_2nd chapel_, of St. Antony. Temptation of St. Antony, by M. De Vos. Italian 17th century Madonna. _3rd chapel_, of St. Roch, the great plague-saint. It contains an altar-piece by E. Quellin, angels tending St. Roch when stricken with the plague. Above, the saint with his staff and gourd, in marble, accompanied by the angel who visited him in the desert. On the window wall, relics of St. Roch, patron against the plague. Round this chapel and the succeeding ones are a series of pictures from the Life of St. Roch, by an unknown Flemish master, dated 1517. They represent St. Roch in prison; relieved by the dog; resting in the forest; visited by the angel; etc. (See Mrs. Jameson.) A tomb here has a good Virgin and Child. _4th chapel._ Fine old tomb; also, continuation of the History of St. Roch. _5th chapel._ More History of St. Roch. On the wall, relics of St. Catherine, who stands on the altar-piece with her sword and wheel; balanced, as usual, by St. Barbara. The chapel is dedicated to St. Anna, who is seen above the altar, with Our Lady and the Infant. _6th chapel._ Baptism of Christ, by Michael Coxcie, on the altar. Window wall, M. De Vos: Triptych: Centre, Martyrdom of St. James; L., the daughter of the Canaanite; R., the daughter of Jairus. (The wings are by Francken.) The =S. Transept= has Renaissance figures of the Apostles (continued in the N. transept). The =Choir= is separated from the Nave and Transepts by an ugly Renaissance _rood-screen_. The =Chapel of the Host=, in the S. transept, is full of twisting and twirling Renaissance marble-work, well seconded by equally obtrusive modern works in the same spirit. The =Ambulatory= has a marble screen, separating it from the Choir, in the worst taste of the Renaissance, with many rococo tombs and sculptures of that period plastered against it. _1st chapel_, of the Trinity, has a Holy Trinity for altar-piece, by Van Balen. The door to the L. gives access to the =Choir=, with an atrocious sculptured High Altar, and carved choir-stalls. _2nd_ and _3rd_ chapels, uninteresting. The _end chapel_, behind the High Altar, is the =burial chapel of the Rubens family=. The =altar-piece=, painted by Rubens for his family chapel, represents the Madonna and Child adored by St. Bonaventura; close by stands the Magdalen; to the L. a hurrying St. George (reminiscent of the St. Sebastian by Veronese at Venice), and to the R., a very brown St. Jerome. The calm of the central picture, with its group of women, is interfered with by these two incongruous male figures. It is like parts of two compositions, joined meaninglessly together. Above are infant cherubs scattering flowers. One would say, Rubens had here thrown together a number of separate studies for which he had no particular use elsewhere. But the colour is most mellow.