76. Another example of a later Last Judgment.
584. Mostart: Two stories from the life of St. Benedict. (1) The miracle of his dinner. (2) As a youth, he mends by prayer the dish broken by his nurse. (See Mrs. Jameson’s Monastic Orders.)
Now pass through Room [VIII.], containing chiefly late Italian and French pictures (which neglect for the present) and go on into
Corridor A,
to the L., overlooking the Sculpture Gallery. This takes us at once into the Later Flemish school of Rubens and his followers, whose works fill all these large corridors, which are admirably adapted for them. Begin to the R. of the door. (Remember that I do not attempt criticism, but confine myself to historical indications.)
230. Jordaens: Fine landscape, with city to the right. As yet, however, landscape dare not stand entirely on its own merits. Therefore, we have here in the foreground figures of Eleazar and Rebecca at the well, which retain the tradition that pictures must have some sort of sacred purpose.
194a. Unknown. Interior of a picture-gallery, with well-known pictures.
L. of the door. 465. Van Thulden: Flemish Wedding Feast. Landscape is beginning to triumph now; it gets rid of all pretence of sacredness, but still retains small figures in the foreground. Landscape for landscape’s sake is hardly yet dreamed of.
135. De Crayer, one of the best imitators of Rubens: *Adoration of the Shepherds, in the master’s manner.
179a. Good Still Life by Fyt.