Antwerp.
Dear Charley:—
I believe the lads have told you what they have seen in Belgium; and as they are just now busily employed, I shall endeavor to tell you our doings and enjoyments for the last day in this noble old city. We have been to see St. James's Church, where the great attraction is the tomb of Rubens. The altar is exquisitely fine, and was the work of Duquesnoy. Rubens brought it from Italy. Over the tomb is the famous Holy Family, in which Rubens has introduced himself as St. George, his father as Jerome, his wives as Martha and Magdalene, his grandfather as old Time, and his son as the Angel. This wonderful creation of art was carried off by Napoleon to the Louvre, but was restored to the church in 1815. From hence we repaired to St. Paul's Church. It was built in 1679. It has a noble appearance, and retains its cloisters. In this building we noticed the Flagellation, by Rubens; Jesus bearing the Cross, by Vandyke; the Crucifixion and Resurrection, by Jordaens; and the Adoration of the Shepherds, by Rubens. As we left the church, we visited the Calvary, which is at the entrance, or, rather, off from it, at the right. It is meant to represent the place of Christ's death. There are several statues of prophets and apostles, and a sort of grotto. At the end is Mount Calvary, and the summit is the scene of the Savior's crucifixion. Beneath is the tomb, the body, and the stone rolled away; and at the left are bars and flames, and poor creatures in purgatorial fires. A more wretched-looking burlesque was never placed in the vicinage of art and the productions of genius. Popery employs such trickery unblushingly in Papal countries, but withholds their exhibition from the common sense of England and America, waiting till our education shall fit us for the simple, unalloyed system of delusion.
We find the number of priests in Belgium much greater than in France. We see them in the cars, at the stations, and in every street. At one station, on our way to Antwerp, we saw a most strangely-dressed man. He wore a cloak, and the cape formed a sort of hat. His head was shaved, and his feet were bare. We learnt that he was a monk of La Trappe. He was as noble a looking man as I have seen in Europe.
We devoted the morning to the Museum, which is so famous for containing the richest productions of Rubens, Vandyke, Jordaens, and a host of other great Flemish artists. As we entered, we saw, with interest, the chair of Rubens, which he used in his studio. It bears his name, and the date of 1638. It is in a glass case. Rubens has sixteen pictures here, of high character, and Vandyke several. We were all delighted with No. 215—a Dead Christ on a stone table, and the Virgin mourning at his side. No. 212 is a wonderful composition—Christ crucified between the Thieves. The look of the dying penitent at his Savior is not to be forgotten. The Magdalene of this picture is a creation of beauty indeed. I have purchased a fine engraving of this picture, and several others by Rubens, and I hope, by looking at them long, to retain the impression I had made on my mind as I gazed upon the originals. No. 221—the Trinity—is a profane and ungracious representation of a Dead Christ in the arms of a stern old man, who is intended for the Father. This picture is wonderfully fine, as regards the foreshortening of the dead body; and I never saw such an exhibition in this respect. No. 218—- Christ showing his Wounds to Thomas—is fine; but the picture has suffered from damp.
Quentin Matsys has several of his productions here, and we looked with interest at a fine Sir Thomas More, by Holbein; the Flight into Egypt, by Memling; Mater Dolorosa, by Albert Durer; and many interiors, by Flemish artists. I was greatly pleased with No. 382—the Death of Rubens, by Van BrÉe, who died in 1839. This is large, and I think a most effective picture. The two sons, the priest, the wife fainting, and the two scribes, are admirably disposed; and the open window, through which the cathedral spire is seen, seems to me exceedingly clever; but I fancy I admired it more than artists have done. On leaving this noble collection, we stopped at St. Andrew's Church to see a portrait of Mary, Queen of Scots, over a monument to the two Ladies Curl, one of whom waited on her at her execution at Fotheringay Castle. After dinner we sallied out to see the Exchange, or Bourse, and from which the first London one was copied. Of course, this gave it an interest to us, as we could fancy we saw the royal building in which Queen Bess made such a display, and of which Gresham had so much reason to be proud. It is a piazza of iron arches and granite pillars, surrounding a square two hundred feet long by one hundred and sixty wide. It was built in 1531.
On returning home, we accidentally met with Mr. Vesey, the American consul. He invited us to his drawing-room, and we had a very pleasant half hour. But when he found we were to leave next day, he insisted on taking us to the outskirts and showing us the citadel and fortifications. In a few minutes he had us in a carriage, and became our kind and efficient guide till the loss of daylight rendered it useless to look around. I think we shall never forget the very great attention and friendship which we all met with from this gentleman; and I was gratified to hear him say that here, in Europe, nothing seemed to interest him in relation to mere party strife at home; while the honor and union of the country seemed to him all and every thing. Mr. Vesey has a good library and some fine paintings. He is a man of taste, and marked by energy of character; and is just such a representative of his country as she needs at such points as Antwerp and other large cities.
Yours truly,
j.o.c.
