RIJKS MUSEUM, AMSTERDAM. ] Between the courtyard and his beautiful Italian garden, he built a small imitation Pantheon, lighted, like its model, by a window in the centre of the dome. This he filled with busts, antique studies, valuable pictures brought from Italy, and other rare and curious objects. These he arranged to his own taste; and the arrangement of his cabinets, etc., served as a model for rich and noble collectors. A picture representing Rubens’s Drawing-room is in the National Gallery, Stockholm. It has been attributed to Van Dyck, but it is now supposed to have been painted by Cornelis de Vos about 1622, for the elder of the two women in the foreground seems to be a portrait of De Vos’s wife, while the other is Isabella Brandt, Rubens’s first wife. The room is simple but quite elegant in style, with windows looking out upon a garden. The walls are entirely hung with greenish leather on which the designs—chimaeras and children grouped around vases and pillars—are in gold. The chimney-piece is of black marble supported by red marble pillars, and the firedogs are brass. On the right is a sideboard of light polished oak, and opposite a table with a rich Oriental carpet for a cover. Upon the leather chairs are cushions embroidered with flowers. Two pictures hang on the walls, and a third is above the chimney-piece. In the foreground, there are two ladies engaged in friendly conversation, while three children are playing with a puppy. The mother of the latter, a white spaniel marked with red, anxiously watches this second group. In the sale inventory of Rubens’s house in 1707 there is mention of the gilded leather that decorated one of the sitting-rooms. [Illustration: PLATE XXIIIA.—_Spinet, by Ruckers._ STEINERT COLLECTION, YALE UNIVERSITY, U.S.A. ]