Beneath this triptych are three interesting portrait groups of husbands and wives, 16th century. On the wings, a “Noli Me Tangere”—Christ and the Magdalen in the garden. The _2nd Room_ has Dutch and Flemish works of the 17th century, mostly self-explanatory. The Last Judgment, by R. Coxcie, shows a late stage of a subject which we have already seen at Bruges, now reduced to an opportunity for the display of exaggerated anatomical knowledge. There are also several tolerable works of the School of Rubens, many of which are interesting mainly as showing the superiority of the Master to all his followers. Rombouts, The Five Senses, is, however, an excellent work of its own class. The centre of the further wall is occupied by a worthless picture of Duchastel’s, representing the Inauguration of Charles II. of Spain as Count of Flanders, in 1666, interesting mainly as a view of old Ghent. The action takes place in the Marché du Vendredi, the centre of which is occupied by the statue of Charles V., destroyed at the French Revolution. All round are the original picturesque houses, with their high Flemish gable-ends. On the R. is the Church of St. Jacques, much as at the present day. In front of the Municipal Council Chamber a platform is erected for the inauguration. The picture gives a good idea of the splendour of Ghent, even at the period of the Spanish domination. Near it, Rubens’s St. Francis receiving the Stigmata, where the conventional elements of the crucified six-winged seraph, the rays proceeding from the five wounds to the saint’s hands, feet, and side, and the astonished brother, Leo, in the distance, are all preserved, though enormously transfigured. The colour is unpleasing. This is almost a replica of the work in the Cologne Museum. Rombouts—tolerable Holy Family. Close by, some of Hondekoeter’s favourite birds, and Zeghers’s flowers. Over the door, a fine De Crayer. In the centre of the room are a series of pictures from the Gospel History, by F. Pourbus, with the Last Supper and donor at the back of one, formerly a triptych. The _3rd Room_ has pictures of the School of Rubens, many of them of considerable merit, particularly De Crayer’s Coronation of St. Rosalie and Vision of St. Augustine, in both of which he approaches within a measureable distance of the great master. His Judgment of Solomon is also excellent. Some other pictures in the room, however, exhibit the theatrical tendency of the 17th century in its worst form. * * * * * On the way back from the Picture Gallery, you pass on your L. the Rue Longue des Pierres, down which, a little way on the R., is a small =Museum of Antiquities=. I do not advise a visit to this. It contains one good brass, and some silver badges worn by ambassadors of Ghent, but otherwise consists, for the most part, of third-rate _bric-à-brac_. * * * * *