right of the Cross is perhaps the most lovely portion. For a fine criticism, see Conway. Beyond this, another frame with exquisite small works. 250. Quentin Matsys: Head of Christ, with the Crown of Thorns and Holy Blood; painful. 540. Admirable unknown miniature portrait. 544. Excellent little St. Helena. 542. A little donor, with his patron, St. John. 204, 205, 206. Good Lucas of Leyden, of the Four Evangelists (John missing). Luke, with the bull, painting; Matthew, with the angel, and Mark, with the lion, writing. 537. Admirable unknown portrait. These little works again need no description, but close study. Above them, 244. Quentin Matsys (?). The Misers, one of the best known of this favourite subject. Then, another frame of miniatures. 517, 518. Unknown Flemish 14th century Madonna and Child, with donor and wife. 541, 522. Tolerable portraits. 545. Fine portrait, of the Spanish period. 410. =**Van Eyck’s= celebrated unfinished =St. Barbara=, holding her palm of martyrdom, and with her tower in the background. It should be closely studied, both as an indication of the master’s method, and as a contemporary drawing illustrating the modes of mediæval building. For a careful criticism, see Conway. Above these, Engelbrechtsen, 130. St. Hubert, attired as bishop, bearing his crozier and hunting horn, and with the stag beside him, with the crucifix between its horns. 127. The same. St. Leonard releasing prisoners. Then, another case of good small pictures. 3. A Fra Angelico. Interesting in the midst of these Flemish pictures. St. Romuald reproaching the Emperor Otho III. for the murder of Crescentius. 32. Petrus Christus (?). A donor and his patron, St. Jerome. 64. A landscape by Patinir. 536. A Baptism of Christ, where note the conventional arrangement and the angel with the robe. 561. Triptych. Madonna and Child. St. Christopher, and St. George. Harsh and angular. 548. Mater Dolorosa, transpierced by the sword. 535. Good Flemish Madonna with angels. 207. Lucas of Leyden: Adoration of the Magi. You can now note for yourself the ox, ass, Joseph, position, age, and complexion of Kings, etc. 29. Attributed (doubtfully) to Dierick Bouts: St. Christopher wading, with the Infant Christ. In the background, the hermit and lantern. (See Mrs. Jameson.) 176. Giotto: A St. Paul with the sword. Characteristic of early Florentine work. 257, 258, 259, 260. Simone Martini of Siena: Four panels. _Extreme ends_, **Annunciation, closely resembling the figures in the Ufizzi at Florence: Annunciations are often thus divided into two portions. _Centre_, Crucifixion and Descent from the Cross. These exquisitely finished little works are full of the tender and delicate spirit of the early Sienese School. In the Crucifixion, notice particularly the Magdalen, and St. Longinus piercing the side of Christ. Our Lady in the Annunciation has the fretful down-drawn mouth inherited by early Italian art from its Byzantine teachers.