77. Good transitional triptych, by M. De Vos, for the Guild of Leather-dressers. _Centre_, The Incredulity of St. Thomas. On the _wings_, Scenes from the life of the Baptist. L., Baptism of Christ; where note the persistence of the little symbolical Jordan, with angels almost inconspicuous. R., The Decollation of St. John. Salome receiving his head in a charger. In the background, Herodias. 371. Coxcie the Younger: Martyrdom of St. Sebastian, patron saint of Bowmen, from their altar in the Cathedral. An attempt to be very Italian. The _wings_ of this triptych are by Francken. L., St. Sebastian exhorting Marcus and Marcellinus to go to martyrdom. R., St. Sebastian miraculously healing the dumb woman, with portrait spectators, in dress of the period, deeply interested. Now go on into ROOM B, (unlettered, the centre of the three). It contains works of an earlier period. The =left wall= is entirely occupied by three large panels of a fine old Flemish 15th century picture, attributed to Memling (and apparently accepted as his by Lafenestre), representing *Christ Enthroned, with orb and cross, surrounded by choirs of angels; those in the central panel singing; the others, playing various musical instruments. This is a beautiful work, but less pleasing than those of the same school on a smaller scale. It has been recently bought from the monastery of Najera in Spain. It was intended, I think, to be seen at a height, probably on an organ-loft, and loses by being placed so near the eye of the spectator. The opposite wall, R., is occupied by 245, =Quentin Matsys’s masterpiece=, the triptych of =**the Entombment=, painted for the altar of the Guild of Cabinet-makers. The colouring is much more pleasing than in the Family of St. Anne at Brussels. _Central panel_, The Entombment. Nicodemus supports the emaciated body of the dead Saviour, while Joseph of Arimathea wipes the marks of the crown of thorns from his head. The worn body itself, with a face of pathetic suffering, lies on the usual white sheet in the foreground. At the foot, Mary Magdalen, with her pot of ointment and long fair hair, strokes the body tenderly. In the centre is the fainting Madonna, supported, as always, by St. John, in his red robe. Behind are the three Maries. The usual attendant (a ruffianly Fleming, in a queer turban-like cap) holds the crown of thorns. At the back, preparations for the actual placing in the sepulchre. In the background, Calvary.