561. Two panels from a triptych attributed to Van Orley. Centre, missing. L., The Birth of the Virgin. Note this for the conventional features: St. Anne in bed; attendant feeding her: bath for infant. In the background presentation of the Virgin in the Temple: Joachim and Anna below: the Virgin ascending: the High Priest welcoming her: the Virgins of the Lord by the side. R., Joachim’s offering rejected. In the background, the meeting of Joachim and Anna at the Golden Gate, and the angel foretelling the Birth of the Virgin. Compare this with the great Quentin Matsys, observing especially the money falling from the table. 76. Another example of a later Last Judgment. 584. Mostart: Two stories from the life of St. Benedict. (1) The miracle of his dinner. (2) As a youth, he mends by prayer the dish broken by his nurse. (See Mrs. Jameson’s _Monastic Orders_.) Now pass through Room [VIII.], containing chiefly late Italian and French pictures (which neglect for the present) and go on into CORRIDOR A, to the L., overlooking the Sculpture Gallery. This takes us at once into the =Later Flemish school= of Rubens and his followers, whose works fill all these large corridors, which are admirably adapted for them. Begin to the R. of the door. (Remember that I do not attempt criticism, but confine myself to historical indications.) 230. Jordaens: Fine landscape, with city to the right. As yet, however, landscape dare not stand entirely on its own merits. Therefore, we have here in the foreground figures of Eleazar and Rebecca at the well, which retain the tradition that pictures must have some sort of sacred purpose. 194A. Unknown. Interior of a picture-gallery, with well-known pictures. L. of the door. 465. Van Thulden: Flemish Wedding Feast. Landscape is beginning to triumph now; it gets rid of all pretence of sacredness, but still retains small figures in the foreground. Landscape for landscape’s sake is hardly yet dreamed of. 135. De Crayer, one of the best imitators of Rubens: *Adoration of the Shepherds, in the master’s manner. 179A. Good Still Life by Fyt. 379. =Rubens=: **Coronation of the Virgin by God the Father and the Son, the Holy Ghost hovering above in a glory. This altar-piece, for an altar of Our Lady, is a magnificent specimen of the master’s rich and luminous colouring. The crimson robe of the Christ, the blue and lilac harmony on the Madonna, and the faint yellow of the Father’s robe, are admirably contrasted. So are the darkness of the lower clouds and the luminosity of the upper region, recalling Titian’s famous Assumption at Venice. The little boy angels are sweet and characteristic. Here you may begin to appreciate the force, the dash, the lavish wealth of Rubens. (According to Rooses, however, the work of a pupil, touched up by the master.)