8(1 Route 12. BRUSSELS. Picture Gallery.
daens, Head of an Apostle, a sketch, in colours. — High up on
this wall are three large ceremonial works : 430. Sallaert, The
Infanta Isabella witnessing a competition of the Grand-Serment
Archers at Brussels (1615); 473. Tilborgh, Knights of the Golden
Fleece passing in front of the house of the Duke of Brabant in
Brussels (with portraits of the Prince de Ligne, Prince de Chimay,
Duke of Arenberg, etc.); 431. Sallaert, Procession.
End-wall: 315. Jordaens, Eleazer and Rebecca at the well, in
a landscape by Wildens ; Bont, Boudewyns, Landscapes.
Entrance-wall: 254. J. W. Delff, Portrait; 288. J. de Heem,
Still-life; 176. N. Berchem, Cattle at pasture; 354. Sir A. More,
Portrait of Hubert Goltzius (1576); No number, G. and J. Berck-
Heyde, Church of Haarlem; 297. Hondecoeter, Dead cock hung on a
wall; 394. J. van Ravesteyn, Portrait; 193. A. Brouwer, Boors
carousing on the ramparts of Antwerp, bought in 1882 for 13,000 fr.;
319. Koedyk, Dutch interior; 321. Phil. Koninck, Dunes. —
Above are two large pictures by D. van Alsloot (Nos. 155, 156),
representing the Procession of St. Gudule in the market-place of
Brussels; in the centre of the second is the old 'Halle au Pain',
opposite the Hotel de Ville. — We now return to the Corridor, and
from it enter —
Room II. To the right of the entrance: 14, 15. Lucas Cranach
the Elder, Adam and Eve. Below, 477. Peruyino (^>~), Madonna and
Child with John the Baptist, a round picture framed in a garland of
fruit in terracotta; 1. Amberger, Portrait; 13. Cranach the Elder,
Dr. Johannes Scheuring (1529). — Right Wall: Early Italian
paintings of the 14th and 15th cent, on a gold ground; 16, 17.
Carlo Crivelli, Madonna, St. Francis of Assisi. — Opposite the en¬
trance, to the right of the door: 50. .V. Schoen, Christ and the
Woman taken in adultery; 5. 15. de Bruyn, Portrait (1543). 144.
Unknown Master, Maximilian I.; 27. Holbein the Younger ('?), Por¬
trait of Sir Thomas More (?). — To the left of the door: Lower Rhenish
School, 126. Crucifixion, 140. Madonna and Child, with saints.
Room III. Early Flemish School of the 14-16th centuries. Most
of the masters here also are unknown, as the number of pictures of
this period which have come down to us certified by external evi¬
dence (i.e. by signature or documents) is comparatively limited.
To the left: Unknown Master, Madonna, with St. Francis of Assisi
and the donor, a winged picture ; 2. Herri met de Bles, Temptation
of St. Anthony.
On the end-wall: **38. Quinten Massys or Metsys, History of
St. Anne, a large winged picture, purchased in 1879 for 200,000 fr.
from the church of St. Peter at Louvain, for which it was painted
The principal picture represents the family of St. Anne, including
the Virgin and Child, to the latter of whom St. Anna holds out a grape;
in front, to the right, is Salome with her two sons, James the Elder and
John; to the left, Mary Cleophas, with her sons, James the Younger,