is modern. On the first floor of the
left wing is a valuable “Collection of Pictures (about 160 in number),
mainly ofthe Flemish and Dutch schools of the 17th cent. and almost
all in admirable preservation. Adm., see p. 96.
GALLERY (afternoon-light best). To the left of the entrance: Ph. Wouver-
man, Peasants; D. Teniers the Younger, Bagpipe-player; A. Cuyp, Horses;
Rembrandt, Tobias healing the eyes of his father (1636); P. de Hooch, *In-
terior; D. Teniers the Younger, Ninepin-players; above, B. van der Helst,
Married couple; J. van Ravesteyn, Portrait; J. van Craesbeeck, The artist’s
studio; ddr. van Ostade, Interior of a tavern (1655); G. Dou, Old woman
counting her money. Opposite, on the window-wall, Kokarsky, Portrait
of Marie Antoinette, painted in the Temple shortly before her removal to
the Conciergerie (1793). On the main wall: A. Cuyp, Gray horse; D. Teniers
the Younger, Dead calf; above, Jac. Jordaens, ‘Zoo de ouden zongen, z00
piepen de jongen’ (‘As the old have sung, so pipe the young’); G. Terburg,
Musical entertainment; A. du Jardin, Rest at the tavern; Paul Potter, Cattle
resting; Rubens, Five portraits, Three heads of angels, Sketch; Gabriel Metsu,
*Love-letter; J. van der Heyde, View of a town; A. van der Neer, *Sea-
scene by moonlight (1644); Jan Steen, Wedding at Cana of Galilee, a large
canvas with numerous figures; Ph. Koninck, Landscape; Adr. Brouwer,
Interior of a tavern; Quir. van Brekelenkam, Tailors workshop (1664);
Adr. van Ostade, Boor smoking; A. van Everdingen, Waterfall; Jac. van
Ruysdael, Waterfall; M. Hobbema, *Forest-scene; Brekelenkam, The teacher
(4660); Watteau (or Pater), *Bathing in the open air, *Féte-galante, “Lady at
her toilet; Gonz. Coques, Jan Brueghel, and J.van Kessel, Christ at the house of
Lazarus; Vic. Maes, “Scholar; Van der Goes, Madonna in Gothic architecture.
— To the right of the entrance: Corn. Dusart, Peasants in front of a tavern;
D. Teniers the Younger, The smokers; D. Teniers the Elder, Farm-yard; Jan
Vermeer, “Young girl; J. van de Cappelle, *Calm sea. Opposite, on the
window-wall, A. van Dyck, St. Martin (sketch for the painting at Saventhem,
p. 236). On the main wall: W. van de Velde the Younger, Sea-piece (1668);
G. Berckheyde, View on a canal; above, Corn. de Vos, Portrait; Sol. van
Ruysdael, River-scene; Jac. van Ruysdael, Winter landscape; Ph. Wouver-
man, In camp; Frans Hals, *Merry toper (painted according to Bode ca. 1635);
Adr. van de Velde, Pasture with cattle; WV. Berchem, Flocks resting.
Room I. A. van Dyck, Count Albert of Arenberg, Portrait of Anna
Maria of Camudio (ca. 1630), Portrait of a lady; Jac. Jordaens, “Rape of
Amphitrite; Jan Fyt, Fish.
Room II. Adr. van Utrecht and D. Teniers the Younger, Trophies of the
chase; Hondecoeter, Poultry-yard; B. van der Helst, Portrait of a man; Jan
Both, Southern landscape; A. de Gelder, Holy Family.
In the Rue des Petits-Carmes (Karmelieten-Straat), diverging to
the N.E., an inscription beside the upper gate of the Grenadier
Barracks (Pl. D, E, 5; left) announces that the building occupies
the site of Count Kuilemburg’s Palace, pulled down in 1568. In
this palace between three and four hundred of the Netherlands
nobles met and drank success to the ‘Gueux’ on April 6th, 1566,
the day after the presentation of their ‘Request’ to the vice-regent
Margaret of Parma, praying for the abolition of the inquisitorial
courts. The Duke of Alva afterwards lived in the palace, and here
he arrested Counts Egmont and Hoorn on Sept. 9th, 1567.
The palace occupied by the Duchess Margaret of Parma was in the
Place Royale (p. 99). At the moment when the petition was presented, Count
3erlaimont, one of the courtiers, whispered to the princess, whose apprehen-
sions had been awakened by the sudden appearance of the cortége, ‘Madame,
ce-n'est qu'une troupe de gueuax” (i.e., beggars), in allusion to their supposed
want of money. The epithet was overheard, and rapidly communicated
to the whole party, who afterwards chose it for the name of their faction. |