contains nothing which the reader cannot adequately understand for himself. Omit Room G for the present (it contains the Dutch Masters), and turn instead into ROOM H, mostly devoted to works of the =School of Rubens=. _End Wall_, 305. =Rubens=: *The Last Communion of the dying St. Francis of Assisi. A famous work, in unusually low tones of colour—scarcely more than chiaroscuro. St. Francis, almost nude, is supported by his friars. Above, angels, now reduced to cherubs, wait to convey his soul to Heaven. Painted for the altar of St. Francis in the Franciscan Church of the Récollets. See it from the far end of the room, where it becomes much more luminous. On either side, 662, good portrait by S. De Vos (himself, dashing and vigorous: every inch an artist): and 104. C. De Vos: Admirable and life-like **portrait of the messenger or porter of the Guild of St. Luke, the Society of Painters of Antwerp, exhibiting the plate belonging to his confraternity. He is covered with medals, which are the property of the Society, and has the air of a shrewd and faithful servant. This living presentment of a real man is deservedly popular. 661. Tolerable portrait by C. De Vos. 403. Van Dyck’s *Entombment (or Pietà), often called Descent from the Cross. This is one of his noblest pictures, but badly restored. 335. Angry swans disturbed by dogs. Snyders. 215. Jordaens: Last Supper. The effect of gloom somewhat foreshadows Rembrandt. 401. Van Dyck: **A Dominican picture (Guiffrey calls it “cold and empty”), painted at his father’s dying wish for the Dominican Nunnery at Antwerp. The two great saints of the Order, St. Dominic, the founder, and St. Catherine of Assisi, the originator of the female branch, stand at the foot of the Cross, which is itself a secondary object in the picture. St. Dominic looks up in adoration; St. Catherine, wearing the crown of thorns, fervently embraces the feet of the Saviour. On the base, a child angel, in a high unearthly light, with a half extinguished torch, points with hope to the figure of the crucified Lord. The whole is emblematic of belief in a glorious Resurrection, through the aid of the Dominican prayers. Interesting inscription on the rock: “Lest earth should weigh too heavily on his father’s soul, A. van Dyck rolled this stone to the foot of the Cross, and placed it in this spot.” 381. Van Hoeck: Madonna and Child, with St. Francis, from the Franciscan Church of the Récollets. 660. Tolerable portrait by C. De Vos. 406. Van Dyck’s noble **Crucifixion, with the sun and moon darkened. One of his most admirable pictures. 677. Jordaens: **Charming family scene, known by the title of “As sing the Old, so pipe the Young.” Three generations—grandparents, parents, and children—engaged in music together. Very catching: a most popular picture. 734. Good *portrait of a priest, by Van Dyck. 402. Fine *portrait of a bishop of Antwerp, by Van Dyck.