by Grant Allen
77. Good transitional triptych, by M. De Vos, for the Guild of Leather-dressers. Centre, The Incredulity of St. Thomas. On the wings, Scenes from the life of the Baptist. L., Baptism of Christ; where note the persistence of the little symbolical Jordan, with angels almost inconspicuous. R., The Decollation of St. John. Salome receiving his head in a charger. In the background, Herodias.
371. Coxcie the Younger: Martyrdom of St. Sebastian, patron saint of Bowmen, from their altar in the Cathedral. An attempt to be very Italian. The wings of this triptych are by Francken. L., St. Sebastian exhorting Marcus and Marcellinus to go to martyrdom. R., St. Sebastian miraculously healing the dumb woman, with portrait spectators, in dress of the period, deeply interested.
Now go on into
Room B,
(unlettered, the centre of the three). It contains works of an earlier period.
The left wall is entirely occupied by three large panels of a fine old Flemish 15th century picture, attributed to Memling (and apparently accepted as his by Lafenestre), representing *Christ Enthroned, with orb and cross, surrounded by choirs of angels; those in the central panel singing; the others, playing various musical instruments. This is a beautiful work, but less pleasing than those of the same school on a smaller scale. It has been recently bought from the monastery of Najera in Spain. It was intended, I think, to be seen at a height, probably on an organ-loft, and loses by being placed so near the eye of the spectator.
The opposite wall, R., is occupied by 245, Quentin Matsys’s masterpiece, the triptych of * *the Entombment, painted for the altar of the Guild of Cabinet-makers. The colouring is much more pleasing than in the Family of St. Anne at Brussels. Central panel, The Entombment. Nicodemus supports the emaciated body of the dead Saviour, while Joseph of Arimathea wipes the marks of the crown of thorns from his head. The worn body itself, with a face of pathetic suffering, lies on the usual white sheet in the foreground. At the foot, Mary Magdalen, with her pot of ointment and long fair hair, strokes the body tenderly. In the centre is the fainting Madonna, supported, as always, by St. John, in his red robe. Behind are the three Maries. The usual attendant (a ruffianly Fleming, in a queer turban-like cap) holds the crown of thorns. At the back, preparations for the actual placing in the sepulchre. In the background, Calvary.
The wings have scenes from the lives of the two St. Johns. L., The daughter of Herodias, a very mincing young lady, in a gorgeous dress, brings the head of St. John the Baptist on a charger to her mother and a fiercely-bearded Herod. The queen appears to be about to carve it. Above, a gallery of minstrels. Admirable drapery and accessories. The R. wing has the so-called Martyrdom of St. John the Evangelist, in the cauldron of boiling oil, with a delightful boy spectator looking on in a tree. The Emperor Domitian (older than history), on a white horse, behind. Flemish varlets stir the fire lustily. This noble work originally decorated the altar in the Chapel of the Menuisiers of Antwerp in the Cathedral.
On easels, 649, Claeissens: Triptych of the Crucifixion, with the Way to Calvary and the Resurrection. Elongated, attenuated figures.
680. Giles Mostaert (the elder): Singular complex picture, painted for the Hospital of Antwerp; representing, above, The General Resurrection: Christ enthroned between Our Lady and St. John-Baptist. Beneath, naked souls rising from the tomb. To the L., St. Peter welcomes the just at the gate of the Celestial City. To the R., devils drive the wicked into the gaping jaws of Hell. Beneath, the courses that lead to either end: the Seven Works of Mercy, inspired by the Redeemer, and the Seven Deadly Sins, suggested by devils. I will leave you to identify them (it is easy).
Go on into
Room D,
containing more works of the Transition. These large altar-pieces of the early 17th century, the period of the greatest wealth in Antwerp, though often frigid, as works of art, are at least interesting as showing the opulence and the tastes of the Antwerp guilds during the epoch of the Spanish domination. They are adapted to the huge Renaissance churches then erected, as the smaller triptychs of the 15th century were adapted to the smaller Gothic altars.
529. Feast of Archers, with the King of the Archers enthroned in the background.
696, 697. Tolerable portraits by Pourbus.
183. A Madonna by Gossaert.
114. Frans Floris: St. Luke painting, with his bull most realistically assisting, and his workman grinding his colours. From the old Academy of Painters, whose patron was St. Luke. Italian influence.
135. Ambrose Francken: Loaves and fishes.
148. The same. Decollation of St. Cosmo and St. Damian: painted for the Guild of Physicians, of whom these were the patron saints.
357. A splendid and luminous Titian, in the curious courtly ceremonial manner of the Venetian painters. * *Pope Alexander VI. (Borgia), in a beautiful green dalmatic, introducing to the enthroned St. Peter his friend, Giovanni Sforza da Pesaro, Bishop of Paphos, and admiral of the Pope’s fleet. At the bishop’s feet lies his helmet, to show his double character as priest and warrior. He grasps the banner of the Borgias and of the Holy Church. In the background (to show who he is), the sea and fleet. St. Peter’s red robe is splendid. The Venetians frequently paint similar subjects,— “Allow me to introduce to your Sainthood,” etc. This is a fine work in Titian’s early harder manner, still somewhat reminiscent of the School of Bellini. Its glorious but delicate colour comes out all the better for the crudity of the works around it.
146. Ambrose Francken: St. Cosmo and St. Damian, the Doctor Saints, amputating an injured leg, and replacing it by the leg of a dead Moor. In the background, other episodes of their profession. (Wing of the triptych for the Guild of Physicians.)
83. M. De Vos: Triptych, painted for the Guild of the Mint, and allusive to their functions. Centre, The Tribute Money. “Render unto Cæsar,” etc., with tempting Pharisees and Sadducees, and Roman soldiers. In the foreground, St. Peter in blue and yellow, with his daughter Petronilla. Left wing: Peter, similarly habited, finds the tribute money in the fish’s mouth. Right wing: The Widow’s Mite. (The French titles, “Le Denier de César,” “Le Denier du Tribut,” “Le Denier de la Veuve,” bring out the allusion better.)
88. M. De Vos: St. Luke painting Our Lady, with his bull, as ever, in attendance. The wings by others. L., St. Luke preaching. R., St. Paul before Felix. From the altar of the (painters’) Confraternity of St. Luke in the Cathedral.
113. Frans Floris: Adoration of the Shepherds. Note persistence of formal elements from old School, with complete transformation of spirit.
663. Floris: Judgement of Solomon.
112. Frans Floris’s horrible St. Michael conquering the devils; the most repulsive picture by this repulsive and exaggerated master.
Right and left of it, good late Flemish portraits of donors.
483. Portrait by Van Veen, Rubens’s master.
Room E
contains chiefly works of the school of Rubens, most of which can now be satisfactorily comprehended by the reader without much explanation. I will therefore treat them briefly.
Left of the door,
82. A Nativity, by De Vos. Can be instructively compared with earlier examples.
57. Good 17th century landscape.
646. Attributed to Brueghel: Paying tithes.
644. P. Brueghel the Younger: A village merry-making (“Kermesse Flamande”). With more than the usual vulgarity of episode.
722 and 724. Capital portraits.
Good Still life, etc.
Room F
contains nothing which the reader cannot adequately understand for himself. Omit Room G for the present (it contains the Dutch Masters), and turn instead into
Room H,
mostly devoted to works of the School of Rubens.
End Wall, 305. Rubens: *The Last Communion of the dying St. Francis of Assisi. A famous work, in unusually low tones of colour — scarcely more than chiaroscuro. St. Francis, almost nude, is supported by his friars. Above, angels, now reduced to cherubs, wait to convey his so
ul to Heaven. Painted for the altar of St. Francis in the Franciscan Church of the Récollets. See it from the far end of the room, where it becomes much more luminous.
On either side, 662, good portrait by S. De Vos (himself, dashing and vigorous: every inch an artist): and
104. C. De Vos: Admirable and life-like * *portrait of the messenger or porter of the Guild of St. Luke, the Society of Painters of Antwerp, exhibiting the plate belonging to his confraternity. He is covered with medals, which are the property of the Society, and has the air of a shrewd and faithful servant. This living presentment of a real man is deservedly popular.
661. Tolerable portrait by C. De Vos.
403. Van Dyck’s *Entombment (or Pietà), often called Descent from the Cross. This is one of his noblest pictures, but badly restored.
335. Angry swans disturbed by dogs. Snyders.
215. Jordaens: Last Supper. The effect of gloom somewhat foreshadows Rembrandt.
401. Van Dyck: * *A Dominican picture (Guiffrey calls it “cold and empty”), painted at his father’s dying wish for the Dominican Nunnery at Antwerp. The two great saints of the Order, St. Dominic, the founder, and St. Catherine of Assisi, the originator of the female branch, stand at the foot of the Cross, which is itself a secondary object in the picture. St. Dominic looks up in adoration; St. Catherine, wearing the crown of thorns, fervently embraces the feet of the Saviour. On the base, a child angel, in a high unearthly light, with a half extinguished torch, points with hope to the figure of the crucified Lord. The whole is emblematic of belief in a glorious Resurrection, through the aid of the Dominican prayers. Interesting inscription on the rock: “Lest earth should weigh too heavily on his father’s soul, A. van Dyck rolled this stone to the foot of the Cross, and placed it in this spot.”
381. Van Hoeck: Madonna and Child, with St. Francis, from the Franciscan Church of the Récollets.
660. Tolerable portrait by C. De Vos.
406. Van Dyck’s noble * *Crucifixion, with the sun and moon darkened. One of his most admirable pictures.
677. Jordaens: * *Charming family scene, known by the title of “As sing the Old, so pipe the Young.” Three generations — grandparents, parents, and children — engaged in music together. Very catching: a most popular picture.
734. Good *portrait of a priest, by Van Dyck.
402. Fine *portrait of a bishop of Antwerp, by Van Dyck.
404. Van Dyck: * *Pietà, altar-piece for a chapel of Our Lady of the Seven Sorrows. Our Lady holds on her lap the dead Christ, while St. John points out with his finger the wound in His hand to pitying angels. All the formal elements in this scene — Our Lady, St. John, the angels, etc. — belong to the earlier conception of the Pietà, but all have been entirely transfigured by Van Dyck in accordance partly with the conceptions of the School of Rubens, though still more with his own peculiar imagination. It is interesting, however, to note in this touching and beautiful picture, full of deep feeling, how far the type of the St. John has been inherited, remotely, from the School of Van der Weyden. Even the red robe and long hair persist. The features, too, are those with which we are familiar. This is one of the gems of the collection. It shows the direct influence of Italian travel modifying Van Dyck’s style, acquired from Rubens.
This room also contains several other excellent works of the School of Rubens or his more or less remote followers, which I need not particularize.
Now continue into
Room I,
containing what are considered to be the gems among the Rubenses and the later pictures.
Right of the door, Rubens and Brueghel, 319: Small copy of the Dead Christ. Schut, 327: The Beheading of St. George. A pagan priest, behind, endeavours to make him worship an image of Apollo. Above, angels wait to convey his soul to Heaven. This is a somewhat confused picture, with a spacious composition and a fine luminous foreground: it is considered its painter’s masterpiece. Intended for the altar of the Archers (whose patron was St. George), in Antwerp Cathedral.
673. Good still life by Gysels.
669. F. Francken: Portraits of a wealthy family in their own picture gallery.
107. C. De Vos: *Portraits of the Snoek family, in devotion to St. Norbert. This picture requires a little explanation. St. Norbert was the Catholic antagonist of the heretic Tankelin at Antwerp in the 12th century. In this frankly anachronistic picture the Snoek family of the 17th century, portly, well-fed burghers, are represented restoring to the mediæval saint the monstrance and other church vessels removed from his church during the Calvinist troubles. The Snoeks are living personages; the Saint is envisaged as a heavenly character. It is, in short, a highly allegorical picture of the family showing their devotion to true Catholicism, and their detestation of current heresy. In the background stands the town of Antwerp, with the Cathedral and St. Michael. (From the burial chapel of the Snoek family at St. Michael.) There is a Brueghel in Brussels Museum, representing St. Norbert preaching against Tankelin.
307. Beyond the door, Rubens: * *Triptych, to adorn a tomb, for the funerary chapel of his friend Rockox. Compare, for size and purpose, the Moretus tomb in the Cathedral. It shows the painter’s early careful manner, and represents in its central piece the Incredulity of St. Thomas. On the wings, the Burgomaster Nicolas Rockox, and his wife, for whose tomb it was painted. The wings are finer than the central portion. This early work, still recalling Van Veen’s academic tone, should be compared with the Van Veens and also with Rubens’s fine portrait of himself and his brother, with Lipsius and Grotius, in the Pitti at Florence. It marks the earliest age, when he was still content with comparatively small sizes, and gave greater elaboration to his work, but without his later dash and vigour. M. Rooses thinks ill of it.
781. *Fine farmyard scene by Rubens, with the story of the Prodigal Son in the foreground. One of the many signs of his extraordinary versatility.
Beyond, on either side of the great Rubens, to be noticed presently, are two pictures by his master, Otto van Veen: 480, The Calling of Matthew, and 479, Zacchæus in the Fig-Tree. These two careful works recall the later Italian Schools, more particularly Titian, and are good examples of that careful academic transitional Flemish art which Rubens was to transform and revivify by the strength of his own exuberant and powerful personality. They are admirably placed here for comparison with
297. Rubens’s famous altar-piece of the Crucifixion, for the Church of the Franciscans, commonly known as the * *Coup de Lance. In this splendid work Rubens is seen in one of his finest embodiments. The figure of Christ has fine virility. St. Longinus, to the L., on a white horse, is in the very act of piercing his side. The Magdalen, embracing the foot of the Cross, as ever, throws up her arms with supplicating gesture. To the R. is the Madonna. Behind, a soldier is engaged in breaking the limbs of the Impenitent Thief (always on Christ’s L.) who writhes in his torture. The whole work is full of Rubens’s life and bustle, well contrasted with the academic calm of the Van Veens beside it. Even those who do not love Rubens (and I confess I am of them) must see in such a work as this how his great powers succeeded in effects at which his contemporaries aimed ineffectually. Boldly dramatic, but not sacred.
300. * *Triptych by Rubens, commonly known as the Christ à la Paille, painted for a tomb in the Cathedral (compare the Moretus one). In the centre is a Pietà: Joseph of Arimathea supporting the dead body of the Christ on the edge of a stone covered with straw. Behind, Our Lady and another Mary, with the face of St. John just appearing in the background. This “too famous” work is rather a study of the dead nude than a really sacred picture. Some of its details overstep the justifiable limits of horror. The wings are occupied by, L., a so-called Madonna and Child, really a portrait of a lady and boy — (his wife and son?): R., St. John the Evangelist (patron of the person for whose tomb it was painted), accompanied by his eagle.
706. Admirable *portrait by Rubens of Gaspard Groaerts, town secretary. The bust is Marcus Aurelius.
171. J. Fyt: Excellent screaming
eagles, with a dead duck. One of the earliest and best presentations of wild life at home.
315. Rubens: Small copy (with variations) of the Descent from the Cross in the Cathedral (by a pupil).
708. One of the best *portraits by Rubens in the Gallery, subject unknown: lacks personal dignity, but Rubens has made the most of him.
The rest of this wall is occupied by some tolerable gigantic altar-pieces and other good works of the School of Rubens. Most of them derive their chief interest from their evident inferiority in design and colour to the handicraft of the Master. They are the very same thing — with the genius omitted.
End wall, 314, Rubens: called the *Holy Trinity. The Almighty supports on His knees the figure of the dead Christ. Behind, hovers the Holy Ghost. On either side, boy angels hold the crown of thorns, the three nails, and the other implements of the Passion. This is really a study in the science of foreshortening, and in the painting of the dead nude, largely suggested, I believe, by a still more unpleasing Mantegna in the Brera at Milan.
719. Above. Excellent fishmongery by Snyders.
212. Janssens: The Schelde bringing wealth to Antwerp, in the allegorical taste of the period.
712. Rubens: St. Dominic.
172. Fyt: Excellent dogs and game.
299. Rubens: An * *allegorical picture to enforce the efficacy of the prayers of St. Theresa. The foundress of the Scalzi, dressed in the sober robe of her Carmelite Order, is interceding with Christ for the soul of Bernardino de Mendoza, the founder of a Carmelite convent at Valladolid. Below, souls in Purgatory. In the left-hand corner stands Bernardino, whom, at St. Theresa’s prayer, angels are helping to escape from torment. A fine luminous picture of a most unpleasing subject. Painted for the altar of St. Theresa in the church of her own barefooted Carmelites.
405. Van Dyck: Magnificent portrait of Cesare Alessandro Scaglia, in black ecclesiastical robes, with lace cuffs and collar, and the almost womanish delicate hands of a diplomatic, astute, courtier-like ecclesiastic. The thoughtful eyes and resolute face might belong to a Richelieu.
