A few other pictures skied on this wall deserve passing notice. 29 is a Death and the Miser, of the School of Quentin Matsys. 17, by Lancelot Blondeel, the architect of the great chimney-piece of the _Franc de Bruges_, represents St. Luke painting Our Lady, in one of the fantastic frames in which this painter delighted. 18, by the same, has a St. George and the Dragon, with the Princess Cleodolind looking on. Around it are four smaller scenes of his martyrdom: (he was boiled, burnt with torches, dragged by a horse, and finally decapitated). 11, is a good diptych of the Flemish school, by an unknown contemporary of Gerard David. It represents, left, a donor, with his patron St. John the Almoner, holding his symbol, a sheaf of corn. On the right, his wife with her patroness, St. Godeliva. 28, is an Adoration of the Magi, where the Three Kings again illustrate the three ages of man and the three continents. Beside it is a Nativity which exhibits all the traditional features already noted. The =end wall= has in its centre a tolerably good Adoration of the Magi, of the German School, 15th century. Note once more the Three Kings, of whom the youngest is a Moor. Left of this, a *drawing, by Jan van Eyck, of St. Barbara, which should be closely inspected. She holds a palm of martyrdom. In the background, workmen build her tower. It is interesting as a scene of real life at this period. This is a replica of the well-known picture at Antwerp. To the right, two coloured drawings by Gerard David from the life of St. John-Baptist. Above these hangs a tolerable P. Pourbus of the Last Judgment, valuable for comparison with the two previous treatments of the same subject on the principal wall. Go from one to the other once or twice. Later painters of the Renaissance use this solemn theme as a mere excuse for obtruding the nude—and often the vulgar nude—into churches. On the same wall are a good triptych in grisaille by P. Pourbus (Way to Calvary, Descent from the Cross, Resurrection: from Notre-Dame at Damme), and other pictures. The remaining walls have portraits and other works, from the 17th century downwards, most of which need no explanation. A few of them, indeed, are not without merit. But, as I have before observed, it is best in mediæval Bruges to confine oneself to the 13th, 14th, 15th, and early 16th centuries, leaving the rise of the Renaissance, and the later Flemish School of painting, to occupy us at Antwerp, where they can be studied to far greater advantage. II GHENT _A._ ORIGINS OF GHENT