His four pictures at the Louvre are without exception portraits, and do not therefore illustrate his highly developed sense of the dramatic. But they serve admirably to show his active protest against the classicist affectation prevalent at his time, and his return to the healthy realism which is the heritage of his race. The _Portrait of F. Guillemardet, Ambassador of the French Republic to Spain_ (No. 1704), is an admirably honest piece of portraiture, dignified but perfectly natural in pose, strong in expression and pleasing in colour. It was bequeathed to the Louvre by Guillemardet, together with the _Young Spanish Woman_ (No. 1705) in a black mantilla, standing with crossed arms against a pearly-grey landscape background. The seated half-figure of the rather corpulent _Young Spanish Woman_ (No. 1705A) was bought at the Kums sale at Antwerp for £1276; and the portrait of _Don Perez de Castro_ (No. 1705B) was acquired in 1902 for £1200. Goya was an isolated figure in Spanish art of the time. He left no “school,” but his influence was one of the leading factors in the rise of the modern movement in France. THE DUTCH SCHOOL We have already followed the development of the early Flemish or Netherlandish art during the fifteenth century, and observed how it eventually passed under the Italianising influences which are unmistakable in the pictures of Barend van Orley (1495?-1542) and his contemporaries. The early painters of Holland as distinct from Flanders cannot be traced with any certainty much farther back than Albert von Ouwater (fl. 1420-1460), who worked at Haarlem from 1430 to 1460. As we have already seen, the early Flemish painter, Gerard David (1460?-1523), was born at Ouwater, which may well have had its school of painters. Neither Albert von Ouwater, who is represented to-day by a single work, the _Raising of Lazarus_ in the Berlin Gallery, nor his unidentifiable contemporary who painted the _Exhumation of St. Hubert_, in the National Gallery (No. 783), are included in the collection of pictures at the Louvre. GERARD OF HAARLEM The influence of these painters and Dierick Bouts is seen in the rare works of Geertgen tot S. Jans, or Gerard of Haarlem (1465-1493) whose _Raising of Lazarus_ (No. 2563A) in this collection is an achievement of the highest order, and was purchased as recently as 1902 for £4000 from Baron d’Albenas, after having been for many years in Spain. This pupil or follower of the Ouwater master was a native of Leyden, and worked at Haarlem. He took his name from the commandery of the Knights of St. John at Haarlem for whom he worked, as we see from the careful inscription, “_Gerardus Leydanus pictor ad S. Io. Baptist. Harlem pinxt_,” on his triptych at Vienna.