292 and 293. =Memling=: **Portraits of William Moreel (or Morelli), Burgomaster of Bruges, and his wife Barbara, the same persons (Savoyards) who are represented in the St. Christopher triptych in the Academy at Bruges. Their daughter is the Sibyl Sambetha of the St. John’s Hospital. Both portraits, but especially the Burgomaster’s, are good, hard, dry pictures. 515. Memling: **Triptych: perhaps painted in Italy (if I permitted myself an opinion, I would say, doubtfully by Memling). At any rate, it is for the Sforza family of Milan. _Central panel_, the Crucifixion, with Our Lady and St. John. Beautiful background of a fanciful Jerusalem. Sun and moon darkened. In the foreground kneel Francesco Sforza in armour, his wife Bianca Visconti, and his son Galeazzo-Maria. Behind the duke, his coat of arms. _Left panel_: the Nativity. In the foreground St. Francis with the Stigmata, as patron saint of Francesco, and St. Bavon with his falcon. _Right panel_: St. John the Baptist, as patron saint of Giovanni Galeazzo. Below, St. Catherine with her sword and wheel, and St. Barbara with her tower, two charming figures. I do not know the reason of their introduction, but they are common pendants of one another in northern art. You can get an attendant to unfasten the _outer wings_ of the triptych for you, but they are not important. They contain, in grisaille, L., St. Jerome and the lion; R., St. George and the dragon. (The presence of St. Bavon in this enigmatic picture leads me to suppose it was painted for a church at Ghent. But what were the Sforza family doing there? Perhaps it has reference to some local business of the Sforzas in Flanders.) 190. =**Roger van der Weyden=: Portrait of Charles the Bold of Burgundy, wearing the Golden Fleece. An excellent and characteristic piece of workmanship. The arrow has a meaning: it is the symbol of St. Sebastian, to whom (as plague-saint) Charles made a vow in illness, and whom ever after he specially reverenced. 294. Memling: **Portrait of an unknown man, which may be contrasted for its comparative softness of execution with the harder work of his master beside it. Above these:— 211. Triptych, by Heemskerck (early Dutch School), representing, _Centre_, the Entombment, Christ borne, as usual, by Nicodemus and Joseph of Arimathea. In front, the crown of thorns. Behind, the Magdalen; then the Madonna and St. John, the two Maries, and an unknown man holding a vase of ointment. _L. and R._ the donor and his wife, with their patron saints Peter and Mary Magdalen (keys, box of ointment).