Before passing on to the school founded at Antwerp by Quentin Matsys (_c._ 1466-1530), mention should be made of Hieronymus Bosch van Aeken (_c._ 1462-1516), who, a follower of Ouwater, has as much right to be counted among the masters of the Dutch as of the Flemish school. Of his life we know but little. His pictures reveal that realistic observation of everyday life which was to become the characteristic of the Dutch school; but, added to it, there is a tendency towards the grotesque which made him delight in subjects that gave him full scope for the invention of weird monsters, devils, and spectres, such as the demons in _The Damned_ (No. 1900), which is attributed to Bosch in the official Catalogue, but is, like its companion, _Heaven_, at the Lille Museum, the work of the unknown painter of the famous _Last Judgment_ at Dantzig, which has by various experts been given in turn to Jan van Eyck, Rogier van der Weyden, and Memlinc. There is at the Louvre a drawing which corresponds to so remarkable a degree with the panel No. 1900, that it has long been held to be a study from the same hand. This drawing is, however, more probably an early study by the German master Martin Schöngauer after the Louvre panel. The picture was formerly in the Duchâtel collection, and was given to the Louvre by the Duc de la Tremoïlle. [Illustration: PLATE XVIII.—GERARD DAVID (1460?-1523) EARLY FLEMISH SCHOOL No. 1957.—THE MARRIAGE AT CANA (Les Noces de Cana) The scene takes place in a richly appointed chamber, which on the left side looks out on to the Place du Saint-Sang at Bruges. The Bride is seated on the farther side of the table; towards the left the Virgin bows her head in the direction of the Christ. In the left-hand corner of the composition kneels the Donor, wearing the costume of a Provost of the Company of the Holy Blood; on the right kneels the Female Donor. Guests and servants variously disposed complete the picture. Painted in oil on panel. 3 ft. 2 in. × 4 ft. 2½ in. (0·96 × 1·28.)] THE ANTWERP SCHOOL Quentin Matsys, the painter of _The Banker and his Wife_ (No. 2029, Plate XIX.), of which numerous replicas and variants are known, some probably from the hand of his pupil Marinus van Roymerswaele, still owes his training to the primitives of his race, but heralds the new era which was to culminate in the art of Rubens, by passing from the earlier minute precision of detail to a certain breadth of style and boldness of brushwork, necessitated partly by the larger scale adopted for his figures. Neither _The Saviour Blessing_ (No. 2030) nor _The Virgin and Child_ (No. 2030A), both of which are catalogued under his name, can be accepted as authentic; but the interesting genre group of _The Banker and his Wife_ is not only fully signed and dated