_2nd Chapel._ Tomb of =John Moretus=, the son-in-law of Plantin, the famous printer (see after, under Musée Plantin-Moretus) erected by Martina Plantin, his widow, and with pictures by =Rubens=. Above, in an oval, portrait of John Moretus (by a pupil, re-touched by Rubens). Below, triptych; _centre_, *The Resurrection, emblematic of hope for his glorious future. _L. wing_, his patron, St. John-Baptist; _R. wing_, his widow’s patroness, St. Martina. This triptych, too, loses by not being first seen _closed_: on the outside are two angels, about to open a door; as the wings unfold, you behold the luminous figure of the risen Christ, grasping the red Resurrection banner. This figure is celebrated. The dismay of the Roman soldiers is conceived in the thorough Rubens spirit. Observe the arrangement of this triptych on the tomb: it will help you to understand others in the Museum. Opposite this, Tomb of a Premonstratensian Friar, with St. Norbert, founder of the Order, in adoration, by Pepyn. This chapel is also one of the best points of view for Rubens’s famous =**Assumption=, above the High Altar. We here see one of these great altar-pieces (of which we shall meet many examples in the Museum) placed in the situation for which it was originally designed. This Assumption ranks as one of Rubens’s masterpieces. Above, Our Lady is caught up into the air by a circle of little cherubs, dimly recalling the earlier Italian mandorla. Below, stand the Apostles, looking into the empty tomb, with the youthful figure of St. Thomas stretching out his hands in an attitude derived from the Italian subject of the Sacra Cintola. In the centre of the foreground, the Holy Women, about to pick roses from the empty tomb. (See a similar work in the Brussels Museum. This composition can only be understood by the light of earlier Italian examples.) On the pier between this and the next chapel, Crucifixion, with Scenes from the Passion. _3rd Chapel._ Master of the School of Cologne, 14th century. A Glory of the Angels. In the centre, St. Michael the Archangel slaying a dragon, whose double tongue divides into many heads of kings. R. and L., the insignificant donor and donatrix. On either side, choirs of angels in hierarchies. Above, Christ enthroned in a mandorla (almond-shaped halo) worshipped by angels. Beneath, in the predella, St. Stephen with his stone; St. Ursula with bow and arrow; St. Peter (keys); a Pietà; St. John the Evangelist; St. Agnes with her ruby ring; and St. Anthony the Abbot with his staff and bell. A good picture of the school from which Van Eyck was a reaction. Opposite it, Tomb of Bishop Ambrosio Capello, by Arthus Quellin, the only one remaining tomb of a bishop in the Cathedral. _4th Chapel._ Good 16th century figure of Our Lady and Child. Tomb of Plantin, with Last Judgment by De Backer. _5th Chapel._ Beautiful modern archaic altar-piece of St. Barbara.