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Picture Gallery. BRUSSELS. 10. Route. 109
Thos. Lawrence, Portrait 5. J. Constable, Study of clouds; 706. G. B. Tiepolo,
Sacrifice of Polyxena (damaged); 742. Eug. Tsabey, Blessing the shipwrecked.
Section 5: 732. E. Delacroiz, Apollo and the Python (sketch for the ceiling-
painting in the Louvre) ; T4i, Ingres, Augustus listening to the dneid
(sketch for the picture in Tonlons L. A. Decamps, Butcher's shop in
Turkey; 473.474. Tintoretto, Portraits; *727. L. David, ‘L’An Deux’ (Marat’s
sors 4793). Section 6: *706. F. u ene from the Inquisition (sketch);
i ction 7: 197. Guardi, Interior of
Claude Lorrain, Landscape, with
G. Poussin, Land-cape. — the
photographs of the chief works of Flemish
#neas ane Dido hunting.
adjoining corner-room contaias
painters in her galleries.
The Frrst Fioor, on which is the picture-gallery, is reached
by the Escalier de la Pallas, or grand staircase, at the N.W. end of
the hall of sculpture, at the foot of which is an allegorical fountain-
group by Grupello. On the first landing is a portrait in relief of
Alph. Balat, the architect (p. 106), by Vincotte, and at the head of
the staircase, a statue of Pallas by Godecharle. Here we turn to th
right into the first room of the —
*Gallery of Old Pictures (Tableaux Anciens) of the Flemish and
Dutch schools. The Brussels gallery, which was founded in 1803
and purchased from the city by the state in 1844, has gradually in-
creased in importance, until now it is almost equal to the gallery at
Antwerp. Curator, Prof. A. J. Wauters, the painter. Large illustrated
catalogue (190 ), 6 fr.; small catalogue (catalogue abrégé; at),
41/y fr., without illustrations 50 c. Some of the new attributions i
the catalogue 2 are questioned.
The Early Flemish School of the 15th cent. is represented by a
large number of pictures specially important to the critical art-
student of that period; but among these are several works of great
interest to all lay s of art, such as Adam and Eve by Jan van
Eyck (R. X, No. 170), the Pieta by Roger van der Weyden (R. X,
No. 516), the Justice of Emp. Otho by Dierick Bouts (R. X, Nos. 65,
66), the portraits by Hans Memling (R. X, Nos. 292, 293, 294),
and St. Anna by Quinten Matsys (R. XK, No. 299). Flemish and
Dutch art of the 17th cent. has also, divoneh judicions purchas
gradually come to be most favourably represented. The pictures by
Rubens at Brussels cannot indeed be compared in beauty with those
at Antwerp; but his Adoration of the Magi (R. III, No. 377) ranks
among the finest treatments of this subject, and his portraits (R. VII,
Nos. 386, 387) and the small Madonna with the rose-bush (R. VII,
No. 390) also deserve attention. The versatile industry of Jac. Jor-
daens is well represented in this gallery (R. VII). The few works
by Van Dyck belong to the period before he settled in England,
The Miraculous Draught of Fishes by G. de Orayer (R. III, No. 126)
and the largs Village Feast by Teniers the Younger (R. VI, No. 457)
may be specified among the Flemish works. Good specimens of the
Dutch School] are the small portrait of Willem van Heythuysen(R.IX,
No. 203) and the half-length portrait of Prof. Hoornebeek (R. IX, |
