Da requiem cunctis, Deus, hic et ubique sepultis, Ut sint in requie, propter tua vulnera quinque. In 1782 the provost of Valenciennes, the baron Pujol de Lagrave, who served as provost till 1789, and again after the capture of the city by the Duke of York, established here a school of art not unworthy the birthplace of Watteau and of Pater. Both of these painters are represented in the collection, the former by a characteristic little 'Conversation under the Trees in a Park' and by an interesting portrait of the sculptor Pater, the father of the painter. The two families of Watteau and of Pater lived on terms of such friendly intimacy at Valenciennes that the father of Pater sent his son up to Paris, to study his art under Watteau. Watteau received his young compatriot so coldly, and made things so unpleasant for him, that he soon went back discouraged, to resume his career at home. There he encountered the hostility of the local corporation of St. Luke, that guild of painters refusing to allow him to practise his art without regularly passing through his apprenticeship, and taking his 'master's degree.' Pater resisted, and the case went before the magistracy of Valenciennes, before the Provincial Council of Hainault, and finally before the Parliament of Flanders. It was contested for several years, and finally resulted in an arrangement, under which Pater bound himself never to paint in Valenciennes, 'under any pretext whatsoever.' He might go to Paris and paint as much as he liked, but in Valenciennes painting was the privilege of the corporation of St. Luke. This has a pre-Adamite sound in modern ears. But even now no man may lawfully kill or cure the sick in London or Paris or New York without a diploma, despite the 'epoch-making' principles of 1879. And the new French Chamber of 1889 apparently intends to forbid all foreign physicians to attend upon patients in France! In Valenciennes, as a matter of fact, a liberal School of Art was established in 1782, by which time both Watteau and Pater had done their life's work and taken their places among the masters in a world-wide corporation of St. Luke. Two charming groups by Pater represent this painter in the Museum of his native city, together with a portrait of his sister, bequeathed by M. Bertin, the last representative of the Pater family in Valenciennes. A grand and well-known triptych by Rubens, representing the preaching, the martyrdom, and the entombment of St. Stephen, in three compartments, upon the extension of which, when closed, appears a bold and striking picture of the Annunciation, is one of the chief treasures of the Museum. It belonged to the noble monastery of St.-Amand, which was wrecked and pillaged during the Revolution, and, with the valuable library of the monastery, very rich in missals and manuscripts, was confiscated by the patriots of Valenciennes.