One more peculiarity of his art must be mentioned. The early painters, as we saw in the St. Ursula casket, had little sense of real dramatic life and movement. Rubens had learned to admire this quality in his Venetian masters, and he bettered their instruction with Flemish force and with the =stir and bustle= of a big seaport town in an epoch of development. His pictures are full, not merely of life, but of strain, stress, turmoil. It is more than animation—it is noise, it is tumult. He often forgets the sacredness of a scene by emphasizing too much the muscular action and the violent movement of those who participate in it. This is particularly noticeable in the Descent from the Cross in the Cathedral, and still more in the famous Coup de Lance at the Museum. The astonishing number of pictures which Rubens has left may be accounted for in part by his incredible rapidity of execution—he dashed off a huge picture in a fortnight,—but in part also by the fact that he was largely assisted by a numerous body of pupils. Of these, =Van Dyck= was by far the most individual, the tenderest, the most refined: and not a few of his stately and touching masterpieces may here be studied. The =Dutch School= is also represented by several excellent small pictures. Of alien art, there are a few fine pieces by =Early Italian= artists.] The =entrance door= is under the great portico on the west front, facing the river. Open daily, 9 or 10 to 4 or 5, 1 fr. per person: free on Sundays. (Inquire hours of hotel porter.) You pass from the Vestibule (sticks and umbrellas left) into a Hall and Staircase of palatial dimensions, admirably decorated with fine modern paintings by N. De Keyser, of Antwerp, representing the Arts and Artists of the city, the influence upon them of Italian masters, and the recognition extended to their work in London, Paris, Rome, Bologna, Amsterdam, and Vienna. I do not describe these excellent pictures, as the inscriptions upon them sufficiently indicate their meaning, but they are well worth your careful attention. The =rooms= are lettered (A. B. C. etc.) over the doorways. On reaching the top of the staircase, pass at once through Rooms J. and I., and go straight into ROOM C. =Hall of the Ancient Masters=, Flemish or foreign. =Right of the door=, 224. Justus of Ghent: a bland old pope, probably St. Gregory, holding a monstrance, between two angels. In the background, a curious altar-piece, with the Annunciation, Nativity, Adoration of the Magi, Flight into Egypt, Presentation in the Temple, and Finding of Christ in the Temple. Above it, two female saints (or figures of Our Lady?). A good work, in an early dry manner. Above it, 463. Madonna and Child, by Van Orley: the landscape by Patinier. From a tomb in the Cathedral.