In the centre, 378, Rubens: **Assumption, high altar-piece from the Carmelite Church in Brussels. A fine picture, of Ruben’s early period, smooth of surface and relatively careful, with the apostles looking into the empty tomb, whence women are picking roses (See _Legends of the Madonna_). To the R., the youthful figure of St. Thomas, stretching his hands. Observe the fine contrast of colour between the lower and upper portions. This is a noble specimen of the master’s bold and dramatic treatment, but without his later ease of execution. 503. *Good portraits, by C. De Vos, of himself and his family. 127. De Crayer: St. Anthony, with his pig and staff, and St. Paul the Hermit, in his robe of palm-leaves, fed by a raven. In the background, the Death of St. Paul; two lions dig his grave. R., below, late figure of donor, seldom so introduced at this period. Jay in the background. Good landscape. Enter ROOM IV. with landscapes and still life of the later period. Left of the door, 381, Rubens: The Woman Taken in Adultery. 605. Good *family group of the Van Vilsteren household, attributed to Van Dyck. 466. Interior of a picture-gallery, Teniers. The room also contains several pictures worthy of note, but too modern in tone to need explanation. Observe that landscape has now almost vindicated its right to be heard alone, though figures in the foreground are still considered more or less necessary. Now enter CORRIDOR C. which contains good pictures of the =later Flemish school=. R. of door, 435, A. Van Utrecht: one of the favourite Dutch kitchen scenes, well painted. L. of the door. 95. Philippe de Champaigne: Presentation in the Temple, with characteristic crude French colouring. 437. Stag Hunt by Snyders. 375. Rubens: *Martyrdom of the local Bishop, St. Lieven. His tongue is torn out and given to dogs. Very savage pagans; rearing horse; and characteristic angels, with celestial scene. In Rubens’ less pleasing “allegorical” manner. Plenty of force, but too fiercely bustling. 383. Rubens: Fine portrait of the Archduke Albert. 384. Rubens: companion portrait of the Infanta Isabella, wife of 383. 376. Rubens: *Painfully un-Christian subject: mainly by a pupil, re-touched by the master: The Saviour about to destroy the World, which is protected by St. Francis and Our Lady. A strange method by which a votary seeks to impress his devotion to his own patrons. Behind, burning towns, murder, etc. 374. Rubens: *The Way to Calvary. (Almost all these large Rubenses are from High Altars.) In the foreground, the two thieves; then Christ falling, and a very Flemish and high-born St. Veronica unconcernedly wiping his forehead. Our Lady faints close by, supported by St. John. St. Longinus mounted, and Roman soldiers. The composition somewhat sketchy, but immensely vigorous. A gorgeous pageant, it wholly lacks pathos.