I Seemed To Breathe Ether.

Treading on clouds, as it were, I entered the cathedral, and the illusion vanished.

Friday, August 19. Antwerp to Paris.

Saturday, August 20. H. and I take up our abode at the house of M. Belloc, where we find every thing so pleasant, that we sigh to think how soon we must leave these dear friends. The rest of our party are at the Hotel Bedford.

LETTER XLVII.

Antwerp.

MY DEAR: -

Of all quaint places this is one of the most charming. I have been rather troubled that antiquity has fled before me where I have gone. It is a fatality of travelling that the sense of novelty dies away, so that we do not realize that we are seeing any thing extraordinary. I wanted to see something as quaint as Nuremberg in Longfellow's poem, and have but just found it. These high-gabled old Flemish houses, nine steps to each gable! The cathedral, too, affects me more in externals than any yet. And the spire looks as I expected that of Strasbourg would. As to the grammarye of bells and chimes, I deliver that over to Charlie. But - I have seen Rubens's painting! Before I came to Europe, Longfellow said to me, "You must go to Antwerp, to see Rubens."

"I do not think I shall like Rubens," was my reply.

"But you will, though. Yet never judge till you have been to Antwerp."

So, during our various meanders, I kept my eye with a steady resolve on this place. I confess I went out to see the painting without much enthusiasm. My experience with Correggio's Notte, and some of the celebrities of Dresden, was not encouraging. I was weary, too, with sightseeing. I expected to find an old, dim picture, half spoiled by cleaning, which I should be required to look into shape, by an exercise of my jaded imagination.

Alter coming down from hearing the chimes, we went into a side room, and sat down before the painting. My first sensation was of astonishment, blank, absolute, overwhelming. After all that I had seen, I had no idea of a painting like this. I was lifted off my feet, as much as by Cologne cathedral, or Niagara Falls, so that I could neither reason nor think whether I was pleased or not. It is difficult, even now, to analyze the sources of this wonderful power. The excellence of this picture does not lie, like Raphael's, in a certain ideal spirituality, by which the scene is raised above earth to the heavenly sphere; but rather in a power, strong, human, almost homely, by which, not an ideal, but the real scene is forced home upon the heart.

_Christ is dead_, - dead to your eye as he was to the eye of Mary and of John. Death absolute, hopeless, is written in the faded majesty of that face, peaceful and weary; death in every relaxed muscle. And, surely, in painting this form, some sentiment of reverence and devotion softened into awestruck tenderness that hand commonly so vigorous; for, instead of the almost coarse vitality which usually pervades his manly figures, there is shed over this a spiritualized refinement, not less, but more than human, as if some heavenly voice whispered, "This is the Lamb slain from the foundation of the world!" The figures of the disciples are real and individual in expression. The sorrow is homely, earnest, unpicturesque, and grievously heart broken.

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