298. Rubens: **Adoration of the Magi, considered to be his finest embodiment of this favourite subject, and one of his masterpieces. R., Our Lady and Child, with the ox in the foreground, and St. Joseph behind her. L., two kings make their offerings. Behind them, the third, a Moor, in an Algerian costume, leering horribly. Above, the ruined temple, the shed, and the camels. M. Max Rooses calls this work “the chef d’œuvre by which Rubens inaugurated his third manner,” and other critics praise loudly its gorgeous colouring, its audacious composition, its marvellous certainty. To me, the great canvas, with its hideous ogling Moor, is simply unendurable; but I give the gist of authoritative opinion.
312. Rubens: *The Holy Family, known as La Vierge au Perroquet. It is chiefly remarkable as a rich and gorgeous piece of colouring, with a charming nude boy of delicious innocence.
313. Rubens: *Crucifixion. One of his best embodiments of this subject.
Opposite wall.
709. Rubens, partly made-up: Jupiter and Antiope. A mythological subject, treated in a somewhat Italian style, with a quaint little huddling Cupid in the foreground.
Beyond this, three designs by Rubens for Triumphal Cars and Arches, on the occasion of the entry of Ferdinand of Austria in 1635.
The whole of this room contains several other excellent altar-pieces, many of which are Franciscan.
Room J.
R. and L. of the door, 105, C. De Vos: Portraits of a husband and wife, with their sons and daughters.
370. Van Cortbemde: The Good Samaritan, pouring in oil and wine in a most literal sense. In the background, the priest and the Levite.