An altar; St. Francis in ecstacy, by Seghers. 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.

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.

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.

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.

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

THE CHURCH OF ST. JAMES.

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.

A Pieta, by C. Schut, well drawn and coloured, something in the manner of 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 Magdalen, and other Saints, male and female. Under the character of St. George, it is supposed, is Rubens' own portrait; and Mary Magdalen and the saint near her, are said to be the portraits of his two wives. For effect of colours this yields to none of Rubens' works, and the characters have more beauty than is common with him.

To a painter who wishes to become a colourist, or learn the art of producing a brilliant effect, this picture is as well worth the studying as any in Antwerp; it is as bright as if the sun shone on it. -There are two prints of this picture, one by P. Pontius, and the other by Rem. Eynhovedts; the last has more of the effect of the picture.

The Last Judgment, by Van Heemsen. It has

no effect, from the figures not being disposed in groups, and from the light being equally dispersed over the picture. On the doors are portraits; on one side the father with four sons, on the other the mother with ten daughters, and a tall figure with a sword, probably St. Catharine. The old woman looks pleased, and is a very natural countenance; all of them are handsome, and admirably drawn: but the manner is very dry, like that of Holbein, The old gothic school succeeds much better in portraits than history; the reason is plain; imitating exactly what we see in nature, makes but a poor historical picture, but an admirable portrait.

THE ACADEMY OF PAINTERS.

We found here an Holy Family, by Rubens, which is far from being one of his best pictures; it is that in which there is a parrot on the pedestal of a pillar, biting vine tendrils. By what accident this picture came here I never heard: it is scarce worthy to be considered as a pattern for imitation, though it must be acknowledged to be as well as many others of Rubens, which are dispersed about the world: its merit consists solely in being well coloured. It is not by such pictures Rubens acquired his reputation.-A print by Bolswert.

Here is a good portrait of a priest, by Vandyck, and the portraits of Francis Floris, and Quintin Matsys, by themselves. There are likewise some

ordinary pictures of Otho Venius, Jordaens, Schut, and other less considerable painters: the Academy therefore is scarce worth seeing for any excellency in works of art. Here is shown Rubens' chair, with his name on it.

The cabinets make but a very inconsiderable figure in Antwerp, in comparison of what is to be found in the churches. Those of M. Peters and ́ M. Dasch are two of the most considerable.

THE CABINET OF M. PETERS.

A Roman Charity, by Rubens, in his very best manner: the woman who is suckling her father is one of his most beautiful heads, and it has likewise great expression.

The Inside of a Stable, by Rubens, in which he has introduced the Prodigal Son feeding with hogs: the whole has too much of monotony; there wants variety of colours.

The unbelieving Priest, and another figure, attending at the altar, by Rubens; it is about halflife; of great harmony of colouring.

A Chancellor of Brabant, and another halfIength, by Rubens.

Three whole-lengths, by Vandyck,

A half-length portrait, by Vandyck, of a lady gathering flowers; she is turning her back, and looking over her shoulder, with a very genteel air. St. John preaching in the Wilderness, by Mola.

THE CABINET OF M. DASCH.

At M. Dasch's is an admirable picture of Rubens; the story of Seleucus and Stratonice. The languishing air of the son, who is lying on a bed, is eminently beautiful: the whole is well composed.

A Woman with a black veil, and a Gentleman, by Rubens; both fine portraits, especially the woman. Two Rembrandts, but not in his best style.

Opposite to the Rubens, is a Jupiter and Antiope, by Vandyck (his first manner), in perfect preservation. I think it impossible for colours to exceed this picture in brilliancy.

CABINET OF M. VAN HAVEREN.

M. Van Haveren has an admirable portrait by Rubens, known by the name of Chapeau de Paille, from her having on her head a hat and feather, airily put on; it has a wonderful transparency of colour, as if seen in the open air: it is upon the whole a very striking portrait; but her breasts are as ill drawn as they are finely coloured.

Its companion, though equally well painted, from not having the same advantage of dress receives no attention.

MR. STEVENS'S CABINET.

We must not forget a fine portrait of a gentleman, by Rubens, which we saw at the house of Mr. Stevens. And at the house of