Equally fine in a very different way, but less widely known, is a spirited painting by a comparatively unknown artist, Van Severdonck, representing the Princess of Epinoy valiantly defending a breach in the walls during the siege of Tournai in 1581. We were unable to obtain a photograph of this admirable work as it is so hung that it is difficult to get a good light upon it. A fine portrait of St. Donatian is attributed in the catalogue to Jan Gossaert or Mabuse (from Maubeuge where he was born). By some critics it is assigned to Bellegambe, who was born at Douai in French Flanders and was a contemporary of Gossaert. The museum also contains works by Hennebicq, who painted the historical picture of Philip Augustus granting a charter to the city of Tournai in the Hotel de Ville; Hennequin, the teacher of Gallait; Stallaert, whose "Death of Dido" is in the museum of Brussels, and several other natives of Tournai who are less well known. From Robert Campin, who settled at Tournai about 1406 and died in 1444, to Louis Gallait, whose three great masterpieces were painted between 1840 and 1850, and to Stallaert and Hennebicq, who laid aside their brushes in the first decade of the present century, there extends a period of five hundred years during which the noble art of painting has been practised and taught at Tournai by men of commanding genius--a record in the history of art that no town in the world of similar size has ever equalled. It is worthy of remark, in passing, that the art of sculpture which was practised at Tournai with such notable success as early as the thirteenth century, and steadily thereafter for several hundred years, has not survived to the present day. There are no modern sculptors in the list of Tournaisian artists, but the cathedral is a veritable museum of the stone carvings of the past. The men of the chisel, moreover, must be credited with giving some of the inspiration that made the work of the early artists of the brush so notable. Van der Weyden, particularly, shows the influence of sculpture and a marked appreciation of its effects in the framework and backgrounds of many of his pictures. Moreover, for several centuries the sculptors of Tournai enjoyed a renown that extended throughout Flanders and northern France. In the churches of Tournai and of many other cities examples of their work can be seen that show a continuous record of achievement from the twelfth to the sixteenth centuries.