even find patterns of Pompeiian mosaic or of historic needlework reproduced in the Journal.
the travellers hurried to Belgium
, and after a glance at Brussels
, spent several days in Antwerp
with great contentment.
Both here and in Brussels
she had been much interested in the beautiful lace displayed on every hand.
She made several modest purchases, not without visitings of conscience.
“I went to the Cathedral
. .... I saw to-day the Elevation of the Cross [Rubens] to special advantage.
As I stood before it, I felt lifted for a moment above the mean and foolish pleasures of shopping, etc., on which I have of late dwelt so largely.
The heroic face before me said, ‘You cannot have those and these, cannot have Christian elevation with heathen triviality.’
That moment showed me what a picture can do. I hope I shall remember it, though I do plead guilty of late to an extraordinary desire for finery of all sorts.
It is as if I were going home to play the part of Princess
in some great drama, which is not at all likely to be the case.”
Yet the same day she went to the beguinage and bought “Flossy's wedding hdkf, 22 frc— lace scarf, 3 fr., piece of edging, 4 fr.”
Among the notabilities of Antwerp
in those days was Charles Felu
, the armless painter.
He was to be seen every day in the Museum, copying the great masters with skill and fidelity.
He interested the Doctor
greatly, and the whole party made acquaintance with him. A letter from one of them describes the meeting with this singular man:--