300. **Triptych by Rubens, commonly known as the =Christ à la Paille=, painted for a tomb in the Cathedral (compare the Moretus one). In the centre is a Pietà: Joseph of Arimathea supporting the dead body of the Christ on the edge of a stone covered with straw. Behind, Our Lady and another Mary, with the face of St. John just appearing in the background. This “too famous” work is rather a study of the dead nude than a really sacred picture. Some of its details overstep the justifiable limits of horror. The _wings_ are occupied by, L., a so-called Madonna and Child, really a portrait of a lady and boy—(his wife and son?): R., St. John the Evangelist (patron of the person for whose tomb it was painted), accompanied by his eagle. 706. Admirable *portrait by Rubens of Gaspard Groaerts, town secretary. The bust is Marcus Aurelius. 171. J. Fyt: Excellent screaming eagles, with a dead duck. One of the earliest and best presentations of wild life at home. 315. Rubens: Small copy (with variations) of the Descent from the Cross in the Cathedral (by a pupil). 708. One of the best *portraits by Rubens in the Gallery, subject unknown: lacks personal dignity, but Rubens has made the most of him. The rest of this wall is occupied by some tolerable gigantic altar-pieces and other good works of the School of Rubens. Most of them derive their chief interest from their evident inferiority in design and colour to the handicraft of the Master. They are the very same thing—with the genius omitted. _End wall_, 314, Rubens: called the =*Holy Trinity=. The Almighty supports on His knees the figure of the dead Christ. Behind, hovers the Holy Ghost. On either side, boy angels hold the crown of thorns, the three nails, and the other implements of the Passion. This is really a study in the science of foreshortening, and in the painting of the dead nude, largely suggested, I believe, by a still more unpleasing Mantegna in the Brera at Milan. 719. Above. Excellent fishmongery by Snyders. 212. Janssens: The Schelde bringing wealth to Antwerp, in the allegorical taste of the period. 712. Rubens: St. Dominic. 172. Fyt: Excellent dogs and game. 299. Rubens: An **allegorical picture to enforce the efficacy of the prayers of =St. Theresa=. The foundress of the Scalzi, dressed in the sober robe of her Carmelite Order, is interceding with Christ for the soul of Bernardino de Mendoza, the founder of a Carmelite convent at Valladolid. Below, souls in Purgatory. In the left-hand corner stands Bernardino, whom, at St. Theresa’s prayer, angels are helping to escape from torment. A fine luminous picture of a most unpleasing subject. Painted for the altar of St. Theresa in the church of her own barefooted Carmelites.