tion here is too violent,) who make no great effect as light. The Virgin's outer drapery is dark blue, and the inner a dark purple; and St. John is in dark strong red: no part of these two figures is light in the picture, but the head and hands of the Virgin; but in the print they make the principal mass of light of the whole composition. The engraver has certainly produced a fine effect; and I suspect it is as certain, that if this change had not been made, it would have appeared a black and heavy print.

When Rubens thought it necessary in the print to make a mass of light of the drapery of the Virgin and St. John, it was likewise necessary that it should be of a beautiful shape, and be kept compact; it therefore became necessary to darken the whole figure of the Magdalen, which in the picture is at least as light as the body of Christ; her head, linen, arms, hair, and the feet of Christ, make a mass as light as the body of Christ it appears therefore, that some parts are to be darkened, as well as other parts made lighter; this consequently is a science which an engraver ought well to understand, before he can presume to venture on any alteration from the picture which he means to represent.

The same thing may be remarked in many other prints by those engravers who were employed by Rubens and Vandyck; they always gave more light than they were warranted by the picture; a circumstance which may merit the attention of engravers.

I have dwelt longer on this picture than any other, as it appears to me to deserve extraordinary attention: it is certainly one of the first pictures in the world, for composition, colouring, and what was not to be expected from Rubens, correctness of drawing.

On one side of the great altar is a small crucifix,

painted likewise by Rubens, which is admirable.

A print by H. Sneyers.

F. FLORIS. In the same choir is another crucifixion by F. Floris, with a great number of figures, many of them portraits, in which there is great nature, especially in the women.

RUBENS. The altar of St. Francis, painted by Rubens. The Saint is receiving the communion, accompanied with many of his order: he is nearly naked, without dignity, and appears more like a lazar than a Saint. Though there are good heads in this picture, yet the principal figure being so disgustful, it does not deserve much commendation. A print by Hendrick Sneyers.

The Virgin kneeling on a reversed crescent, crowned by God the Father and Christ; over her is the dove, below is a group of angels. There is nothing here to be admired, but what relates to colouring; the splendour of the light indeed that is behind those three figures, is very striking. A print by Paulus Pontius. VANDYCK. A Pieta by Vandyck, with St. John, and two angels. This has been one of his most chaste pictures, but the colouring is gone. The expression of the Virgin is admirable, at least equal to that of Annibale Caracci, in the Duke of Orleans's collection : it conveys an idea that she is petitioning with an earnest agony of grief. St. John is showing or directing the attention of an angel to Christ; the other angel is hiding his face.

The Virgin's drapery and the sky, being exactly of the same colour, has a bad effect; the linen is remarkably well folded.

RUBENS.

Behind the great altar is the chapel of the family of the Burgo-master Rockox, the altar of which is St. Thomas's Incredulity, by Rubens. The

head of the Christ is rather a good character, but the body and arms are heavy :—it has been much damaged. On the inside of the two folding doors are portraits of the Burgo-master and his wife, half-lengths: his is a fine portrait; the ear is remarkably well painted, and the anatomy of the forehead is well understood. Her portrait has no merit but that of colour. Vandyck likewise has painted a portrait of Rockox, a print of which is in his book of heads of eminent men. It should seem that he was a great patron of the arts: he gave to this church the picture of the great altar, which has been already mentioned.

VANDYCK. Here is a whole-length of Alexander Scaglia, which appears to be of Vandyck. It is at too great a distance to determine with certainty in regard to its originality. I have seen a print of this picture.

W. KOEBERGer.

Capuchins.

On entering on the right hand is an altar by W. Koeberger; angels supporting a dead Christ. It has merit, but not equal to his picture at Brussels: the outline is not enough undulating or flowing.

RUBENS. The apparition of the Virgin to St. Francis, by Rubens. St Francis is on his knees receiving the Infant Christ from his mother: angels above, and another figure behind. The Virgin and Christ are in a wretched hard manner, and the characters are vulgar; there is indeed nothing excellent in this picture but the head of St. Francis, and that is exquisite. The entire picture is engraved by Zoutman. There is a print of the head of St. Francis alone by Cor. Vischer.

BACKEREEL. In the following chapel is an altar by Backereel the apparition of the Virgin appearing to

:

St. Felix and another Friar. This is a successful imitation of Vandyck; the head of the Friar is excellent. RUBENS. The great altar is the same subject as that of the Recollets: Christ between the two thieves : this is likewise by Rubens.

On each side hang two whole-lengths of St. Peter and St. Paul, not much to be admired on any account: they have not even harmony of colouring. St. Peter's yellow drapery does not unite sufficiently with its ground, which is of a cold colour: and that of St. Paul, which is purple, unites too much with its ground, which is a blue sky this gives a heavy appearance to the picture. Whenever one sees a picture of Rubens that wants union, it may be justly suspected that it has been in the hand of some picture cleaner, by whom it has been retouched. These two figures are engraved in one print, by Rem. Eynhovedts.

Annunciation Nuns.

RUBENS. St. Justus, with two other figures who appear astonished at seeing him with his head in his hands. Of this untoward subject Rubens has made an admirable picture, correctly drawn, and coloured in a more chaste manner than usual. The surprise of the two men is admirably expressed. The union between the figures and the ground is in the highest perfection. Some horsemen are seen at a distance in very spirited attitudes. Every part of this picture is touched in such a style, that it may be considered as a pattern for imitation. Engraved by J. Witdonck.

SEGERS. An altar; St. Francis in ecstasy, by Segers. The head and attitude of the Saint are well

imagined; he is turning his head, as

if he had been

looking up to heaven; but the eyes are closed. LANGEN JAN.-Another altar; two angels, bearing

a linen cloth, on which is the face of Christ, called Veronica; a good imitation of Vandyck, by Langen Jan.

The Church of Bequinage.

VANDYCK.-The great altar; a Pieta, by Vandyck. The Christ is not, as usual, supported on the Virgin's knees; Mary Magdalen is kissing his hand: St. John behind, as if bringing in a garment. The Virgin's head is admirable for drawing and expression. The figure of Christ is likewise finely drawn, every part carefully determined, but the colouring of this figure, and indeed of the picture in general, is a little too cold; there is likewise something defective in one of the hands of the Virgin. I have the study which Vandyck made for the Christ.-There are two prints, by Pontius and Sneyers.

JORDAENS.-A Crucifixion by J. Jordaens; one of his best coloured pictures. The head of the Christ is lost in the shade, which perhaps was not ill-judged, unless he could have succeeded better in the St. John and the Magdalen, which are abominable characters.

RUCKHORST, alias LANGEN JAN.-The Ascension, by Ruckhorst, alias Langen Jan; extremely well coloured, in the manner of Vandyck.

The Church of St. James.

HENRY VAN BALEN.-On the first pillar on the right as you enter the great door, is the Resurrection, by Van Balen, in the style of Rubens; it is his best work; above are the portraits of himself and his wife.

SCHUT. A Pieta by C. Schut, well drawn and coloured, something in the manner of Rubens.

RUBENS.-Behind the choir is the chapel of the family of Rubens. The subject of the altar is the Virgin and Infant Christ, St. Jerome, St. George, Mary