The _wings_ have scenes from the lives of the two St. Johns. L., The daughter of Herodias, a very mincing young lady, in a gorgeous dress, brings the head of St. John the Baptist on a charger to her mother and a fiercely-bearded Herod. The queen appears to be about to carve it. Above, a gallery of minstrels. Admirable drapery and accessories. The R. wing has the so-called Martyrdom of St. John the Evangelist, in the cauldron of boiling oil, with a delightful boy spectator looking on in a tree. The Emperor Domitian (older than history), on a white horse, behind. Flemish varlets stir the fire lustily. This noble work originally decorated the altar in the Chapel of the _Menuisiers_ of Antwerp in the Cathedral. On easels, 649, Claeissens: Triptych of the Crucifixion, with the Way to Calvary and the Resurrection. Elongated, attenuated figures. 680. Giles Mostaert (the elder): Singular complex picture, painted for the Hospital of Antwerp; representing, above, The General Resurrection: Christ enthroned between Our Lady and St. John-Baptist. Beneath, naked souls rising from the tomb. To the L., St. Peter welcomes the just at the gate of the Celestial City. To the R., devils drive the wicked into the gaping jaws of Hell. Beneath, the courses that lead to either end: the Seven Works of Mercy, inspired by the Redeemer, and the Seven Deadly Sins, suggested by devils. I will leave you to identify them (it is easy). Go on into ROOM D, containing more works of the Transition. These large altar-pieces of the early 17th century, the period of the greatest wealth in Antwerp, though often frigid, as works of art, are at least interesting as showing the opulence and the tastes of the Antwerp guilds during the epoch of the Spanish domination. They are adapted to the huge Renaissance churches then erected, as the smaller triptychs of the 15th century were adapted to the smaller Gothic altars. 529. Feast of Archers, with the King of the Archers enthroned in the background. 696, 697. Tolerable portraits by Pourbus. 183. A Madonna by Gossaert. 114. Frans Floris: St. Luke painting, with his bull most realistically assisting, and his workman grinding his colours. From the old Academy of Painters, whose patron was St. Luke. Italian influence. 135. Ambrose Francken: Loaves and fishes. 148. The same. Decollation of St. Cosmo and St. Damian: painted for the Guild of Physicians, of whom these were the patron saints.