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194 Route 13. ANTWERP. Royal Museum:
This gorgeous and imposing composition, on a similar scale with the
Elevation of the Cross, but far less impressive, contains about twenty
figures over lifesize, besides camels and horses in the suite of the Three
Kings, crowded into the picture, while the sumpfuousness of the cos-
tumes and vessels gives the whole an overloaded effect. The king holding
the goblet is a somewhat awkward figure. It must, however, be ad-
mitted that the work exhibits marvellous freedom and boldness of out-
line, great skill in arrangement, and a wonderful variety of attitude —
all genuine attributes of Rubens. The picture is said to have been painted
in a fortnight.
Rubens, *299. St. Theresa interceding for souls in purgatory,
one of the most pleasing pictures of the artist's later period (ca.
1633-35), #312. Holy Family, ‘La Vierge au Perroquet’, so called
from the parrot at the side, one of his earlier works, presented by
him to the Guild of St. Luke, on his election as president, in 1631,
and hardly inferior in composition and colouring to his more cel-
ebrated works; 314. Rubens, The Holy Trinity. On an easel: no
number, David Teniers the Younger, Store-room (on loan). Also,
VY. Rousseau, Statuette in bronze of a nude figure holding a mask
of Beethoven.
Room K. To theright: 659. P. de Ring, Breakfast-table (1654);
822. J. van Craesbeeck, Tavern; 643. Jan Brueghel, Flowers. —
Gonzales Coques, 34. Portrait, 759-763. The five senses; D, Seghers,
329. St. Ignatius Loyola in a garland of flowers, 334. Christ and
St. Theresa in a garland of flowers; D. van Alsloot, 499. Festival
in Teryueren park, 865. Mountain landscape. — 366. H.van Balen,
Jan Brueghel, and others, Coat-of-arms of the Antwerp Rhedery-
kamer ‘De Violieren’ (comp. pp. 144, 177); Teniers, *726. The duet,
727, Landscape, 345. Flemish tavern, 728. Singer, 346. Morning,
344, View of Valenciennes, with a bust of Philip 1V. in the fore-
ground, 348. Old woman, 347. Afternoon, 859. Temptation of
St. Anthony; 803. D. Seghers, Bust of a man in a garland of flowers.
— 820. D. Ryckaert 111, Plundering soldiers. — We return to
Room J and turn to the lett into —
Room H. Flemish Schools of the 17th cent., including the chief
specimens of Jordaens and Van Dyck. In the door-way: 843. Jae.
Jordaens, Sketch. To the right: *793. Van Dyck, Marten Pepyn, the
painter (1632); 719. /r. Snyders, Fishmonger’s shop. — 404. Van
Dyck, Christ on the Cross, at the foot of which are St. Catharine of
Siena and St. Dominic, painted for the Dominican Nunnery in 1629,
at the wish of his dying father; Jac. Jordaens, *677. Family con-
cert (‘As the old have sung, so chirrup the young’), 221. Adoration
of the Shepherds, 215. Last Supper.
“404. Van Dyck, Entombment (‘Pieta’), painted soon after his
return from Italy (1634).
The Virgin is represented supporting the head of the dead Christ on
her knees; St. John shows the wound made by the nail in the left hand
to two angels, one of whom veils his face. The features of Christ bear
traces of intense physical suffering. St. John and the angel whose beau-
tiful face is visible wear an expression of profound grief, which however
they can still express in words, whereas the anguish of the Virgin is |
