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192 Route Wise ANTWERP. Royal Museum:
y
daughter, has evidently been attempted by the master, though not very suc-
cessfully. The motion of the girl, intended to be light and elastic, is hard
and forced. Some of the heads, however, are admirably finished. — The
other wing represents St. John in the cauldron of boiling oil. The execution-
ers, in the costume of Flemish peasants, with their sun-burnt, muscular
arms, are attending actively to the fire. In the background the Emp. Domi-
tian appears, mounted on a white horse, and attended by eight horsemen.
No number, Pieter Aertsen, Still-life (on loan).
toom B. To the right: 699. P. Pourbus the Younger, Elisabeth
Heynderickx, wife of Gillis van Schoonbeke (p. 203); 72-74. M. de
Vos, Triumph of Christ, a triptych, with the baptism of Constantine,
on the right, and Constantine erecting a Church to St. George,
on the left; 698. P. Pourbus the Younger, Gillis van Schoonbeke
(p. 203). — Sculptures: *702, 703. A. Quellin the Elder, Statue of
St. Sebastian, Caritas Romana, in wood. — To the left is —
Room C. To the right: 645. P. Brueghel the Younger, Visit to
the farm (grisaille). — 776. P. Brueghel the Elder, Massacre of the
Tnnocents (original in the Brussels Gallery p. 117); P. Brueghel the
Younger, 31. Bearing of the Cross, 777. Sermon on the Mount. —
807. P. Brueghel the Younger, The walk. At the door: 855. Ivory
crucifix (17th cent.).
Room I (large central room). Flemish Schools continued, in-
cluding the chief works of Rubens. To the right: Rubens, 711.
Burgomaster Rockox (see below), 709. Jupiter and Antiope (1614). —
105, 106. Cornelis de Vos, Winged altar-piece with portraits of the
donors; 316, 317. Rubens, Sketches of one of the triumphal arches,
executed in 1635 for the city of Antwerp on the occasion of the
entry of Ferdinand, Archduke of Austria, the victor of Nérdlingen
and Caloo. (Six other sketches are in the Hermitage at St. Peters-
burg, and two at Brussels; see p. 141); Rubens, 348. The triumphal
car, *315. Descent from the Cross, a small replica (1612) of the
painting in the cathedral, 706. Portrait of Gaspar Gevaerts, secretary
of Antwerp (ca. 1629), 319. Pieta (landscape probably by Jan Wil-
dens); above, 327. Corn. Schut, Martyrdom of St. George. — *407.
Corn. de Vos, St. Norbert receiving the Host and Sacred Vessels
that had been hidden during a time of war and heresy (1630); 844.
Jac. Jordaens, Meleager and Atalanta; *307-340. Rubens, Incredulity
of St. Thomas, on the wings half-length portraits of the Burgomaster
Nic. Rockox(p. 192) and his wife Adrienne Perez. The portraits are
far finer than the figures in the central picture (comp. p. lvi); above,
354, P. Thys, Apparition of the Virgin; 405. Copy of A. van Dyck,
Portrait of Caesar Alexander Scaglia, the Spanish ambassador
at the Congress of Miinster (the original is in a private collection
in London),
“297. Rubens, Christ crucified between the two thieves (‘Le
Coup de Lance’), a very celebrated picture, painted for the church of
the Franciscans in 1620.
This picture is remarkable for its dramatic effect, and is by no means
deficient in sentiment. Longinus, the Roman officer, mounted on a grey |
