Neither Petrus Christus (1412?-1473), the only master who was directly influenced by Jan van Eyck, nor Robert Campin (1365-1444), who is now known to be identical with the so-called “Maître de Flémalle,” and who was the head of the important Tournai school, are represented at the Louvre. The official Catalogue ascribes to Campin’s greatest pupil, Rogier van der Weyden (_c._ 1400-1464), the two panels _The Virgin and Child_ (No. 2195), and _The Deposition from the Cross_ (No. 2196), of which at least the former is only a school version of an often repeated theme by the master, whilst the _Deposition_ is by no means an important example of his work. Rogier was born at Tournai, but went to Brussels after 1432, and practised in that city until his death in 1464. A journey to Italy in 1449 did not appreciably affect his art, which always retained an archaic flavour, especially in the rather tortured rendering of the nude. In this respect, and also in his utter disregard of beauty (except the beauty of rhythmic line), he compares unfavourably with the brothers Van Eyck, as may be clearly seen on comparing his work with Jan van Eyck’s _Virgin and Donor_. His occasional use of gold backgrounds, as in the _Virgin and Child_ (No. 2195), is another archaic trait. The hand of a nameless contemporary and follower of Campin and Rogier van der Weyden, who is also represented at the Galleries of Vienna, Turin, and Antwerp, is to be recognised in the small panel of _The Annunciation_ (No. 2202), which was formerly attributed to the much later painter Lucas van Leyden, and has also been claimed to be only a copy of a picture by the Maître de Flémalle. HANS MEMLINC The influence of Rogier van der Weyden determined the entire course taken by the Flemish school until its decline with the introduction of those Italian Renaissance tendencies which only became a vital factor and led to the birth of a new Flemish art through the genius of Rubens. Again, Rogier’s chief pupil, Dierick Bouts (_c._ 1410-1475), is unrepresented at the Louvre. In the art of Hans Memlinc (_c._ 1430?-1494), who was the founder of the great school of Bruges, may be found clear traces of the influence of Rogier and of Bouts, although we have no certain knowledge as to that master’s actual pupilage. He may have been born at Mömlingen, near Aschaffenburg on the Main, and apparently had already risen to fame as a painter before 1467, the date of his great altarpiece at Dantzig. By that time he was settled at Bruges. Mr. W. H. J. Weale’s researches have shown that the legend, according to which Memlinc first came to Bruges as a wounded soldier and was nursed back to health at the Hospital of St. John, is not founded on fact. It is probable that Memlinc served his apprenticeship under some Cologne painter, but all theories regarding his early life must remain largely conjectural.