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should seem that the device was rejected by the Arquebusiers, who ins sisted upon the literal fulfilment of the compact. Rubens accordingly painted on the outside of one of the wings a colossal figure of St. Christopher, and on the other an old hermit with a lantern, which he doubtless intended as a satire upon the taste of these pertinacious worthies.
As a companion to the above, another celebrated picture by the same artist occupies the corresponding position on the north transept. This is the Elevalion of the Cross, originally designed for the altar-piece of the church of St. Walburge, which having fallen into a state of irreparable decay, was pulled down some few years since. Sir Joshua Reynolds describes it as one of the “best and most animated compositions of Rubens." The management of the light is exceedingly skilful; and the mingled sorrow and resignation which the face of the Saviour exhibits is touching in the extreme. It is said that the portrait of a favourite dog of Rubens was added some years after the completion of the picture at the request of the cure of St. Walburge, The right wing represents St. Catherine, the left St. Eloi.
In the aisle which surrounds the choir are several small chapels, in the front of which, commencing on the south side, is a good picture of the Marriage in Cana, by Martin De Vos, and a Saviour by Quarlemont. The second chapel contains the monument of Moretus, above which is a small painting of the Resurrection by Rubens, which is very highly esteemed. St. John and Catherine are painted on the inner wings, and angels on the outer. The portrait of Moretus is also by Rubens; the sculpture by Van Geel, an artist of Malines. On the opposite side; above the monument of Rottiers and his wife, is a picture by Martin Pepyn, of St. Norbert in Prayer. Of this saint it will be necessary to say a few words presently.
Above the vestry door, in the third chapel, is a small statue of the Virgin and an infant Christ, exquisitely sculptured by Du Quesnoy, which escaped the fury of the Iconoclasts, and on either side of the door are paintings by Van Balen, in the Italian style. The St. Francis kneeling is by Morillos, a painter to whom Rubens attached considerable merit. In the next chapel is the monument of Plantin, already mentioned, and in the adjoining one is a St. Norbert, by Diepenbeck, formerly coloured. Proceeding on wards towards the transept, over the marble monument of the Baron Dubut, is a Dead Christ, by Van der Linden, of no very striking pretensions. The marble statues and mausoleum of Ambrose Capello, which next present themselves, are among the best performances of Verbruggen ; and above them is a magniticent picture of the Last Supper by Otto Venuis. On an adjoining column is a beautiful piece of sculpture in marble, by Van der Neer, presented to the cathedral by a member of the Moretus family, and representing Christ crucified. In the last chapel is Francken's picture of Jesus in the midst of the Doctors; in which the component figures are portraits of Luther, Calvin, Erasmus, and other reformers. Facing the chapel of St. Anthony is a portrait of St. Felix, attributed to Vandyke ; and a head painted on marble, after Leonardo di Vinci. The altar-piece, in white marble, is by Verbruggen.
In the chapel behind the choir is the altar, the only one of thirty-two, upon the same model, which escaped the fury of the revolutionists in the
close of the last century. The chapel contains two good pictures by M. Pepyn. At the back of the high-altar is a picture of the Death of the Virgin, by A. Mathyssens; and immediately below the Marriage of Joseph and Mary by Van Brée, so ingeniously painted as to be constantly taken for a sculpture in bas-relief.
One of the richest ornaments of the cathedral is the chapel of Our Lady in the north aisle. It is in white marble, of the most delicate workmanship, and ornamented with bas-reliefs of the Annunciation, the Visitation, the Presentation in the Temple, and the Assumption, in the highest perfection of the art, by Verbruggen. It is perhaps unnecessary to observe that the image of the Virgin, which is enshrined within the chapel, is an object of peculiar veneration to the inhabitants of Antwerp, and, of course, possessed of miraculous powers, as efficacious as they are extraordinary, in all cases of malady and misfortune whatsoever. Apropos of miracles, it may be well to conclude with the prevailing tradition respecting the origin of the cathedral.
Early in the twelfth century a man of large fortune and considerable talent, whose name was Tranqueline, propagated the most abominable doctrines in the neighbourhood of Antwerp. Teaching that the sacraments of the Church were mere inventions of the devil, and denouncing the pope and the clergy as a set of impostors, he soon collected a vast multitude of followers, and to whom he permitted, as he himself practised, every species of licentiousness and immorality. By these means he obtained the most powerful influence over the people, and more especially over the women, insomuch that, as an historian relates,
Sese infelices arbitrarentur quæ nefarium cum hoc libidinoso viro commercium habere non meruissent.” Parents prostituted their children to his lust; and the most powerful exertions of the Church were unable to put a stop to his abominations. At length St. Norbert, whose preaching had been frequently attended with supernatural effects, arrived from France in the year 1123, with twelve disciples, and undertook to check the progress of the miscreant. The Chapter of St. Michel assigned their house and their church to the holy man, and with the consent of Burchard, Bishop of Cambray, retired to a chapel near the city walls, dedicated to Our Lady of the Branch. St. Norbert soon extirpated the heresy of Tranqueline; and the little chapel of the Branch erected by Bishop Burchard into a collegiate church, gave place eventually to the present structure. The record of this event is contained in the following lines, which were formerly inscribed above the altar, which occupied the site of the little chapel of Notre Dame :
“Undecies centum ductis, et sexquater annis,
Virginis a partu conciliante Deum,
Sacravit, medicum quæ tenet Ecclesiæ." On the 21st of January, 1555, Philip II. of Spain, held a chapter of the order of the Golden Fleece in this church, at which nineteen of the knights were present; these were formerly suspended behind the choir. It was at the instance of the same monarch that Notre Dame was erected into a cathedral by Pope Paul IV. in 1559. A bull of Pious VII. suppressed the bishopric in 1802, and converted it into a cure of the first class, dependent on the archbishopric of Malines. The church, however, retains the name of a cathedral,
ON THE IMMACULATE CONCEPTION AND WORSHIP OF THE
In resuming our papers on Romanism, * as developed in the published documents of its defenders, we introduce, as the subject of the present number, the doctrines connected with the Virgin Mary, commencing with a singular piece originally published at Rome, and afterwards at St. Omer, a copy of which reprint has furnished us with the present impression. We give it verbatim ; and our readers will, we imagine, not think it beneath their notice either as a literary curiosity, or as a concise exposition of the manner in which the Romanists are wont to speak of and address their patron goddess.
“ Anagrammata centum et duo prorsus pura pro Deipara Virgine, sive originali peccato concepta, quæ D. Joannes Baptista Agnensis, Cyrnæus, Caluensis, Eminentissimi Principis, S. R. E. Cardinalis Julii Rospigliosii Aulicus, sola memoriæ vi) (nam oculorum lumine ferè orbatus, litteras in papyro exaratas inspicere non valit, ecuit ex his Salutationis Angelicæ verbis.
Ave MARIA, GRATIA PLENA, DOMINVS Tecvm.
Sunt in his verbis supradictis litteræ hoc numero :-
1. Pura unica ego sum, Mater alma Dei Nati.
Vide CARISTIAN REMEMBRANCER, Vol. XII. pp. 577, 702, 312, 382.
33. Virgo est, ac premunita in Ade malum.
96. Age Patrona Mundi, jurè Immaculata es.
Typis THOMÆ GEVBELS, 1662. In the above medley of repetitions, we have marked the numbers 1, 3, 8, with italics, to direct attention to the singular relationship which they establish for the blessed Virgin; viz. that she is the mother and daughter of God the Father, as well as mother of the Son of God : and we have marked No. 18, to shew that she is also the Son of God himself, since the only person whom Scripture designates as the "summi Cæli janua" is the Saviour. (John x. 9.) Surely these are notions which nothing can justify but the mythological pedigree of the pagan Juno, the sister and wife of Jove. We need not point out the expressions " Regina" and "Regum Patrona" as unscriptural ; but we notice such passages as those in Nos. 25, 31, 32, 35, 40, 45, &c., because they serve as a text for the following exposition of the doctrine of the Immaculate Conception, * and the other superstitions of the Church of Rome respecting the Virgin Mary, which we deduce from two authorities of paramount authenticity-the “ Theologia Moralis et Dogmatica Reverendi et eruditissimi Domini Petri Dens,"† and the “Medulla
• Jeremy Taylor (to whom we refer, for the convenience of those who may wish to see the authorities) tells us, that the Immaculate Conception was a disputed doctrine even in the days of Pope Sixtus IV. ; and that not only was it denied by the Dominicans, but the feast, offices, and indulgences of Sixtus' appointment, rejected, because “the Virgin was conceived in sin.”—Liberty of Prophesying, sect. VII. t
Theologia Moralis et Dogmatica
Petri Dens, in Universitate Lovan. S. Theologiæ Licentiati, Ecclesiæ Metropol. S. Rumoldi Mechlin. Can. Grad. et Archipresb. Necnon Seminarii Archiep. Præsidis, etc.
Editio Nova et Absolutissima, Quippe cui nunc primum Accedunt, epitome ex operibus Benedicti XIV. Necnon et variæ summorum Pontificum Præsertim vero ejusdem Pontificis Constitutiones Literæ Encyclicæ, etc. Tom. 8. Dublini. Ex. Typ. Richardi Coyne, in via vulgo dicta Capel-street; Typog. et Bibliopol. R. C. Coll. Maynooth. 1832. The Dedication follows:
Reverendissimo, in Deo, Patri ac Domino
D. Danieli Murray,
Vitæ, Morumque Benignitate Insigni;
Omnium Favore atque Studio Evectus,
Egit, ut inter oves Pastoralli suo Commissas