2nd and 3rd chapels, uninteresting.
The end chapel, behind the High Altar, is the burial chapel of the Rubens family. The altar-piece, painted by Rubens for his family chapel, represents the Madonna and Child adored by St. Bonaventura; close by stands the Magdalen; to the L. a hurrying St. George (reminiscent of the St. Sebastian by Veronese at Venice), and to the R., a very brown St. Jerome. The calm of the central picture, with its group of women, is interfered with by these two incongruous male figures. It is like parts of two compositions, joined meaninglessly together. Above are infant cherubs scattering flowers. One would say, Rubens had here thrown together a number of separate studies for which he had no particular use elsewhere. But the colour is most mellow.
5th chapel, of San Carlo Borromeo (who practically replaced St. Roch in later cosmopolitan Catholicism as the chief plague-saint). The altar-piece, by Jordaens, represents the saint invoking the protection of Christ and Our Lady for the plague-stricken in the foreground. Painted for the town almoner.
6th chapel. Three good portraits.
7th chapel. Visitation, by Victor Wolfvoet.
The N. Transept has the continuation of the Twelve Apostles, with two of the four Latin Fathers by the portal (the other two being at the opposite doorway). The Chapel (of Our Lady) resembles that in the S. Transept, and is equally terrible.
N. Aisle: The 2nd chapel has a fine triptych by M. De Vos, of the Glory of Our Lady. Centre, the Court of Heaven, where the prominent position of Our Lady is unusual, and marks an advanced phase of her cult. In the assemblage of saints below, St. Peter, St. John-Baptist, and many others, may be recognised by their symbols. The L. wing has the Calling of Matthew; the R. wing, St. Hubert, with the apparition of the crucifix between the horns of the stag. Beneath are good portraits of donors. The fine stained glass window of this chapel is noteworthy. It represents the Last Supper, with donors (1538).
The 3rd chapel, of the Rockox family, has a good triptych, by Van Orley, of the Last Judgment. On the wings are portraits of the donor and family. L., Adrian Rockox and sons, with his patron St. Adrian (sword, anvil). R., his wife, Catherine, with her daughters, and her patroness, St. Catherine.
4th chapel. Good triptych by Balen. Centre, Adoration of the Magi; R. and L., Annunciation and Visitation. On a tomb opposite, good portraits by Ryckaert.
5th chapel. Triptych, by M. De Vos: Presentation of Our Lady in the Temple. L., The Pagans attempt in vain to burn the body of St. Mark; R., Martyrdom of St. Lucy.