Smith, John: A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters: in which is included a short biographical notice of the artists, with a copious description of their principal pictures : a statement of the prices at which such pictures have been sold at public sales on the continent and in England; a reference the the galleries and private collections in which a large portion are at present; and the names of the artists by whom they have been engraved; to which is added, a brief notice of the scholars & imitators of the great masters of the above schools (Part 3) (London: Smith and Son, 1831)

VAN DYCK.

11

from the finished work, is in the collection of Sir Abraham
Hume, Bart.
1 st. 7 in. by 1st. 5 in.—P.

32. St. Francis, worn out with age and infirmity, expiring.
Painted for the sacristy of the Jesuits, at Malines.

S3. The Elevation of the Cross. The Saviour is attached
to a lofty cross, which four men are engaged raising upright;
one of them has placed his back under it, a second is holding
the body during the erection, and the two others are pulling it
with all their might; beyond these are two more assistants, one
of whom holds some linen, which is girt round the body. On
the opposite side are two horse-soldiers, the nearest of them to
the spectator is clad in armour, and by his gestures appears to
be giving orders to the men.
Engraved by Bolswert.
Painted for the church of Notre Dame, at Courtray.
An event connected with this picture is related in a work
entitled Anecdotes des Beaux Arts, 1776. The canons of the
church, desirous of a picture to adorn the altar, requested Van
Dyck, who was then at Courtray, to paint one representing the
above subject. The judicious artist, having viewed the situation
for which it was destined, gave his picture such proportions of light
and shade as would produce a proper effect when up. The picture,
being completed, was sent to the church, and the artist attended to
see it carefully put up. Pie was there met by several of the chapter,
who, instead of applauding the work, insulted the painter in the
coarsest manner, terming his picture a miserable daub, that the
Christ had the air of a porter,' and the other figures were
equally despicable. It was in vain that he remonstrated, and en-
treated them to suspend their judgment until it was hung up ; they
impatiently turned their backs and lest him. Such treatment is said
to have excited even the compassion of the workmen, who, desirous
of offering him some consolation, innocently observed, that it was
still of some value, as the canvas, being of a large size, would cut up
for window blinds. The painter, suppressing his feelings of pity