is hardly inferior, in contrast with the later strong realism and occasional coarseness of Rubens or Rembrandt, to the tender poetic dreaminess of the primitive Italians. Certainly these pictures, though finished to the minutest and most delicate detail, are lacking in realism actually to a degree that borders on a delicious absurdity. St. Ursula and her maidens--whether really eleven thousand or eleven--in the final scene of martyrdom await the stroke of death with the stoical placidity of a regiment of dolls. "All the faces are essentially Flemish, and some of the virgins display to great advantage the pretty national feature of the slight curl in one or in both lips." A little farther along the same street is the city Picture Gallery, with a small but admirable collection, one of the gems of which is a splendid St. Christopher, with kneeling donors, with their patron saints on either side, that was also painted by Memling in 1484, and ranks as one of his best efforts. Notice also the portrait of the Canon Van de Paelen, painted by Jan van Eyck in 1436, and representing an old churchman with a typically heavy Flemish face; and the rather unpleasant picture by Gerard David of the unjust judge Sisamnes being flayed alive by order of King Cambyses. By a turning to the right out of the Rue St. Catherine, you come to the placid Minne Water, or Lac d'Amour, not far from the shores of which is one of those curious beguinages that are characteristic of Flanders, and consist of a number of separate little houses, grouped in community, each of which is inhabited by a beguine, or less strict kind of nun. In the house of the Lady Superior is preserved the small, but very splendid, memorial brass of a former inmate, who died at about the middle of the fifteenth century.