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 eyes is finely imagined, and gives an 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. Dominic 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 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 union of their colour with the sky is wonderfully managed. It is remarkable that one of the angels has Psyche's wings, which are like those of a butterfly. This

picture is improperly called-St. Anne teaching the Virgin to read; who is représented 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.-A print by Bols

wert.

At an altar on the opposite niche 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' 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 Seghers. The 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. 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,

CARMELITES.

OR SHOED

On the right, as you enter the choir, Christ lying dead on the lap of God the Father, by Rubens; on each side an angel, with the instruments of crucifixion. The Christ is foreshortened with great skill in drawing.-Engraved by Bolswert.

CHURCH OF THE CACONS (NUNS).

In a little chapel the Virgin and Infant Christ, by Vandyck; a priest kneeling; an angel behind directing his attention to the Virgin. The drapery seems to be by another hand. There is nothing in this picture very much to be admired.

ST. MICHAEL.

The great altar, the Adoration of the Magi; a large and magnificent composition of near twenty figures, in Rubens' best manner. Such subjects seem to be more peculiarly adapted to the manner and style of Rubens: his excellence, his superiority, is not seen in small compositions.

One of the kings, who holds a cap in his hand, is loaded with drapery: his head appears too large, and upon the whole he makes but an ungraceful

figure. The head of the ox is remarkably well painted.-Engraved by Lommelli.

On the left of the great altar is another picture of Rubens, St. Gregory with the Dove, dressed in the sacerdotal robes; behind him is St. George in armour; both noble figures; and the female saint, who is likewise in the front of the picture, is, for Rubens, uncommonly beautiful. Behind is St. Sebastian, and other saints; and above are angels bearing a picture in a frame, of the Virgin and Child. The print by Remoldus Eynhovedts.

Near this is a monument of Rubens' brother Philip, with an inscription and a portrait in oval, by Rubens.

In this church are many fine portraits inserted in monuments.

St. Norbert receiving the Sacrament, by Simon de Vos; in which are introduced a great number of portraits extremely well painted. De Vos was particularly excellent in portraits. There is in the poor-house in this city, his own portrait by himself, in black, leaning on the back of a chair, with a scroll of blue paper in his hand, so highly finished, in the broad manner of Correggio, that nothing can exceed it.

On the right cross is an immense large picture, by Erasmus Quellinus, containing some good heads, and figures not ill drawn; but it is an illconducted picture, and in bad condition.

THE MINIMES.

There is nothing curious in the church; but in passing to the cloisters are forty pieces of glass pane, by Diedenbeke, of the life of St. Francis; and in an adjoining room a crucifix of Jordaens, admirable for its colouring, and the expression is better than usual; but the drawing of the limbs of Christ is defective.

THE CHURCH OF THE JACOBINS.

The altar of the choir is painted by Rubens: the subject the same as one mentioned before in the church of the Recollets at Ghent : Christ launching thunder on the world, the Virgin interceding; below are many saints, male and female, bishops, and cardinals. Rubens acquired a predilection for allegories from his master, Otho Venius; but it may be doubted, whether such fancies in a Christian church are not out of their proper place. St. Francis is here, as in the picture at Ghent, the best head. This picture has been much damaged, and St. Sebastian in particular, has been repainted by some ignorant person: the sky has likewise been badly repaired. God the Father who is leaning on a globe, has something majestic in the attitude.

A Council composed of saints, popes, cardinals, and bishops, by Rubens, the same subject as Raffaelle's in the Vatican, called the Dispute of the