Picture Gallery. BRUSSELS. 12. Route. 87
(repetition of the fresco in the Hotel de Ville at Antwerp, see
p. 134); W. Roelofs, Landscape; Leys, Restoration of the Roman
Catholic service in Antwerp Cathedral (1845); Verboeckhoven,
Shepherd in the Roman Campagna; E. Wauters, The Prior of the
Augustine monastery to which Hugo van der Goes had retired
tries to cure the painter's madness by means of music; Lies, Bald¬
win VII. of Flanders punishing robber-knights; L. Gallait, Johanna
the Mad by the corpse of her husband, Philip the Handsome.
Room V. P. J. Clays, Antwerp Roads; Madou, Village-festival;
Hipp. Boulenger, Landscape; J. Quinaux, Scene in Dauphine;
Leys, Studio of the painter Frans Floris. — V. Lagye, The visit to
the sorceress; Alf. Stevens, Lady in a light pink dress. — Ch. Her¬
mans, Early morning in the capital; Cam. van Camp, Death of
Mary of Burgundy (p. 16). — Th. Gerard, Village-festival in Swa-
bia; J. Coomans, The 'loving cup'; L. Robbe, Cattle.
Room VI. J. B. van Moer, View in Brussels; E. J. de Prattere,
Cattle-market in Brussels. — C. Meunier, Peasants of Brabant de¬
fending themselves in 1797; F. Willems, 'La fete des grands pa¬
rents'; De Groux, Drunkard by the corpse of his neglected wife. —
J. B. Madou, A question of fate; De Braekeleer, The geographer;
E. van Bosch, Cats playing. — J. T. Coosemans, Marshy landscape
at dusk. — We now turn to the left and enter —
Room VII., which contains several large pictures. To the left:
*E. de Biefve, The Compromise, or Petition of the Netherlandish
nobles in 1565. Count Hoorne is represented as signing the docu¬
ment, Egmont in an arm-chair; at the table Philip de Marnix, in a
suit of armour; in the foreground William of Orange, in a dark-blue
garment; beside him, Martigny in white satin, and behind him the
Due d'Arenberg. The Count Brederode, under the portico to the
left, is inviting others to embrace the good cause. This picture
and Gallait's Abdication of Charles V. mark a new epoch in the
history of modern Belgium art. They were exhibited in most of the
European capitals in 1843, where they gained universal admiration,
and they have contributed materially to the development of the
realistic style of painting, in which colour plays so prominent a
part. — E. Slingeneyer, Battle of Lepanto. G. Wappers, Beginning
of the Revolution of 1830 at the Hotel de Ville in Brussels; the
people tearing the proclamation (24th Sept.) of Prince Frederick of
the Netherlands. — H. Decaisne, Belgium crowning her distin¬
guished sons, from Charlemagne down to the 17th cent, (an allegori¬
cal work). — *JV. de Keyser, Battle of Worringen (1288); Siegfried
of Westerburg, Archbishop of Cologne, standing before his captors
Duke John I. of Brabant and Count Adolph of Berg (1839). — Among
the smaller pictures, by the door: A. de Knyff, Forest of Stolen ; on
the back-wall, N. de Keyser, Justus Lipsius; J. van Lerius, Eras¬
mus ; De Braekeleer, The Golden Wedding, and Distribution of fruit
at a school ('le compte de la mi-careme').
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