apartments, which was very heavy and gloomy, I beheld the celebrated production of Lucas Van Leyden, or Hugens, who was born here in 1494, and died in 1533. This picture is in three divisions, the two external smaller ones being made like folding doors, to close if necessary over the middle one. The subject is the last judgment, for which vast sums of money have been repeatedly offered to the magistrates of the town and refused. I must confess I felt no more pleasure in contemplating this picture than what arose from its great antiquity. There are a great number of figures in it: the females are wholly destitute of beauty, at the same time there is a freedom in the outline: many of their limbs appear to be elongated, and every head seems to have been taken from the same subject, and wholly destitute of expression; however, considering the early period in which the artist flourished, it is a very curious and valuable production. This painter was instructed in the principles of his art by his father, Hugens Jacobs, an artist of some consideration: it is said that Lucas from his infancy displayed incessant application, and at the age of nine and twelve years astonished the artists of his time by his works. After he had learned the rudiments of his art under his father, he became a pupil of Cornelius Engelbrecht; at the age of fifteen he painted the history of St. Hubert, which elevated him to high distinction in his art. On account of the principles of perspective not being known in his early time, he proportioned the strength of his colouring to the different degrees of distance, in which his objects were placed. He painted not only in oil, but in destemper and on glass. A famous print of this master’s engraving, the subject a bagpiper, is also mentioned, which sold for a hundred ducatoons or twenty pounds sterling.