Beyond the next archway, we come to the pictures of the =Flemish School=, which deserve almost equal attention with the Italian, as individual works, but which, as of less interest in the general history of art, I shall treat more briefly. Begin here on the =R side=, for chronological order. Among the most noticeable pictures are Adam and Eve, unnumbered, good specimens of the frank, unidealised northern nude. 595. An exquisite early Annunciation, the spirit of which should be compared with the early Italians. Notice the general similarity of accessories, combined with the divergence in spirit, the dwelling on detail, the Flemish love for effects of light and shade on brass-work, fabrics, glasses, etc. Notice that this charming picture gives us the early stage in the evolution of that type of art which culminates in the Gerard Dou in the Salon Carré. Beside it, an exquisitely tender Dead Christ. Remarkable for the finish in the background. The _Quentin Matsys_ is not a worthy representative of the master. Beside it, a quaint and striking group of Votaries, listening to a sermon. Probably a mere excuse for portrait-painting. The character in the faces is essentially Flemish. Fine portrait of a young man with a pink, in a red cap. Triptych, with the Madonna and Child (who may be well compared with those of the Memling in the Salle Duchâtel). On the flaps, the donor and his wife, introduced by their patrons, St. John and St. Christopher. Now cross over to the =L side=. =*=698. _Rogier Van der Weyden._ Excellent Deposition, with a touching St. John, and a very emaciated Dead Christ. These scenes of death are extremely common in Flemish and German art, and resulted in a great effort to express poignant emotion, as contrasted with the calmer ecstatic character of Italian art. =**=279. _Quentin Matsys._ Banker and his wife. An admirable and celebrated picture, with marvellous detail, of which there are variants elsewhere. Notice the crystal vase, mirror, leaves of book, and objects on shelves in background. The fur is exquisitely painted. =*=288 and 289. Two beautiful little _Memlings_. 588. Most characteristic and finished Holy Family. 699. _Memling._ St. Sebastian, Resurrection, Ascension. Compare the first with Italian examples. Notice the extraordinarily minute work in the armour and accessories, contrasted with the blank and meaningless face of the Risen Saviour. Flemish art, perfect in execution, seldom attains high ideals. 277 and 278. _Mabuse._ Virgin and donor. Excellent.