Adoration of the Magi is no longer attributed to him. It was always in
doubt: now the name has been removed, though the picture has much of
his mellowness. Dr. Scheuring, the old man with the shaved upper lip,
beard, and hair over his forehead, by Lucas Cranach, and Jean
Gossaert's Chevalier of the Golden Fleece, are masterly portraits. Van
Cleve, Van Orlay, Key--perhaps a portrait of the bloody Duke of
Alva--also one of himself, Coello's Maria of Austria, are among the
sterling specimens in this gallery.

We need not expect to find duplicated here the Rubens of Antwerp. The
most imposing example is the Adoration of the Magi, while his
portraits of the Archduke Albert and his Archduchess, Isabella, are
perhaps the best extant. The Calvary is a splendid canvas, full of
movement and containing several members of the well-known Rubens
family. Such devotion is touching. You find yourself looking for
Isabella Brandt and Helena Fourment among the angels that hover in the
sky above the martyred St. Lieven. The four negro heads, the Woman
Taken in Adultery, a Susanna (less concerned about her predicament
than any we have encountered), a curious and powerful portrait of
Theophrastus Paracelsus (Browning's hero), with a dozen others, make a
goodly showing for the Antwerp master. Otho Vaenius (Octave Van Veen),
one of the teachers of Rubens, is hung here. There are nearly a dozen
Van Dycks, of prime quality all. The Crucifixion, the portrait of an
unknown gentleman wearing a huge ruff and the winning portrait of a
Flemish sculptor, Francesco Duquesnoy, (on a stand), give you an
excellent notion of his range, though better Van Dycks are in France
and England.

The portrait of an old man, by Rembrandt, is beginning to fade, but
that of an old woman is a superior Rembrandt. Of Frans Hals there are
two fine specimens; one, a portrait of Willem van Heythusen, is a
small picture, the figure sitting, the legs crossed (booted and
spurred) and the figure leaning lazily back. On his head a black felt
hat with a broad upturned brim. The expression of the bearded man is
serious. The only Jan Vermeer is one of the best portraits by that
singularly gifted painter we recall. It is called The Man with the
Hat. Dr. Bredius in 1905 considered the picture by Jean Victor, but it
has been pronounced Vermeer by equal authorities. It was once a part
of the collection of Humphry Ward. The man sits, his hand holding a
glove resting negligently over th