de Flandres, opposite the citadel. The repairs of this breach, recently completed, cost 2 millions of francs. ANTWERP (French, ANVERS; Flem. ANTWERPEN).-Inns: H. du Grand Laboureur, Place de Meir.-H. St. Antoine, near the Cathedral. - H. d'Angleterre.-Hôtel du Parc, Place Verte: charges, for bath, 2 fr.; table d'hôte, 3 fr.; half bottle of wine, 1 fr. 50 c.; breakfast, 1 fr. Antwerp is a strongly fortified city, with a citadel, on the right bank of the Scheldt (L'Escaut, Fr.), which is here navigable for vessels of large burthen; the tide rises 12 ft., and the water is brackish. There are many theories as to the origin of the name; the most probable and simple is that which derives it from the Flemish words, "aen't werf," on the wharf or quai. Antwerp contained in 1831 77,200 inhabitants. In the height of its splendour and prosperity, that is to say, in the XVIth century, it is said to have numbered 200,000, but it was then the richest and most com mercial city in Europe. Its merchants, indeed, were princes in wealth, and their houses splendid palaces. No city of Belgium presents grander streets and squares; the principal street, Place de Meir, may compare with any in Europe. An old author, describing the condition of Antwerp in the days of Charles V., says that 2.500 vessels were sometimes seen at one time lying in the river, laden with the productions of all quarters of the globe: 500 loaded waggons on an average entered its gates daily from the country. The money put into circulation annually exceeded 500,000,000 guilders, and 5000 merchants met twice every day on the exchange. The decay and fall of its prosperity is to be traced to the tyranny of the cruel Alva under the directions of his bigoted master, Philip II. of Spain. The establishment of the Inquisition by him, and the persecutions occasioned by it, drove thousands of industrious inhabitants to seek an asy lum elsewhere. To this persecution England is indebted for her silk manufactures, which were introduced by Flemish refugees from Antwerp, in the reign of Elizabeth. Another blow to its prosperity was the memorable siege of 14 months in 1585, which ended in its capture by the Duke of Parma, one of the most memorable exploits of modern warfare, whether we consider the strength of the place, the hearty resistance offered by the citizens, who yielded at last only when starved out by famine, or the political consequences resulting from it. Then came the loss of the navigation of the Scheldt, which fell into the hands of the Dutch at the union of the Seven United Provinces, and the subsequent closing of the river by the Peace of Westphalia, 1648, completed its commercial ruin, from which it was only beginning to recover when the revolution of 1830 broke out. In consequence of that event, the most profitable commerce which Antwerp carried on with the Dutch colonies is annihilated; the richest merchants have quitted it, repairing to Rotterdam or Amsterdam; its manufactures are nearly ruined, its docks comparatively empty, and its streets deserted. Antwerp enjoys a high reputation from its encouragement of the arts, and the eminent artists it has produced. It would be sufficient to mention the great names of Rubens (who lived here, and whose parents were of Antwerp) and of Vandyk, without alluding to others also great in their way, as Teniers, Jordaens, Quentin Matsys, &c. who were all natives of Antwerp or its neighbourhood. Trade and commerce have, indeed, deserted it, but their consequences in a variety of instances, particularly in the great works of art produced here, still remain behind; the power and genius of Rubens especially, whose master-pieces still exist here, is no where else to be equally understood and appreciated. The Academy or Corporation of St. Luke, in this city, for the encouragement of painting, was one of the oldest societies of the kind in Europe; it was founded in 1454 by Philip the Good, and endowed by Philip IV. of Spain, and may be regarded as the cradle of the Flemish school. The Cathedral of Notre Dame, one of the largest churches and most beautiful specimens of Gothic architecture in the Netherlands, is believed to have been commenced in the middle of the XIIIth century, and to have taken 84 years to finish. It was burnt in 1533, but the tower and choir were preserved. It was rebuilt the following year. The interior is simple and imposing: it is 500 ft. long and 250 wide, and the effect of the vastness of its lofty choir and nave, with treble aisles on each side, is assisted by its being all finished on the same uniform plan, and quite open and uninterrupted by screens or partitions of wood or stone. In the choir, a chapter of the Golden Fleece was held in 1555 by Philip II. of Spain, at which nine kings and sovereign princes were present, and assisted as knights of the order. any deficiency in the picture itself; had it been in the original state in which Rubens left it, it must have appeared very different; but it is mortifying to see to what degree it has suffered by cleaning and mending. That brilliant effect, which it undoubtedly once had, is lost in a mist of varnish, which appears to be chilled or mildewed. The Christ is in many places retouched, so as to be visible at a distance; the St. John's head repainted; and other parts, on a close inspection, appear to be chipping off, and ready to fall from the canvass. However, there is enough to be seen to satisfy any connoisseur, that in its perfect state it well deserved all its reputation. "The composition of this picture is said to be borrowed from an Italian print. This print I never saw; but those who have seen it say that Rubens has made no deviation from it, except in the attitude of the Magdalen. "The greatest peculiarity of this composition is the contrivance of the white sheet on which the body of Jesus lies this circumstance was The great attraction in this church probably what induced Rubens to is the celebrated masterpiece of Rubens, adopt the composition. He well knew -the Descent from the Cross. It what effect white linen opposed to hangs in the right-hand transept as you flesh, must have, with his powers of face the altar, near the door leading colouring; a circumstance which was out of the Place Verte. On one of not likely to enter into the mind of the lateral pieces or folding doors is an Italian painter *, who probably represented the Salutation of the Vir- would have been afraid of the linen's gin; on the other the Presentation of hurting the colouring of the flesh, and the infant Jesus in the Temple; and have kept it down by a low tint. on the back of them are a colossal And the truth is, that none but great figure of St. Christopher carrying the colourists can venture to paint pure infant Saviour, and a hermit. white linen near flesh; but such know the advantage of it; so that possibly what was stolen by Rubens, the possessor knew not how to value, and "This picture, of all the works of Rubens, is that which has the most reputation. I had consequently conceived the highest idea of its excellences; knowing the print, I had formed in my imagination what euch a composition would produce in the hands of such a painter. I confess I was disappointed. However, this disappointment did not proceed from Rubens probably obtained the idea of this picture from a celebrated one of the same subject by Daniel di Volterra, who was assisted in it by Michael Angelo; there is considerable similarity in the two works. certainly no person knew as well as Rubens how to use. I could wish to see this print, if there is one, to ascertain how far Rubens was indebted to it for his Christ, which I consider as one of the finest figures that ever was invented: it is most correctly drawn, and, I apprehend, in an attitude of the utmost difficulty to exeThe hanging of the head on his shoulder, and the falling of the body on one side, gives it such an appearance of the heaviness of death, that nothing can exceed it. cute. quebusiers, since it was so much to their advantage, however expensive to the maker of it. "All those pictures were intended to refer to the name of their patron Christopher. "In the first place, the body of Christ on the altar is borne by St. John, St. Joseph of Arimathea, Mary Magdalen, &c. "On one side of the left door, is the Salutation of Mary and Elizabeth. The Virgin here bears Christ before he is born. "On the reverse of the same door is St. Christopher himself, bearing the Infant on his shoulders. The picture which corresponds with this on the other side, is the only one which has no reference to the word Christopher. It represents an Hermit with a lantern, to receive Christ when he arrives at the other side of the river. The hermit appears to be looking to the other side; one hand holds the lantern, and the other is very naturally held up to prevent the light from coming upon his eyes. But on the reverse of this door, we have another Christopher, the priest Simeon bearing Christ high in his arms, and look "Of the three Marys, two of them have more beauty than he generally bestowed on female figures; but no great elegance of character. The St. Joseph of Arimathea is the same countenance which he so often introduced in his works; a smooth fat face, - a very unhistorical character. The principal light is formed by the body of Christ and the white sheet; there is no second light which bears any proportion to the principal. In this respect it has more the manner of Rembrandt's disposition of light than any other of Rubens' works; however, there are many detached lights distributed at some distance from the great mass, such as the heading upwards. This picture, which has and shoulders of the Magdalen, the heads of the two Marys, the head of St. Joseph, and the back and arm of the figure leaning over the cross; the whole surrounded with a dark sky, except a little light in the horizon, and above the cross. "The historical anecdote relating to this picture says that it was given in exchange for a piece of ground (belonging to the guild of Arquebusiers), on which Rubens built his house; and that the agreement was only for a picture representing their patron, St. Christopher, with the Infant Christ on his shoulders. Rubens, who wished to surprise them by his generosity, sent five pictures instead of one; a piece of gallantry on the side of the painter, which was undoubtedly well received by the Ar not suffered, is admirable indeed, the This picture was among those taken by the French to Paris, and while there underwent a very judicious reparation and cleaning; so that it is probably in far better condition now, than when seen by Sir Joshua. At any rate, it is the opinion of the best judges, that his praise of the truly wonderful picture is on the whole too qualified. He has omitted to mention the well-known story of the share which Vandyke had in the painting. While the work was in progress, and during the absence of Rubens, the picture was thrown down by accident or carelessness of the students, and received serious injury in the fall. Vandyke was selected as the most skilful hand among them to repair the damage, and succeeded so well, that Rubens, on his return, declared that he preferred his scholar's work to his own. The parts restored by him were the cheek and chin of the Virgin, and the arm of the Magdalen. In the opposite or left transept is another painting by Rubens, the Elevation of the Cross, "the first public work which Rubens executed after he returned from Italy. In the centre is Christ nailed to the cross, with a number of figures exerting themselves in different ways to raise it. One of the figures appears flushed, all the blood rising into his face from his violent efforts; others in intricate attitudes, which, at the same time that they show the great energy with which the business is done, give that opportunity which painters desire, of encountering the difficulties of the art, in foreshortening and in representing momentary actions. This subject, which was probably of his own choosing, gave him an admirable opportunity of exhibiting his various abilities to his countrymen; and it is certainly one of his best and most animated compositions. "The bustle which is in every part of the picture makes a fine contrast to the character of resignation in the crucified Saviour. The sway of the body of Christ is extremely well imagined. The taste of the form in the Christ, as well as in the other figures, must be acknowledged to be a little inclinable to the heavy: but it has a noble, free, and flowing outline. The invention of throwing the cross ob liquely from one corner of the picture to the other, is finely conceived; something in the manner of Tintoret: it gives a new and uncommon air to his subject, and we may justly add, that it is uncommonly beautiful. The contrast of the body with the legs is admirable, and not overdone. "The doors are a continuation of the subject. That on the right has a group of women and children, who appear to feel the greatest emotion and horror at the sight: the Virgin and St. John, who are behind, appear very properly with more resignation. On the other door are the officers on horseback; attending behind them are the two thieves, whom the executioners are nailing to the cross. "It is difficult to imagine a subject better adapted for a painter to exhibit his art of composition than the present; at least Rubens has had the skill to make it serve, in an eminent degree, for that purpose. In the naked figures of the Christ and of the executioners, he had ample room to show his knowledge of the anatomy of the human body in different characters. There are likewise women of different ages, which is always considered as a necessary part of every composition in order to produce variety: there are, besides, children and horsemen; and, to have the whole range of variety, he has even added a dog, which he has introduced in an animated attitude, with his mouth open, as if panting; admirably well painted. His animals are always to be admired; the horses here are perfect in their kind, of a noble character, animated to the highest degree. Rubens, conscious of his powers in painting horses, introduced them in his pictures as often as he could. This part of the work, where the horses are represented, is by far the best in regard to colouring: it has a freshness which the other two pictures want; but those appear to have suf fered by the sun. "The central picture, as well as that of the group of women does not, for whatever reason, stand so high for colour as every other excellence. There is a dryness in the tint; a yellow-okery colour predominates over the whole; it has too much the appearance of a yellow-chalk drawing. I mean only to compare Rubens with himself; they might be thought excellent, even in this respect, were they the work of almost any other painter. The flesh, as well as the rest of the picture, seems to want grey tints, which is not a general defect of Rubens; on the contrary, his mezzotints are often too grey. "The blue drapery, about the middle of the figure at the bottom of the cross, and the grey colour of some armour, are nearly all the cold colours in the picture, which are certainly not enough to qualify so large a space of warm colours. The principal mass of light is on the Christ's body; but in order to enlarge it, and improve its shape, a strong light comes on the shoulder of the figure with a bald head: the form of this shoulder is somewhat defective; it appears too round. "Upon the whole, this picture must be considered as one of Rubens' principal works."— Sir J. R. It was executed in 1610, and retouched in 1627 by the painter, who added the Newfoundland dog at that time. Over the high altar of the choir, which is very splendid, hangs a third of Rubens' most famous pictures, the Assumption of the Virgin. "She is surrounded by a choir of angels below are the apostles and a great number of figures. This picture has not so rich an appearance in regard to colour as many other pictures of Rubens, proceeding, I imagine, from there being too much blue in the sky: however, the lower part of the picture has not that defect. It is said to have been painted in sixteen days"- Sir J. R.-for 1600 florins; Rubens' usual terms being at the rate of 100 florins a day. The Resurrection of our Saviour, by Rubens, painted by him to adorn the tomb of his friend Moretus the Printer. "An admirable picture, about half the size of life; Christ coming out of the sepulchre, in great splendour, the soldiers terrified, and tumbling one over the other: the Christ is finely drawn, and of a rich colour. The St. John the Baptist on the door is likewise in his best manner, only his left leg is something too large. On the other door is St. Barbara, (? St. Catherine); the figure without character, and the colouring without brillancy. The predominant colour in her dress is purple, which has heavy effect."-Sir J. R. The pulpit is singular: it is very beautifully carved in wood by Verbruggen; and represents twining shrubs and interlaced branches of trees, with various birds many of them of species unknown in nature, -mere fanciful inventions of the artist, perched upon them. There are several tombs and statues of marble in the choir by the same artist. The chapel of the Holy Sacrament contains an altar carved by him, and a painting by the younger Franck, of our Saviour disputing with the Doctors, among whom the painter has introduced portraits of Luther, Calvin, Erasmus, and other reformers. "There are some fine heads in this picture; particularly the three men that are looking on one book, are admirable characters; the figures are well drawn and well grouped; the Christ is but a poor figure.' - Sir J. Reynolds. The music in the Cathedral on Sundays and festivals is very grand; the masses of some of the most celebrated composers are splendidly performed. The steeple, one of the loftiest in the world, 360 ft. high, is of such beautiful and delicate Gothic workmanship, as to have caused the Em |
