We thence proceeded to another (we might say) cathedral. The steeple is not yet finished: the model is exhibited, with the curses of the Flemish exhibitors upon the "grande nation" for having taken the funds for its finishing. There are more good pictures than even in the Cathedral: the columns also please me more, being round, with a Gothic approach to Corinthian capital. The most beautiful painting I have yet seen is here (though I probably shall not be held out in my opinion by connoisseurs)—by Pollent, representing the trial of the true Cross upon a sick lady. The harmony of colouring, the soberness (without the commonly accompanying dulness) of the colouring, the good design and grouping, are, in my opinion, beautiful. Not even the splendid colouring of Rubens can make his pictures, in my eyes, equal to it.
[I do not know who is the painter termed Pollent by Polidori: on p. 50 there is the name Polenck, which may designate the same painter. Neither of these names can be traced by me in a catalogue of pictures in the Museum of Antwerp.]
There is one standing by it, of Vandyck, which has some sublimity in it, perhaps arising from indistinctness. It represents the effect of Christ's last sigh. By this altar stood twelve small pictures, hung out at this time for people to tread the "way of Calvary," repre-
