In several details the outer shutters in this copy =differ markedly from the originals= at Berlin. Jan’s picture had, below, outer panels (when shut), portraits of Josse Vydts and his wife: inner panels, imitated statues (in grisaille) of St. John the Baptist and St. John the Evangelist, patrons at that time of this church. If you are going on to Berlin, you will see them: if back to London, then go to the Basement Floor of the National Gallery, where you will find the water-colour copy done for the Arundel Society, which will give you an excellent idea of the work in its original condition. A few words must be given to the =external history= of this great altar-piece. It was begun by Hubert about 1420. His death in 1426 interrupted the work. Jan probably continued to paint at it till 1428, when he went to Portugal. On his return, he must have carried it to Bruges, where he next lived, and there completed it in 1432. It was then placed in this the family chapel of Josse Vydts. During the troubles of the Reformation it was carried to the Hôtel-de-Ville, but after the capitulation to the Duke of Parma it was restored to the chapel of the Vydts family. Philip II. wished to carry it off, but had to content himself with a copy by Coxcie, the wings of which are now in this chapel. The panels with Adam and Eve were removed in 1784, after Joseph II. had disapproved of them, and hidden in the sacristy. In 1794, the remaining panels were carried to Paris: after the peace, they were returned, but _only the central portions_ were replaced in the chapel. The wings, save Adam and Eve, were sold to a Brussels dealer, and finally bought by the King of Prussia, which accounts for their presence at Berlin. As for Adam and Eve, the church exchanged them with the Brussels Museum for the wings of Coxcie’s copy. These various vicissitudes will explain the existing condition of the compound picture. Do not be content with seeing it once. Go home, re-read this description, and come again to study it afresh to-morrow. * * * * * The _chapel of the Holy Sacrament_, in the Apse, has very ugly rococo monuments to bishops of the 18th century, in the worst style of the debased Renaissance, and other monstrosities.