**596. _Gerard David._ Marriage at Cana. A splendid specimen of this great and insufficiently recognised painter. Background of buildings at Bruges. Every face and every portion of the decorative work, including the jars in the foreground, should be closely noticed. The kneeling donor is an admirable portrait. As a whole, what a contrast to the Paolo Veronese! The pretty, innocent face of the bride, with her air of mute wonder, is excellently rendered. I believe the donor in this work is a younger portrait of the Canon who appears in the glorious Gerard David in the National Gallery. Skied above all these pictures on either side are several works by _Van Veen_, _Jan Matsys_, _Snyders_ and others, mostly worthy of notice. Among them, 136, _Van Dyck_, good Madonna with the Magdalen and other saints. We now come to the =**=great series by =Rubens= narrating the =History of Marie de Médicis=, in the inflated allegorical style of the period. To understand them, the spectator should first read an account of her life in any good French history. These great decorative canvasses were painted hurriedly, with even more than Rubens’s usual dash and freedom, to Marie’s order, after her return from exile, for the decoration of her rooms at the Luxembourg (see Part V) which she had just erected. Though designed by Rubens, they were largely executed by the hands of pupils; and while possessing all the master’s exuberant artistic qualities in composition, they are not favourable specimens of his art, as regards execution and technique. It is to be regretted that most Englishmen and Frenchmen form their impressions of the painter from these vigorous but rapid pictures, rather than from his far nobler works at Antwerp, Munich, and Vienna. I give briefly the meaning of the series. 1. The Three Fates spin Marie’s destiny. A small panel for the side of a door. 2. Birth of Marie at Florence. Lucina, goddess of birth, with her torch, attends the mother. Genii scatter flowers; others hold her future crown. In the foreground, the River God of the Arno, with his stream issuing from an urn, and accompanied by the Florentine lion, as well as by boys holding the Florentine lily. This curious mixture of allegorical personages and realities is continued throughout the series. 3. Her Education, presided over by Minerva, with the aid of Mercury (to indicate her rapidity in learning), and Apollo, as teacher of the arts. Close by are the Graces, admirable nude figures. Among the accessories, bust of Socrates, painting materials, etc. 4. The Genius of France in attendance upon Henri IV, while Love shows him Marie’s portrait. The attitude of the king expresses delight and astonishment. In the clouds, Jupiter and Juno smile compliance. Below, little Loves steal the king’s shield and helmet. 5. Marriage of Marie by proxy. The Grand Duke Ferdinand represents the king. Hymen holds the torch.