(4.) Memling. **Triptych painted for =Willem Moreel= or =Morelli=, a member of a wealthy Savoyard family settled at Bruges. Like Jan van Eyck’s portrait of the two Arnolfini in London, and Hugo van der Goes’s triptych of the Portinari at Florence, this picture marks well the cosmopolitan character of old Bruges. In the _central panel_, St. Christopher (whose altar in the church of St. Jacques it adorned) wades with his staff through the water, feeling as he goes the increasing burden of the Christ-Child on his shoulder. (For the legend, see Mrs. Jameson.) To the left, above, is the diminutive figure of the hermit with his lantern, which always accompanies St. Christopher. The left foreground of the picture is occupied by St. Maurus, in his Benedictine costume; to the right is St. Giles (St. Egidius) the hermit, with the wounded doe, the arrow piercing the arm of the saint. The _left wing_ represents the donor, Willem Moreel, under the care of his patron, St. William, who wears a hermit’s dress above his coat of armour. (When a saint places his hand on a votary’s shoulder it usually implies that the votary is a namesake.) Behind are Moreel’s five sons. All these portraits, but particularly that of the donor and his eldest son, who closely resembles him, are admirable. The _right wing_ represents the donor’s wife, Barbara, under the protection of her patron, St. Barbara, with her tower, showing as usual three windows (emblematic of the Holy Trinity). Behind the lady are her two daughters, one of whom is habited as a Benedictine nun, whence, doubtless, the introduction of St. Maurus into the main altar-piece. This fine triptych originally decorated an altar of St. Christopher in Moreel’s private chapel in the church of St. Jacques. One of his daughters is the “Sibylla Sambetha” represented at the Hospital. The =wings= at the =back= represent in grisaille St. John the Baptist with the lamb, and St. George with the dragon. It was usual to paint the outer wings in grisaille or in low tones of colour, so that the splendour of the interior hues might burst upon the spectator as the triptych was opened. (12) Attributed to Schoreel: really, by a master of the Brabant School. Death of the Virgin. Our Lady is represented on her deathbed, surrounded, as always, by the surviving apostles, who were miraculously collected together to her chamber. The faces are those of Flemish peasants or artisans. Above, Christ appears in glory, surrounded by a halo of cherubs, to receive her new-born soul. Two angels support his outer garment. This picture well shows the beginning of the later Flemish tendency.