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which, though not of the first rank, may be worth the attention of a traveller who has time to spare.

BRUGES.

SEGERS.-In the cathedral.

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-The high altar; the Adoration of the Magi, by Segers. This picture is justly considered as one of the best of that painter's works. The part which first obtrudes itself on your attention is one of the kings, who is placed in the front: this figure, notwithstanding its great fame, and its acknowledged excellence in many respects, has one great defect; it appears to have nothing to do with the rest of the composition, and has too much the air of a whole-length portrait. What gives it so much this appearance is, the eyes looking out of the picture; that is, he is looking at the person who looks at the picture. This always has a bad effect, and ought never to be practised in a grave historical composition, however successfully it may be admitted in ludicrous subjects, where no business of any kind, that requires eagerness of attention, is going forward.

OTHO VENIUS.-The second altar on the right from

my warmest acknowledgements. Nor is it an inconsiderable advantage to see such works in company with one, who has a general rectitude of taste, and is not a professor of the art. We are too apt to forget that the art is not intended solely for the pleasure of professors. The opinions of others are certainly not to be neglected; since by their means the received rules of art may be corrected; at least a species of benefit may be obtained, which we are not likely to derive from the judgment of painters; who being educated in the same manner, are likely to judge from the same principles, are liable to the same prejudices, and may sometimes be be governed by the influence of an authority which perhaps has no foundation in nature."- M.

the door is the Nativity, by Otho Venius. Many parts of this picture bring to mind the manner of Rubens, particularly the colouring of the arm of one of the sheperds but in comparison of Rubens it is but a lame performance, and would not be worth mentioning here, but from its being the work of a man who had the honour to be the master of Rubens.

Otho Venius published two books of Emblems, explained by prints of children: it was from him Rubens imbibed that predilection in favour of emblematical representation which has afforded so much subject for criticism; particularly his introducing them in the Luxemburgh gallery.

JOHN VAN EYCK.In the sacristy is a picture, painted by John Van Eyck, of the Virgin and Child, with St. George and other Saints; one of those figures which is dressed in white, and which undoubtedly was taken from the life, according to the custom of the painters of those times, has great character of nature, and is very minutely finished, though the painter was sixty-six years old when it was done; for the date on it is 1436. This picture claims perhaps more attention from its being painted by a man who has been said to be the first inventor of the art of painting in oil, than from any intrinsic merit in the work itself. However, his claim to this invention, which was first attributed to him by Vasari, and from his authority propagated in the world, has been justly disputed by the learned antiquarian Mr. Raspe, who has proved beyond all contradiction, that this art was invented and practised many ages before Van Eyck was born.

The art is here in its infancy; but still having the appearance of a faithful representation of individual nature it does not fail to please. To a certain degree

the painter has accomplished his purpose; which is more than can be said of two heads by Rubens of St. Peter and St. Paul, in the same sacristy, which are neither a good representation of individual or general nature: however, each of these heads is enshrined in a rich tabernacle of silver, locked up, and shown only on high festivals. The great reputation which Rubens has so justly acquired, is here extended to pictures slightly painted, and which perhaps he himself would be ashamed to acknowledge as his: they appear to have nothing to recommend them, but a tint of colour and lightness of pencil; a merit which indeed Rubens seldom wanted: they are insipid, without grace, dignity, or character of any kind.

Church of Notre Dame.

MICHAEL ANGELO. The Virgin and Christ (Bambino) in marble, said to be of Michael Angelo. It has certainly the air of his school, and is a work of considerable merit; it was a prize taken by a Dutch Corsair going from Civita Vecchia to Genoa.

GHENT.

The Cathedral.

RUBENS. — In this great Church is the St. Bavon of of Rubens. This picture was formerly the ornament of the high altar of this cathedral, but was displaced to make room for an ordinary piece of sculpture. When Rubens was thus degraded, one may conclude his fame was then not established: he had not been dead long enough to be canonised, as he may be said to be at present. It is now placed in a chapel behind the great altar. The saint is represented in the upper

part of the picture, in armour, kneeling, received by a priest at the door of a church; below is a man who may be supposed to be his steward, giving money to the poor. Two women are standing by, dressed in the fashion of the times when Rubens lived; one of them appears to be pulling off a chain which falls from her neck, as if she intended to follow the example before her. This picture, for composition, colouring, richness of effect, and all those qualities in which Rubens more particularly excelled, claims a rank amongst his greatest and best works. It is engraved by Pilsen.

HUBERT and JOHN VAN EYCK. In a chapel is a work of the brothers Hubert and John Van Eyck, representing the Adoration of the Lamb, a story from the Apocalypse: it contains a great number of figures in a hard manner, but there is great character of truth and nature in the heads; and the landscape is well coloured.

GERARD HONTHORST.-In the third Chapel on the right, is a picture of St. Sebastian, by Gerard Honthorst (1663). This picture is mentioned, not for any great excellence that it possesses, but from its being much talked of here: people fancy they see great expression of tenderness in the woman who is drawing the arrows from the Saint's body; but she appeared to me perfectly insipid, and totally without expression of any kind: the head of St. Sebastian is hard and disagreeable; the body indeed is well drawn and not ill coloured, and is the only part of the picture that deserves any commendation.

St. Michael's Church.

VANDYCK. In this church is, or rather was the famous crucifixion of Vandyck; for it is almost de

stroyed by cleaning. It is well known by the fine print of Bolswert, and it appears by what remains to have been one of his most capital works.

Vandyck has here introduced a most beautiful horse in an attitude of the utmost grace and dignity. This is the same horse on which he drew Charles the Fifth, which is in the gallery at Florence; the head of the Emperor he copied from Titian.

St. John's hand in this picture comes round the Virgin Mary's neck, and falls on the other shoulder. The first impression of Bolswert's plate has this circumstance; but it was afterwards changed, being supposed to be too familiar an attitude.

SEGERS. Christ scourged, by Segers; the arm finely drawn, and the body well coloured, but too large.

LANG JAN. St. Hubert, a well-painted and wellcomposed picture, by Lang Jan.

The Recollets.

RUBENS. The high altar; a profane allegorical picture by Rubens. Christ with Jupiter's thunder and lightning in his hand, denouncing vengeance on a wicked world, represented by a globe lying on the ground with the serpent twined round it: this globe St. Francis appears to be covering and defending with his mantle. The Virgin is holding Christ's hand, and showing her breasts; implying, as I suppose, the right she has to intercede and have an interest with him whom she suckled. The Christ, which is ill drawn, in an attitude affectedly contrasted, is the most ungracious figure that can be imagined: the best part of the picture is the head of St. Francis.

Mary Magdalen expiring, supported by ill-drawn

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