Certainly the types are very close to those of Gerard David. Some of the figures on David's _Tree of Mary_ in the Lyons Museum[19] are repeated almost exactly, and some of the female figures are very like the Saint in the _Marriage of Catherine_ in the San Luca Academy at Rome.[20] But other types, such as Zacharias in the meeting of Christ and John, are more reminiscent of Hugo Van der Goes, being, for instance, almost identical with Joseph of Arimathea in the _Descent from the Cross_ in the National Museum, Naples,[21] even to such details as the drawing and placing of the ear. The glimpses of landscapes, too, are clearly derived from Hugo in their composition and details, and even the floreations are close to those in some of Hugo's work, notably the _Original Sin_ in the Imperial Gallery of Vienna,[22] where one finds the same upspringing sheaf of iris. The work would seem to be that of a lesser eclectic, such as the author of the _Life of Mary_ in the Bishops' Palace at Evora. [Sidenote: Lent by _Demotte_.] In all the pieces there are intense sincerity and real grandeur of design. The _Last Judgment_, in the musical swinging together of the draperies, the perfect control of the great composition, and in the fine development of the dominance of Christ without sacrifice of the minor episodes, as well as in the power of expression of the thrilling solemnity of the moment, deserves to rank with the greatest interpretations of the subject. [Sidenote: 20] BRUSSELS, BEGINNING OF XVI CENTURY [Sidenote: _Wool and Silk._ H. 12 _ft._ 3 _in._ W. 13 _ft._ 2 _in._ ] SCENES FROM A ROMANCE: _A queen surrounded by her court awaits the preparation of a document. There is a general interchange of documents among the courtiers at the right. In the background, upper left, a knight indites a letter, and on the opposite side two knights wait on horseback. The scenes illustrate some contemporary_ _romance and are closely related to the Court of Love tapestries that were so often woven at this time._ [Sidenote: Formerly in the Morgan Collection.] [Sidenote: Lent by _P. W. French & Company_.] The cartoon, like those of the _Court of Love_ scenes, is the work of the studio of Maître Philippe. Jean Van Room probably collaborated, as his signature appears on a very similar tapestry of _David and Bathsheba_ in the Royal Spanish Collection.[23] As in that tapestry, the elegantly dressed persons are quite typical of the prosperous burghers of the time and might well be used as fashion plates. The composition is skillful in the balancing of the groups and the massing of the drapes to form a support for the dominant figure of the queen. [Sidenote: 21] BRUSSELS, EARLY XVI CENTURY [Sidenote: H. 13 _ft._ 9 _in._ W. 22 _ft._ 1 _in._ ]