containing the Transitional Pictures. (It is usual to skip these insipid works of the intermediate age, and to jump at once from the School of Van Eyck to the School of Rubens—I think unwisely—for Rubens himself can only properly be appreciated as _the product of an evolution_, by the light of the two main influences which affected him—his Flemish masters, and his Italian models, Veronese and Giulio Romano.) Begin at the =far end=, near the lettered doorway, and note throughout the effort to imitate Italian art; the endeavour at classical knowledge; and the curious jumble of Flemish and Tuscan ideas. But the Flemish skill in portraiture still continues. 698. Good portrait of Giles van Schoonbeke, by P. Pourbus. Next to it, 103, Martin De Vos, the Elder: St. Anthony the Abbot, accompanied by his pig and bell, and his usual tempters, burying the body of St. Paul the Hermit, whose grave two lions are digging. To the R., hideous Flemish devils, grotesquely horrible. Above, phases of the Temptation of St. Anthony. 372. Michael Coxcie: Martyrdom of St. George—one of his tortures. Good transitional work, inspired by Italian feeling. 72. M. De Vos: Triptych, painted for the altar of the Guild of Crossbowmen in the Cathedral. _Centre_, Triumph of the risen Christ. In the foreground, St. Peter (keys), and St. Paul (sword), with open pages of their writings. L., St. George, patron of the Crossbowmen, with his banner and armour; R., St. Agnes with her lamb. _Left panel_, Baptism of Constantine by St. Sylvester. _Right panel_, Constantine ordering the erection of the Church of St. George at Constantinople. In the sky, the apparition of Our Lady to the Emperor. A gigantic work, recalling the later Italian Renaissance, especially the Schools of Bronzino and Giulio Romano. 374. Michael Coxcie: Martyrdom of St. George; the other wing of the same triptych in honour of St. George as 372; central portion lost. 89. M. De Vos: St. Conrad of Ascoli, a Franciscan friar, in devout contemplation of the founder of his Order, St. Francis, receiving the Stigmata. Around it, small scenes from the life of St. Conrad, unimportant. Below, Devotion at the tomb of St. Conrad: royal personages praying, offerings of rich images, and the sick healed by his relics. A curious picture of frank corpse-worship. 699. Good portrait by Pourbus. 576. Triptych, unknown. St. Eligius of Noyon (St. Éloy), one of the apostles of Brabant, preaching to a congregation really composed of good local portraits. (A pious way of having oneself painted.) R. and L., St. Eligius feeding prisoners, and St. Eligius healing the sick. 741. Another of Bernard van Orley’s General Resurrections, the type of which will now be familiar to you. In the centre, strangely introduced group of portraits of the donors, engaged in burying a friend, whose memory this triptych was doubtless intended to commemorate. On either wing, the six works of Mercy (the seventh, burial, is in the main picture).