"Won't they, though!" he responded, falling to work with a will.

And so Antwerp was entered with clear consciences as to journals, and a
strict determination not to fall behind again on them.

But Polly slipped in so many of the beautiful photographs of the
"Descent from the Cross," and the other two famous pictures by Rubens,
that her red book was closed the third day of their stay in the old
town of Antwerp; and the photographs had even overflowed into the
yellow book, No. 3.

They had a habit, most of their party, of dropping into the Cathedral
once a day at least, usually in the morning, and sometimes before
service. And then when it was quiet, and before the ordinary throng of
sight-seers trailed through, Jasper would hire some chairs of one of
the old women who always seem to be part and parcel of European
cathedrals; and they would sit down before the painting, its wings
spread over the dingy green background, and study what has made so many
countless travellers take long and oftentimes wearisome journeys to
see.

And Polly always wanted to go after that to see the "Assumption," which
is the altar-piece, and then the "Elevation of the Cross," both by
Rubens. "And I am sure, Grandpapa," she would always say, "I like them
as well as I do the famous painting."

"And so do I, Polly, in a way," Grandpapa would invariably reply. "They
are all marvellous, and that is all we can say, for no expressions
could give the truth about them."