The Flemish language has many words that are French in the spelling, but which have entirely different meanings, representing totally different things or ideas. _De_ is one. In French this word, pronounced _der_, without dwelling on the last letter, is a preposition generally meaning "of." Before a name, without being incorporated with it, it is an invariable sign of nobility, being even frequently affixed, like the German _von_, to the family name, on attaining that rank. In Flemish it is an article, and is pronounced precisely as a Dutchman is apt to pronounced _the_, meaning the same. Thus De Witt, means _the_ White, or White; the Flemings using the article to express things or qualities in the abstract, like the French. Myn Heer De Witt is just the same as Monsieur le Blanc, or Monsieur Du Bois, in French; one of which means Monsieur White, and the other Monsieur Wood. So nearly does this language resemble the English, that I have repeatedly comprehended whole sentences, in passing through the streets. Now in New York, we used to think the Dutch had become corrupted by the English, but I fancy that the corruption has been just the other way. We had made the acquaintance of a Flemish artist of extraordinary merit, at Paris; and this gentleman (Mr. Wappers) kindly called this morning to take us to see the gallery. The collection is not particularly large, nor is it rich in cabinet pictures, being chiefly composed of altar-pieces taken from churches. The works are principally those of Rubens, Vandyke, and a few of the older masters. The Vandykes, I think, are the best. On the whole, it struck me there were more curious than pleasing pictures in this gallery, although they are all valuable as belonging to a school. The study of the "Descent from the Cross" is among them, and it gave me more pleasure than anything else. Vandyke certainly rose in our estimation, after this close comparison with his great rival: he is altogether more human than Rubens, who is a sort of Dutch giant in the art; out of the natural proportions, and always a giant. Mr. Wappers permitted us to see his own painting-room. He is of the school of the great Flemish masters, and, I think, quite at the head of his profession, in many of its leading points. It was curious to trace in the works of this young artist the effects of having Rubens and Vandyke constantly before him, corrected by the suggestions of his own genius. His style is something between the two; broader and bolder than Vandyke, and less robust than Rubens.