ANTWERP 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 ANTWERP. 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 RUBENS. small crucifix, painted likewise by Rubens, which is admirable.-A print by H. Sneyers.

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

in the women.

ANTWERT.

RUBENS.

RUBENS.

VANDYCK.

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.

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 ANTWERP. 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.

Behind the great altar is the chapel of RUBENS. 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

F

ANTWERP. 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.

W.KOL

BERGER.

RUBENS.

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.

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.

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