FLEMISH PAINTING.
BOOKS RECOMMENDED: Busscher, _Recherches sur les Peintres
Gantois_; Crowe and Cavalcaselle, _Early Flemish Painters_;
Cust, _Van Dyck_; Dehaisnes, _L'Art dans la Flandre_; Du
Jardin, _L'art Flamand_; Eisenmann, _The Brothers Van Eyck_;
Fétis, _Les Artistes Belges à l'Étranger_; Fromentin, _Old
Masters of Belgium and Holland_; Gerrits, _Rubens zyn Tyd,
etc._; Guiffrey, _Van Dyck_; Hasselt, _Histoire de Rubens_;
(Waagen's) Kügler, _Handbook of Painting--German, Flemish,
and Dutch Schools_; Lemonnier, _Histoire des Arts en
Belgique_; Mantz, _Adrien Brouwer_; Michel, _Rubens_;
Michiels, _Rubens en l'École d'Anvers_; Michiels, _Histoire
de la Peinture Flamande_; Stevenson, _Rubens_; Van den
Branden, _Geschiedenis der Antwerpsche Schilderschool_; Van
Mander, _Le Livre des Peintres_; Waagen, _Uber Hubert und
Jan Van Eyck_; Waagen, _Peter Paul Rubens_; Wauters, _Rogier
van der Weyden_; Wauters, _La Peinture Flamande_; Weale,
_Hans Memling_ (_Arundel Soc._); Weale, _Notes sur Jean Van
Eyck_.
THE FLEMISH PEOPLE: Individually and nationally the Flemings were
strugglers against adverse circumstances from the beginning. A
realistic race with practical ideas, a people rather warm of impulse
and free in habits, they combined some German sentiment with French
liveliness and gayety. The solidarity of the nation was not
accomplished until after 1385, when the Dukes of Burgundy began to
extend their power over the Low Countries. Then the Flemish people
became strong enough to defy both Germany and France, and wealthy
enough, through their commerce with Spain, Italy, and France to
encourage art not only at the Ducal court but in the churches, and
among the citizens of the various towns.
[Illustration: FIG. 74.--VAN EYCKS. ST. BAVON ALTAR-PIECE (WING).
BERLIN.]
FLEMISH SUBJECTS AND METHODS: As in all the countries of Europe, the
early Flemish painting pictured Christian subjects primarily. The
great bulk of it was church altar-pieces, though side by side with
this was an admirable portraiture, some knowledge of landscape, and
some exposition of allegorical subjects. In means and methods it was
quite original. The early history is lost, but if Flemish painting was
beholden to the painting of any other nation, it was to the miniature
painting of France. There is, however, no positive record of this. The
Flemings seem to have begun by themselves, and pictured the life about
them in their own way. They were apparently not influenced at first by
Italy. There were no antique influences, no excavated marbles to copy,
no Byzantine traditions left to follow. At first their art was exact
and minute in detail, but not well grasped in the mass. The
compositions were huddled, the landscapes pure but finical, the
figures inclined to slimness, awkwardness, and angularity in the lines
of form or drapery, and uncertain in action. To offset this there was
a positive realism in textures, perspective, color, tone, light, and
atmosphere. The effect of the whole was odd and strained, but the
effect of the part was to convince one that the Flemish painters were
excellent craftsmen in detail, skilled with the brush, and shrewd
observers of nature in a purely picturesque way.
To the Flemish painters of the fifteenth century belongs, not the
invention of oil-painting, for it was known before their time, but its
acceptable application in picture-making. They applied oil with color
to produce brilliancy and warmth of effect, to insure firmness and
body in the work, and to carry out textural effects in stuffs,
marbles, metals, and the like. So far as we know there never was much
use of distemper, or fresco-work upon the walls of buildings. The oil
medium came into vogue when the miniatures and illuminations of the
early days had expanded into panel pictures. The size of the miniature
was increased, but the minute method of finishing was not laid aside.
Some time afterward painting with oil upon canvas was adopted.
SCHOOL OF BRUGES: Painting in Flanders starts abruptly with the
fifteenth century. What there was before that time more than
miniatures and illuminations is not known. Time and the Iconoclasts
have left no remains of consequence. Flemish art for us begins with
Hubert van Eyck (?-1426) and his younger brother Jan van Eyck
(?-1440). The elder brother is supposed to have been the better
painter, because the most celebrated work of the brothers--the St.
Bavon altar-piece, parts of which are in Ghent, Brussels, and
Berlin--bears the inscription that Hubert began it and Jan finished
it. Hubert was no doubt an excellent painter, but his pictures are few
and there is much discussion whether he or Jan painted them. For
historical purposes Flemish art was begun, and almost completed, by
Jan van Eyck. He had all the attributes of the early men, and was one
of the most perfect of Flemish painters. He painted real forms and
real life, gave them a setting in true perspective and light, and put
in background landscapes with a truthful if minute regard for the
facts. His figures in action had some awkwardness, they were small of
head, slim of body, and sometimes stumbled; but his modelling of
faces, his rendering of textures in cloth, metal, stone, and the like,
his delicate yet firm _facture_ were all rather remarkable for his
time. None of this early Flemish art has the grandeur of Italian
composition, but in realistic detail, in landscape, architecture,
figure, and dress, in pathos, sincerity, and sentiment it is
unsurpassed by any fifteenth-century art.
[Illustration: FIG. 75.--MEMLING (?). ST. LAWRENCE (DETAIL). NAT.
GAL., LONDON.]
Little is known of the personal history of either of the Van Eycks.
They left an influence and had many followers, but whether these were
direct pupils or not is an open question. Peter Cristus (1400?-1472)
was perhaps a pupil of Jan, though more likely a follower of his
methods in color and general technic. Roger van der Weyden
(1400?-1464), whether a pupil of the Van Eycks or a rival, produced a
similar style of art. His first master was an obscure Robert Campin.
He was afterward at Bruges, and from there went to Brussels and
founded a school of his own called the
SCHOOL OF BRABANT: He was more emotional and dramatic than Jan van
Eyck, giving much excited action and pathetic expression to his
figures in scenes from the passion of Christ. He had not Van Eyck's
skill, nor his detail, nor his color. More of a draughtsman than a
colorist, he was angular in figure and drapery, but had honesty,
pathos, and sincerity, and was very charming in bright background
landscapes. Though spending some time in Italy, he was never
influenced by Italian art. He was always Flemish in type, subject, and
method, a trifle repulsive at first through angularity and emotional
exaggeration, but a man to be studied.
By Van der Goes (1430?-1482) there are but few good examples, the
chief one being an altar-piece in the Uffizi at Florence. It is
angular in drawing but full of character, and in beauty of detail and
ornamentation is a remarkable picture. He probably followed Van der
Weyden, as did also Justus van Ghent (last half of fifteenth century).
Contemporary with these men Dierick Bouts (1410-1475) established a
school at Haarlem. He was Dutch by birth, but after 1450 settled in
Louvain, and in his art belongs to the Flemish school. He was
influenced by Van der Weyden, and shows it in his detail of hands and
melancholy face, though he differed from him in dramatic action and in
type. His figure was awkward, his color warm and rich, and in
landscape backgrounds he greatly advanced the painting of the time.
Memling (1425?-1495?), one of the greatest of the school, is another
man about whose life little is known. He was probably associated with
Van der Weyden in some way. His art is founded on the Van Eyck school,
and is remarkable for sincerity, purity, and frankness of attitude. As
a religious painter, he was perhaps beyond all his contemporaries in
tenderness and pathos. In portraiture he was exceedingly strong in
characterization, and in his figures very graceful. His flesh painting
was excellent, but in textures or landscape work he was not
remarkable. His best followers were Van der Meire (1427?-1474?) and
Gheeraert David (1450?-1523). The latter was famous for the fine,
broad landscapes in the backgrounds of his pictures, said, however, by
critics to have been painted by Joachim Patinir. He was realistically
horrible in many subjects, and though a close recorder of detail he
was much broader than any of his predecessors.
FLEMISH SCHOOLS OF THE SIXTEENTH CENTURY: In this century Flemish
painting became rather widely diffused. The schools of Bruges and
Ghent gave place to the schools in the large commercial cities like
Antwerp and Brussels, and the commercial relations between the Low
Countries and Italy finally led to the dissipation of national
characteristics in art and the imitation of the Italian Renaissance
painters. There is no sharp line of demarcation between those painters
who clung to Flemish methods and those who adopted Italian methods.
The change was gradual.
[Illustration: FIG. 76.--MASSYS. HEAD OF VIRGIN. ANTWERP.]
Quentin Massys (1460?-1530) and Mostert (1474-1556?), a Dutchman by
birth, but, like Bouts, Flemish by influence, were among the last of
the Gothic painters in Flanders, and yet they began the introduction
of Italian features in their painting. Massys led in architectural
backgrounds, and from that the Italian example spread to subjects,
figures, methods, until the indigenous Flemish art became a thing of
the past. Massys was, at Antwerp, the most important painter of his
day, following the old Flemish methods with many improvements. His
work was detailed, and yet executed with a broader, freer brush than
formerly, and with more variety in color, modelling, expression of
character. He increased figures to almost life-size, giving them
greater importance than landscape or architecture. The type was still
lean and angular, and often contorted with emotion. His Money-Changers
and Misers (many of them painted by his son) were a _genre_ of his
own. With him closed the Gothic school, and with him began the
ANTWERP SCHOOL, the pupils of which went to Italy, and eventually
became Italianized. Mabuse (1470?-1541) was the first to go. His early
work shows the influence of Massys and David. He was good in
composition, color, and brush-work, but lacked in originality, as did
all the imitators of Italy. Franz Floris (1518?-1570) was a man of
talent, much admired in his time, because he brought back
reminiscences of Michael Angelo to Antwerp. His influence was fatal
upon his followers, of whom there were many, like the Franckens and De
Vos. Italy and Roman methods, models, architecture, subjects, began to
rule everywhere.
From Brussels Barent van Orley (1491?-1542) left early for Italy, and
became essentially Italian, though retaining some Flemish color. He
painted in oil, tempera, and for glass, and is supposed to have gained
his brilliant colors by using a gilt ground. His early works remind
one of David. Cocxie (1499-1592), the Flemish Raphael, was but an
indifferent imitator of the Italian Raphael. At Liége the Romanists,
so called, began with Lambert Lombard (1505-1566), of whose work
nothing authentic remains except drawings. At Bruges Peeter Pourbus
(1510?-1584) was about the last one of the good portrait-painters of
the time. Another excellent portrait-painter, a pupil of Scorel, was
Antonio Moro (1512?-1578?). He had much dignity, force, and
elaborateness of costume, and stood quite by himself. There were other
painters of the time who were born or trained in Flanders, and yet
became so naturalized in other countries that in their work they do
not belong to Flanders. Neuchatel (1527?-1590?), Geldorp (1553-1616?),
Calvaert (1540?-1619), Spranger (1546-1627?), and others, were of this
group.
Among all the strugglers in Italian imitation only a few landscapists
held out for the Flemish view. Paul Bril (1554-1626) was the first of
them. He went to Italy, but instead of following the methods taught
there, he taught Italians his own view of landscape. His work was a
little dry and formal, but graceful in composition, and good in light
and color. The Brueghels--there were three of them--also stood out for
Flemish landscape, introducing it nominally as a background for small
figures, but in reality for the beauty of the landscape itself.
[Illustration: FIG. 77.--RUBENS. PORTRAIT OF YOUNG WOMAN. HERMITAGE,
ST. PETERSBURGH.]
SEVENTEENTH-CENTURY PAINTING: This was the great century of Flemish
painting, though the painting was not entirely Flemish in method or
thought. The influence of Italy had done away with the early simplicity,
purity, and religious pathos of the Van Eycks. During the sixteenth
century everything had run to bald imitation of Renaissance methods.
Then came a new master-genius, Rubens (1577-1640), who formed a new art
founded in method upon Italy, yet distinctly northern in character.
Rubens chose all subjects for his brush, but the religious altar-piece
probably occupied him as much as any. To this he gave little of Gothic
sentiment, but everything of Renaissance splendor. His art was more
material than spiritual, more brilliant and startling in sensuous
qualities, such as line and color, than charming by facial expression or
tender feeling. Something of the Paolo Veronese cast of mind, he
conceived things largely, and painted them proportionately--large
Titanic types, broad schemes and masses of color, great sweeping lines
of beauty. One value of this largeness was its ability to hold at a
distance upon wall or altar. Hence, when seen to-day, close at hand, in
museums, people are apt to think Rubens's art coarse and gross.
There is no prettiness about his type. It is not effeminate or
sentimental, but rather robust, full of life and animal spirits, full
of blood, bone, and muscle--of majestic dignity, grace, and power, and
glowing with splendor of color. In imagination, in conception of art
purely as art, and not as a mere vehicle to convey religious or
mythological ideas, in mental grasp of the pictorial world, Rubens
stands with Titian and Velasquez in the very front rank of painters.
As a technician, he was unexcelled. A master of composition,
modelling, and drawing, a master of light, and a color-harmonist of
the rarest ability, he, in addition, possessed the most certain,
adroit, and facile hand that ever handled a paint-brush. Nothing could
be more sure than the touch of Rubens, nothing more easy and
masterful. He was trained in both mind and eye, a genius by birth and
by education, a painter who saw keenly, and was able to realize what
he saw with certainty.
Well-born, ennobled by royalty, successful in both court and studio,
Rubens lived brilliantly and his life was a series of triumphs. He
painted enormous canvases, and the number of pictures, altar-pieces,
mythological decorations, landscapes, portraits scattered throughout
the galleries of Europe, and attributed to him, is simply amazing. He
was undoubtedly helped in many of his canvases by his pupils, but the
works painted by his own hand make a world of art in themselves. He
was the greatest painter of the North, a full-rounded, complete
genius, comparable to Titian in his universality. His precursors and
masters, Van Noort (1562-1641) and Vaenius (1558-1629), gave no strong
indication of the greatness of Ruben's art, and his many pupils,
though echoing his methods, never rose to his height in mental or
artistic grasp.
[Illustration: FIG. 78.--VAN DYCK. PORTRAIT OF CORNELIUS VAN DER
GEEST. NAT. GAL. LONDON.]
Van Dyck (1599-1641) was his principal pupil. He followed Rubens
closely at first, though in a slighter manner technically, and with a
cooler coloring. After visiting Italy he took up with the warmth of
Titian. Later, in England, he became careless and less certain. His
rank is given him not for his figure-pieces. They were not always
successful, lacking as they did in imagination and originality, though
done with force. His best work was his portraiture, for which he
became famous, painting nobility in every country of Europe in which
he visited. At his best he was a portrait-painter of great power, but
not to be placed in the same rank with Titian, Rubens, Rembrandt, and
Velasquez. His characters are gracefully posed, and appear to be
aristocratic. There is a noble distinction about them, and yet even
this has the feeling of being somewhat affected. The serene
complacency of his lords and ladies finally became almost a mannerism
with him, though never a disagreeable one. He died early, a painter of
mark, but not the greatest portrait-painter of the world, as is
sometimes said of him.
There were a number of Rubens's pupils, like Diepenbeeck (1596-1675),
who learned from their master a certain brush facility, but were not
sufficiently original to make deep impressions. When Rubens died the
best painter left in Belgium was Jordaens (1593-1678). He was a pupil
of Van Noort, but submitted to the Rubens influence and followed in
Rubens's style, though more florid in coloring and grosser in types.
He painted all sorts of subjects, but was seen at his best in
mythological scenes with groups of drunken satyrs and bacchants,
surrounded by a close-placed landscape. He was the most independent
and original of the followers, of whom there was a host. Crayer
(1582-1669), Janssens (1575-1632), Zegers (1591-1651), Rombouts
(1597-1637), were the prominent ones. They all took an influence more
or less pronounced from Rubens. Cornelius de Vos (1585-1651) was a
more independent man--a realistic portrait-painter of much ability.
Snyders (1579-1657), and Fyt (1609?-1661), devoted their brushes to
the painting of still-life, game, fruits, flowers, landscape--Snyders
often in collaboration with Rubens himself.
[Illustration: FIG. 79.--TENIERS THE YOUNGER. PRODIGAL SON. LOUVRE.]
Living at the same time with these half-Italianized painters, and
continuing later in the century, there was another group of painters
in the Low Countries who were emphatically of the soil, believing in
themselves and their own country and picturing scenes from commonplace
life in a manner quite their own. These were the "Little Masters," the
_genre_ painters, of whom there was even a stronger representation
appearing contemporaneously in Holland. In Belgium there were not so
many nor such talented men, but some of them were very interesting in
their work as in their subjects. Teniers the Younger (1610-1690) was
among the first of them to picture peasant, burgher, alewife, and
nobleman in all scenes and places. Nothing escaped him as a subject,
and yet his best work was shown in the handling of low life in
taverns. There is coarse wit in his work, but it is atoned for by
good color and easy handling. He was influenced by Rubens, though
decidedly different from him in many respects. Brouwer (1606?-1638)
has often been catalogued with the Holland school, but he really
belongs with Teniers, in Belgium. He died early, but left a number of
pictures remarkable for their fine "fat" quality and their beautiful
color. He was not a man of Italian imagination, but a painter of low
life, with coarse humor and not too much good taste, yet a superb
technician and vastly beyond many of his little Dutch contemporaries
at the North. Teniers and Brouwer led a school and had many followers.
In a slightly different vein was Gonzales Coques (1618-1684), who is
generally seen to advantage in pictures of interiors with family
groups. In subject he was more refined than the other _genre_
painters, and was influenced to some extent by Van Dyck. As a colorist
he held rank, and his portraiture (rarely seen) was excellent. At this
time there were also many painters of landscape, marine, battles,
still-life--in fact Belgium was alive with painters--but none of them
was sufficiently great to call for individual mention. Most of them
were followers of either Holland or Italy, and the gist of their work
will be spoken of hereafter under Dutch painting.
EIGHTEENTH-CENTURY PAINTING IN BELGIUM: Decline had set in before the
seventeenth century ended. Belgium was torn by wars, her commerce
flagged, her art-spirit seemed burned out. A long line of petty
painters followed whose works call for silence. One man alone seemed
to stand out like a star by comparison with his contemporaries,
Verhagen (1728-1811), a portrait-painter of talent.
NINETEENTH-CENTURY PAINTING IN BELGIUM: During this century Belgium
has been so closely related to France that the influence of the larger
country has been quite apparent upon the art of the smaller. In 1816
David, the leader of the French classic school, sent into exile by the
Restoration, settled at Brussels, and immediately drew around him
many pupils. His influence was felt at once, and Francois Navez
(1787-1869) was the chief one among his pupils to establish the
revived classic art in Belgium. In 1830, with Belgian independence and
almost concurrently with the romantic movement in France, there began
a romantic movement in Belgium with Wappers (1803-1874). His art was
founded substantially on Rubens; but, like the Paris romanticists, he
chose the dramatic subject of the times and treated it more for color
than for line. He drew a number of followers to himself, but the
movement was not more lasting than in France.
Wiertz (1806-1865), whose collection of works is to be seen in
Brussels, was a partial exposition of romanticism mixed with a
what-not of eccentricity entirely his own. Later on came a
comparatively new man, Louis Gallait (1810-?), who held in Brussels
substantially the same position that Delaroche did in Paris. His art
was eclectic and never strong, though he had many pupils at Brussels,
and started there a rivalry to Wappers at Antwerp. Leys (1815-1869)
holds a rather unique position in Belgian art by reason of his
affectation. He at first followed Pieter de Hooghe and other early
painters. Then, after a study of the old German painters like Cranach,
he developed an archaic style, producing a Gothic quaintness of line
and composition, mingled with old Flemish coloring. The result was
something popular, but not original or far-reaching, though
technically well done. His chief pupil was Alma Tadema (1836-), alive
to-day in London, and belonging to no school in particular. He is a
technician of ability, mannered in composition and subject, and
somewhat perfunctory in execution. His work is very popular with those
who enjoy minute detail and smooth texture-painting.
In 1851 the influence of the French realism of Courbet began to be
felt at Brussels, and since then Belgian art has followed closely the
art movements at Paris. Men like Alfred Stevens (1828-), a pupil of
Navez, are really more French than Belgian. Stevens is one of the best
of the moderns, a painter of power in fashionable or high-life
_genre_, and a colorist of the first rank in modern art. Among the
recent painters but a few can be mentioned. Willems (1823-), a weak
painter of fashionable _genre_; Verboeckhoven (1799-1881), a vastly
over-estimated animal painter; Clays (1819-), an excellent marine
painter; Boulanger, a landscapist; Wauters (1846-), a history, and
portrait-painter; Jan van Beers and Robie. The new men are Claus,
Buysse, Frederic, Khnopff, Lempoels.
[Illustration: FIG. 80.--ALFRED STEVENS. ON THE BEACH.]
PRINCIPAL WORKS:--Hubert van Eyck, Adoration of the Lamb
(with Jan van Eyck) St. Bavon Ghent (wings at Brussels and
Berlin supposed to be by Jan, the rest by Hubert); Jan van
Eyck, as above, also Arnolfini portraits Nat. Gal. Lon.,
Virgin and Donor Louvre, Madonna Staedel Mus., Man with
Pinks Berlin, Triumph of Church Madrid; Van der Weyden, a
number of pictures in Brussels and Antwerp Mus., also at
Staedel Mus., Berlin, Munich, Vienna; Cristus, Berlin,
Staedel Mus., Hermitage, Madrid; Justus van Ghent, Last
Supper Urbino Gal.; Bouts, St. Peter Louvain, Munich,
Berlin, Brussels, Vienna; Memling, Brussels Mus. and Bruges
Acad., and Hospital Antwerp, Turin, Uffizi, Munich, Vienna;
Van der Meire, triptych St. Bavon Ghent; Ghaeraert David,
Bruges, Berlin, Rouen, Munich.
Massys, Brussels, Antwerp, Berlin, St. Petersburg; best
works Deposition in Antwerp Gal. and Merchant and Wife
Louvre; Mostert, altar-piece Notre Dame Bruges; Mabuse,
Madonnas Palermo, Milan Cathedral, Prague, other works
Vienna, Berlin, Munich, Antwerp; Floris, Antwerp, Amsterdam,
Brussels, Berlin, Munich, Vienna; Barent van Orley,
altar-pieces Church of the Saviour Antwerp, and Brussels
Mus.; Cocxie, Antwerp, Brussels, and Madrid Mus.; Pourbus,
Bruges, Brussels, Vienna Mus.; Moro, portraits Madrid,
Vienna, Hague, Brussels, Cassel, Louvre, St. Petersburg
Mus.; Bril, landscapes Madrid, Louvre, Dresden, Berlin Mus.;
the landscapes of the three Breughels are to be seen in most
of the museums of Europe, especially at Munich, Dresden, and
Madrid.
Rubens, many works, 93 in Munich, 35 in Dresden, 15 at
Cassel, 16 at Berlin, 14 in London, 90 in Vienna, 66 in
Madrid, 54 in Paris, 63 at St. Petersburg (as given by
Wauters), best works at Antwerp, Vienna, Munich, and Madrid;
Van Noort, Antwerp, Brussels Mus., Ghent and Antwerp
Cathedrals; Van Dyck, Windsor Castle, Nat. Gal. Lon., 41 in
Munich, 19 in Dresden, 15 in Cassel, 13 in Berlin, 67 in
Vienna, 21 in Madrid, 24 in Paris, and 38 in St. Petersburg
(Wauters), best examples in Vienna, Louvre, Nat. Gal. Lon.;
and Madrid, good example in Met. Mus. N. Y.; Diepenbeeck,
Antwerp Churches and Mus., Berlin, Vienna, Munich,
Frankfort; Jordaens, Brussels, Antwerp, Munich, Vienna,
Cassel, Madrid, Paris; Crayer, Brussels, Munich, Vienna;
Janssens, Antwerp Mus., St. Bavon Ghent, Brussels and
Cologne Mus.; Zegers, Cathedral Ghent, Notre Dame Bruges,
Antwerp Mus.; Rombouts, Mus. and Cathedral Ghent, Antwerp
Mus., Beguin Convent Mechlin, Hospital of St. John Bruges;
De Vos, Cathedral and Mus. Antwerp, Munich, Oldenburg,
Berlin Mus.; Snyders, Munich, Dresden, Vienna, Madrid,
Paris, St. Petersburg; Fyt, Munich, Dresden, Cassel, Berlin,
Vienna, Madrid, Paris; Teniers the Younger, 29 pictures in
Munich, 24 in Dresden, 8 in Berlin, 19 in Nat. Gal. Lon., 33
in Vienna, 52 in Madrid, 34 in Louvre, 40 in St. Petersburg
(Wauters); Brauwer, 19 in Munich, 6 in Dresden, 4 in Berlin,
5 in Paris, 5 in St. Petersburgh (Wauters); Coques, Nat.
Gal. Lon., Amsterdam, Berlin, Munich Mus.
Verhagen, Antwerp, Brussels, Ghent, and Vienna Mus.; Navez,
Ghent, Antwerp, and Amsterdam Mus., Nat. Gal. Berlin;
Wappers, Amsterdam, Brussels, Versailles Mus.; Wiertz, in
Wiertz Gal. Brussels; Gallait, Liége, Versailles, Tournay,
Brussels, Nat. Gal. Berlin; Leys, Amsterdam Mus., New
Pinacothek, Munich, Brussels, Nat. Gal. Berlin, Antwerp Mus.
and City Hall; Alfred Stevens, Marseilles, Brussels, frescos
Royal Pal. Brussels; Willems, Brussels Mus. and Foder Mus.
Amsterdam, Met. Mus. N. Y.; Verboeckhoven, Amsterdam, Foder,
Nat. Gal. Berlin, New Pinacothek, Brussels, Ghent, Met. Mus.
N. Y.; Clays, Ghent Mus.; Wauters, Brussels, Liége Mus.; Van
Beers, Burial of Charles the Good Amsterdam Mus.