On the other side of the two doors, ANTWERP. which turn round, are likewise two pictures, by Rubens; St. Catharine with RUBENS. a sword, and St. Eloi with a female Saint and Angels, as usual finely painted; but the figure of St. Eloi appears too gigantick.

Of the elevation of the Cross and its appendages, there is a print in three sheets by Withous; of St. Eloi by Remoldus Eynhovedts, and of the St. Catharine by Bolswert.

In this church, on the left hand of the choir, is another picture by Rubens, of RUBENS. Christ after his resurrection sitting on his sepulchre, trampling on the symbol of death it is a picture of no force of colouring, which possibly proceeds from its having been much damaged. — A print of this by Remoldus Eynhovedts.

ANTWERP.

THE CHURCH OF THE JACOBINES.

THE great altar, a crucifixion by VANDYCK. Vandyck. St. Rosaria at the feet of Christ, and St. Dominick. A sepulchral lamp, and a flambeau reversed, are here introduced, to show that Christ is dead: two little angels are represented on each side of the Cross, and a larger angel below. The two little ones look like embrios, and have a bad effect; and the large angel is not painted with equal success, as many other parts of the picture. The shadows are too red, and the locks of the hair are all painted in a hard and heavy manner. For its defects ample amends is made in the Christ, which is admirably drawn and coloured; and a breadth of light preserved over the body with the greatest skill; at the same time that all the parts are distinctly marked. The form and character are of a more elegant kind than those we see commonly of Rubens.

The idea of St. Rosaria closing her

* Nuns of the order of St. Dominick. R.

eyes is finely imagined, and gives an ANTWERP. uncommon and delicate expression to the figure.

The conduct of the light and shadow of this picture is likewise worth the attention of a Painter. To preserve the principal mass of light which is made by the body of Christ, of a beautiful shape, the head is kept in half shadow. The under garment of St. Dominick and the angel make the second mass; and the St. Rosaria's head, handkerchief, and arm, the third.

The sketch for this picture is said to be within the convent, but I could not see it.— A Print by Bolswert.

UNSHOD CARMELITES.

In a recess on the right, on entering RUBENS. the church, is St. Anne, and the Virgin with a book in her hand, by Rubens. Behind St. Anne is a head of St. Joachim; two angels in the air with a crown. This picture is eminently well coloured, especially the angels; the

ANTWERF union of their colour with the sky is

RUBENS.

wonderfully managed. It is remarkable
that one of the angels has Psyche's
wings, which are like those of a butter-
fly. This picture is improperly called
-St. Anne teaching the Virgin to read;
who is represented about fourteen or
fifteen years of age, too old to begin
to learn to read. The white silk drapery
of the Virgin is well painted, but not
historical; the silk is too particularly
distinguished, a fault of which Rubens is
often guilty, in his female drapery; but
by being of the same colour as the sky it
has a soft harmonious effect. The rest
of the picture is of a mellow tint.
Print by Bolswert.

A

At an altar on the opposite little nich on the left, Christ relieving souls out of purgatory by the intercession of St. Therese. The Christ is a better character, has more beauty and grace, than is usual with Rubens; the outline remarkably undulating, smooth, and flowing. The head of one of the women

in purgatory is beautiful, in Rubens's ANTWERP. way; the whole has great harmony of colouring and freedom of pencil : it is in his best manner. A Print by Bolswert.

The Altar in the choir, by Segers. The SEGERS. subject is the marriage of the Virgin; larger than life. This is one of his best pictures; much in the manner of Rubens.

On the left of the choir is a Pieta, by RUBENS. Rubens. The body of Christ is here supported by St. John, instead of the Virgin, who is stooping forward to kiss Christ's cheek, whilst the Magdalen is kissing his hand. Of this picture there is no print, though it well deserves to be engraved. Perhaps the subject is handled too much in the same manner as that in the church of the Capuchins at Brussels.

THE GREAT CARMELITES, OR SHOED
CARMELITES.

On the right, as you enter the choir, RUBENS. Christ lying dead on the lap of God. the Father, by Rubens; on each side an