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A remarkable work by Peter Brueghel, The Blind leading the Blind, will also arrest attention. The Teniers Room, XXXII., shows some excellent works by the younger master: 2155, St. Peter denies his Lord; 2156, The Prodigal Son; 2157, Works of Charity; 2158, Temptation of St. Anthony.
As Holbein illustrated the Moria, we should wish to possess the Colloquia with illustrations by Brueghel, so closely allied is Erasmus's witty clear vision of incidents to that of this great master.
Brueghel gave me the impression of a man striving to express in one medium feelings more appropriate to expression in another, and it may be that it was the obscure consciousness of this that excited Strickland's sympathy. Perhaps both were trying to put down in paint ideas which were more suitable to literature. Strickland at this time must have been nearly forty-seven.
Here you may revel by the hour in a candlelight effect by Gerard Dow; in the poultry of Melchior d'Hondecoeter; in a pigsty of Paul Potter's; in landscapes by Meindert Hobbema; in a moonlight landscape of Van der Neer's; in a village scene by Jan Steen; in the gallant world of Teniers; and in the weird imaginings of Pieter Brueghel the younger.
An angel plays the cymbals, and another with a plectrum strikes a metal disc. The interior of the cathedral is remarkable for the peculiarly fine sculpture of the capitals of the pillars. The foliage is of exquisite loveliness and variety; but over the transept door is a very Brueghel creation of horrors in fact, the zodiacal signs worked up together into a nightmare.
"Why do you want to see Brueghel?" he asked. "Why? because I love his oddities." "Are you a Belge?" "No." "But you seem to know the Flemish artists. I am by ancestry a Belge. My grandfather came from Brussels." So we talked over dear, delightful Belgium for half-an-hour, and I had the most eager, amiable guide to all that was of interest in the museum, after that. And it is a collection!
Of the paintings in the Muse I cannot say much, as I looked at two only two perfectly delicious Brueghels, a Flemish Fair, and, I think, a wedding. I won the heart of the concierge by studying them. He found me careering about the gallery, like an owl in sunlight, looking for Brueghel, and when he found what I was after, led me back to them, one on each side of the entrance door.
My reason for making room in the present volume for these pages marking a very modest start they were the first that found their way into print is not that I am under any delusion as to the merits of this youthful work, in which I had simply aimed at reproducing as best I could the different episodes of a picture in the Brussels Museum, painted in the sixteenth century by Pieter Brueghel the Elder.
He described the impression that Rembrandt made on him with a coarseness I cannot repeat. The only painter that interested him who was at all unexpected was Brueghel the Elder. I knew very little about him at that time, and Strickland had no power to explain himself. I remember what he said about him because it was so unsatisfactory. "He's all right," said Strickland.
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