Centre of the wall, 412, good early copy of Jan van Eyck’s altar-piece for Canon George van der Paelen, in the Academy at Bruges. If you have not been there, see page 59 for particulars. Better preserved than the original: perhaps a replica by the master himself. 519. Crucifixion, with Our Lady and St. John, on a gold background. Interesting only as a specimen of the very wooden Dutch painting of the 14th century. Contrast it with the Van Eyck beneath it, if you wish to see the strides which that great painter took in his art. 397. Good hard *portrait of Philippe le Bon of Burgundy, an uninteresting, narrow-souled personage, wearing the collar of the Golden Fleece, by Roger van der Weyden. 43. Cranach the Elder: Charity. A study of the nude, somewhat more graceful than is the wont of this painter. 264. Mostaert (Jan, the Dutchman), tolerable hard portrait: same person reappears in 262. 179. Gossaert: *a beautiful panel representing the Return from Calvary. The Mater Dolorosa is supported by St. John. On the L., the Magdalen with her pot of ointment; R., the other Maries. Very touching. Notice the Flemish love for these scenes of the Passion and Entombment. 198. Hans Holbein the Younger: **admirable portrait of Erasmus. It lives. Full of vivacity and scholarly keenness, with the quick face of a bright intelligence, and the expressive hands of a thinker. The fur is masterly. 180. Gossaert: group of figures somewhat strangely known as “The Just Judges.” Probably a single surviving panel from an extensive work of the same character as the Adoration of the Lamb at Ghent. 263. Jan Mostaert: *very fine portrait of a man in a large black hat and yellow doublet. Pendant to 264. 558. Holy Family. Dutch School. Early 16th century. 202. Lucas van Leyden: *portraits. Characteristic, and well thrown out against the background. 566. School of Quentin Matsys: a genre piece; an unpleasant representation of a young girl attempting to cut the purse strings of an old man. Probably a companion picture to one now in the possession of the Countess of Pourtalés, Paris. Above these, 168, Triptych by Fyol, German School. _Centre_, the Adoration of the Magi. The Old King has removed his crown, as usual, and presented his gift. He is evidently a portrait: he wears a collar of the Golden Fleece, and is probably Philippe le Bon. Behind him, the Middle-aged King, kneeling; then the Young King, a Moor, with his offering. (The story of the Three Kings—Gaspar, Melchior, Balthasar—was largely evolved in the Cologne district, where their relics formed the main object of pious pilgrimage.) To the R., an undignified Joseph, with his staff, and the peculiar robe with which you are now, I hope, familiar. In the background, the family of the donor, looking in through a window. The _wings_ have, I think, been misplaced. L., The Circumcision; R., Nativity: notice the ox and ass, and the costume of Joseph.