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146 Paridael than Marbol's paintings, which, although strong in conception, were a little weak and a little frigid in realization, and which, ^as he began to feel more and more undeniably as time went on, were not vibrant enough.

That year Antwerp inaugurated the celebration of the tercentenary of Rubens' birth with a cantata by Rombaut de Vyveloy, sung one evening in the Place Verte in the open air. Laurent did not fail to attend this performance.

Near the statue of the great Peter-Paul, the chorus and the orchestra occupied a semi-circular grand stand, in the center of which the composer was enthroned. The square, which had been roped off, was allotted to the bourgoisie. The common people, crowding into the surrounding places, respected the demarcation, and the converging streets vomited forth increasing mobs in vain; the appalling multitude appeared more dignified and more calm than the privileged spectators, and less riotous than the obnoxious police or the cumbering mounted gendarmes. There were no scuffling and no murmuring. For hours past workmen and poor people had stamped about in their places without losing any of their good humor or serenity. What fluid had silenced these riotous tongues and turbulent pates? Arms crossed themselves placidly on breasts that were panting with curiosity. Did not these Antwerpians of robust stock but lowly rank anticipate the unique splendor of the celebration which they were preluding with such impressiveness? The infants on the housewives' arms abstained from wailing, and the street dogs circulated amidst the compact plantation of legs without being molested by their natural tormentors, the street boys.