QVENTIN MATSYS, SCHILDER, 1514, but is unmistakably the work of his brush, although the woman’s face and hands appear to have been badly repainted. It was bought in 1806 at the low price of £72. The best version of the same subject is the one in the Sigmaringen Gallery. By Quentin Matsys is also, probably, the _Pietà_ (No. 2203), which is catalogued officially as “Flemish XVIth Century.” Quentin’s son Jan, who followed his father’s tradition and achieved considerable distinction, is the painter of the hideous _David and Bathsheba_ (No. 2030B), which bears the inscription 1562. IOANES MASSIIS PINGEBAT. Next in importance among the Antwerp masters is Jan Gossart (_c._ 1470-1533?), better known as Mabuse, from the name of his native town Maubeuge in the Hainault. In his early work he followed the tradition of the great masters of his own country, but a journey to Italy in 1508 made him change his manner, and led him to adopt, together with the amplitude of Italian design, a certain floridness which compares unfavourably with the honest realism of his precursors and which led to the rapid decadence of the Flemish school. In the magnificent portrait of _Jean Carondelet, Perpetual Chancellor of Flanders_ (No. 1997, Plate XX.), although it was painted as late as 1517, he is still faithful to the great tradition of his country for honest, straightforward, shrewdly observed, and delicately wrought portraiture. An inscription on the top of the arched gilt frame reads: REPRÉSENTACION DE MESSIRE JEHAN CARONDELET, HAVLT DOYEN DE BESANÇON, EN SON EAGE DE 48Ā, and, below, “FAIT L’AN 1517.” In a niche behind the panel are the letters “I C” entwined with strings, and the motto “MATVRA.” The portrait was, therefore, obviously painted just before Carondelet accompanied Charles V. to Spain in 1517. This portrait panel, together with _The Virgin and Child_ (No. 1998), which bears on the frame the inscription MEDIATRIX NOSTRA QVE EST POST DEVM SPES SOLA TVO FILIO ME REPRESENTA, and the signature “JOHANNES MELBODIE PINGEBAT,” formed a diptych which was bought in 1847 from a Valenciennes architect for the ridiculous price of £40! A later portrait of Carondelet by Mabuse, dated 1531, appeared in 1907 at Christie’s under the name of C. Amberger, and realised the price of £3885. Another portrait of Carondelet, by B. van Orley, is in the Munich Gallery, where it is officially ascribed to Quentin Matsys, who is probably the painter of yet another portrait of the Chancellor which was recently in the Duchâtel collection in Paris. The _Portrait of a Benedictine_ (No. 1999) bears the date 1526 and the signature JOANNE MALBOLD PINGE.