at the Deliverance of the Just from Limbo, and further away we witness the Resurrection and, in the far background, the manifestation of Our Lord to Mary Magdalene. Viewed as a whole it is a marvel of composition enhanced by a brilliancy of colouring, and every scene in it a delicately finished miniature. Apart from the architectural setting, the three Calvaries, and the duplication of the Holy Sepulchre imposed by the necessity of representing both the Entombment and the Resurrection, the most captious can discover nothing to abate the enthusiastic admiration which this altarpiece excites, or one’s wonder at the masterful manner in which Memlinc has succeeded in developing the story of the Passion in some twenty scenes necessitating the introduction of considerably over two hundred figures, apart from the animal and bird life that supplements them, within the narrow compass of a panel only fifty-five centimetres high by ninety centimetres in breadth! The extreme corners of the foreground are filled in with exquisite portraits of the donors, the miniaturist William Vrelant and his wife, for whom one feels that Memlinc has tried to excel himself in this masterwork. Scarcely less surprising as a composition is the story in bright luminous colours told in the Munich altarpiece, a work of considerably larger dimensions (80 by 180 centimetres), commonly described as “The Seven Joys of Mary,” but for which the more appropriate title has been suggested of “Christ the Light of the World.” It is the story of the manifestation of Our Lord to the Gentile world in the persons of the Wise Men from the East, closely correspondent, as was Memlinc’s wont, to the Gospel narrative and Christian tradition, except perhaps in this one respect, that the artist’s innate love of moving water has suggested to him the original conceit of depicting the departing Magi as setting sail for their distant homes across the boundless waters. This portion of the background and the greater wealth of surrounding landscape greatly relieves the architectural setting, which is not so overpowering as in the Turin altarpiece. The composition too, as becomes the subject, is teeming with the joy of life in varying aspects. Here we have the gay cavalcade with streaming banners galloping along the road to Bethlehem, there the shepherds peacefully tending their flocks on the grassy slope, their watch beguiled by the strains of a bagpipe; here the scene at the Manger, all love and devotion, and the running stream nigh by at which the horses are being watered the while the Magi are making their act of adoration, there the kings with their retinues triumphantly riding away over the rocky heights; anon we have the sequence of miracles that attended the Flight of the Holy Family into Egypt--the wheat that grew and ripened in a day, the date-palm bending to offer its fruit to the Virgin Mother resting beneath its shade while the unsaddled ass grazes as it