998D) has lately been tentatively attributed to the “Master of the Ursula Legend.” THE DE SOMZÉE “MAGDALEN” To the Maître de Moulins has also been attributed the somewhat overrated _Magdalen with a Female Donor_ (No. 1005A), which was formerly in the de Somzée collection at Brussels, and was, some time after the Exhibition of French Primitives in 1904, bought from Messrs. T. Agnew & Son for £5000. The supposed similarities that have been noticed between this picture and the Moulins triptych on the one hand, and Jehan Perréal’s authenticated design for the tomb of the Duke of Brittany at Rennes on the other hand, are not sufficiently convincing either to arrive at a definite conclusion as regards the authorship of this _Magdalen_, or to establish the identity of the Maître de Moulins with Jehan Perréal. Of an even more problematic nature are the _Pietà_ (No. 998C, formerly No. 998) and the _Calvary_ (No. 998A), of which it is only safe to affirm that both were painted in France, the background showing in the case of the former the Abbey of Saint-Germain-des-Prés, the Seine, the Louvre, and the Butte Montmartre; and in the latter an equally distinguishable view of the Seine, the Louvre, and other buildings. Both pictures appear to be the work of Flemish painters who were not entirely uninfluenced by Italian art. This _Calvary_ is labelled “_Retable du Parliament de Paris_,” and was formerly in the Palais de Justice in Paris. We need not dwell at any length upon the school of Douai, which should be considered as a branch of the Flemish rather than a national French school. Jean Bellegambe (_c._ 1470-1535) is its chief representative, and presumably the author of the small wing of a triptych depicting the figure of _St. Adrian_ (No. 13A) which was formerly catalogued as being of the German school (No. 2739). JEAN FOUQUET