It were idle to speculate as to the length of time Memlinc devoted to the production of his pictures, seeing the meagreness of the data afforded us for the purpose. His peculiar technique, however, which avoided the accentuation of light and shade, and thereby simplified the scheme of colouring, lent itself to rapid execution. Even so, paintings like the altarpiece in the Royal Museum at Turin and that in the Royal Gallery at Munich must have made heavy calls on his time through a number of years. As examples of the powers and wealth of resource of the artist these masterpieces stand almost alone. The architectural setting of the former, a wholly imaginary Jerusalem, is so contrived as to assist in the most natural manner the precession of the Gospel story from the triumphal entry into the Holy City to the Resurrection and the manifestation of Christ to Mary Magdalene. As without conscious effort the eye is guided along the line of route followed by the Redeemer, one treads in imagination in the Divine footsteps through the hosannahing multitude in the extreme background on the right, and turning to the left arrives at the Temple steps in time to witness the casting out of the buyers and sellers; descending thence and bearing gradually towards the right a turn of the street leads one to the scene of the Last Supper, which Judas has already left to confer with the priests under a neighbouring portico as to the betrayal of his Master; and eventually one arrives at the Garden of Olives, to be confronted in rapid succession with the Agony and the picture of the sleeping disciples, the rush of armed men, Judas’ traitorous kiss and Peter in the act of striking at Malchus. Following the multitude for some little distance one reaches the heart of the city, where the successive incidents of the Passion are grouped each under a separate portico showing on to a spacious courtyard in the very centre of the panel--Christ before Pilate and his expostulating wife, the Flagellation, the Crowning with thorns and mocking of Our Lord, Christ before Herod and the Ecce Homo, with the preparations for the Crucifixion going on the while in the open courtyard. These completed, the mournful procession passes under a palace gateway into the forefront of the picture, bears to the left and issues through the city gate, where the Mother of Christ, the beloved disciple, and the holy women have gathered together, into the open country, where at the foot of the hilly way that skirts the city walls Simon of Cyrene comes forward to relieve the fallen Saviour in the burden of the Cross; presently the procession is lost to view at a bend of the road only to reappear on the slopes of Calvary, which is triplicated here for the purpose of re-enacting the three scenes associated with it--of the Nailing to the Cross, of the Death of Our Lord, and of the Descent from the Cross. Lower down on the left we assist at the Entombment and