Then, unnumbered, Jordaens: *Susannah and the Elders: a very Flemish and matronly Susannah. The nude of Rubens, without the glorious touch of the master: but a good picture. 392. Study by the same for the ceiling in Whitehall. 386. Fine *portrait by Rubens of a fair man (J. C. de Cordes). “Inferior work.” (Fromentin.) 390. Rubens: **Charming little Madonna and Child (called “Our Lady of the Forget-me-not”), in a garden of roses (the landscape by J. Brueghel). One of his best small pictures, in a careful style. 387. Rubens: *Portrait: Wife of the last: in his finest and richest portrait manner, which contrasts in many ways with his larger and freer allegorical style. (Fromentin thinks poorly of it.) 389. In the corner, four Fine *Heads of Negroes, a study for the Magi, by Rubens. Not caricatured, but full of genuine negro character. Above it, 219. An Adoration of the Magi by Herreyns: Interesting only as showing the persistence of the school into the 18th century. 235. Jordaens: *An Allegory of Abundance. Studies from the nude in the style of the school: meritorious. Pass the door of the Dutch school. Beyond it, more Still Life, excellently painted. 240. Next door, Jordaens: *Nymph and Satyr. (This corridor is largely given up to works by Jordaens, who was a Protestant, and preferred heathen mythological subjects to Catholic Christian ones. 434. Snyders: 17th century: *Still Life, which now begins to be painted on its own merits. This last is by the great animal painter of the Flemish school. 238. Jordaens: Very Flemish *family group, with a somewhat superfluous satyr. (Subject nominally taken from the fable of the Satyr and the Wayfarer.) 302. Vandermeulen: View of Tournai and landscape, with the siege by Louis XIV. introduced for the sake of figures in the foreground. Above it, 240 (? old number). De Crayer: St. Anthony and St. Paul the Hermit. Interesting for persistence of the typical figures. The other pictures in this corridor are, I think, self-explanatory. Now enter ROOM III. Right hand, further corner from door, Still Life by Snyders. 100. Good portrait by Philippe de Champaigne. 387A. Splendid *portrait by Rubens (according to Rooses, by Van Dyck). This room also contains several fine pictures by Teniers (father or son) and other late Flemish painters, deserving of attention, but needing no explanation. (Portraits, etc.) Do not imagine because I pass them by that you need not look at them. Now enter CORRIDOR B. L. of the door, good works by De Crayer and others. 166. =Van Dyck= (the greatest pupil of Rubens, leading us on to the later Dutch school). *St. Francis in ecstasy before the Crucifix. From the Franciscan Capuchin Church in Brussels. 288. P. Meert, good portraits. 165. Companion to 166. Another Franciscan picture by Van Dyck. *St. Anthony of Padua holding the Infant Jesus. (In neither is he seen to great advantage.)