She stands with her hands clasped in prayer, the last figure but one on the left-hand side of Our Lady, beyond her stands St. Lucy, a child saint who suffered martyrdom at fourteen. She is here represented as a woman of forty, gorgeously arrayed in two shades of crimson, fat and not fair. David himself balances his wife on the opposite side of the picture. A sufficiently artistic face this, but upon the whole not a pleasing one. His eyes are too prominent, his lips are too thick, and he has a weak, receding chin. Gerard David painted two pictures for the Church of St. Donatian:--an altar-piece representing the mystic marriage of St. Catherine, and two panels which formed the shutters of a triptych. These, together with the wings of several other triptychs, were sold by the Cathedral Chapter in 1787 at the request of the sacristan, a lazy, clumsy fellow who, objecting to the trouble of opening and closing them, averred that he invariably broke the altar candles in doing so. One of David's shutters has disappeared, the other, after passing through several hands, was purchased in 1859, for five hundred and twenty-five guineas, by Mr. Benoni White, who, at his death in 1878, bequeathed it to the National Gallery. Here we have a portrait of the donor Bernardin Salviati, Canon of St. Donatian's and the son of a wealthy Florentine merchant who had married a Flemish lady and settled at Bruges. The kneeling canon is attired in a surplice of fine linen and is accompanied by three saints--St. Donatian resplendent in black brocade glistering with jewels and gold, St. Martin in a crimson velvet cope, with richly-embroidered orphreys, and his patron, the Franciscan saint, Bernardin, in the rough grey frock of the poor man of Assisi. The heads are very fine, full of expression and more Italian than Flemish in type, but the figures are not gracefully posed; there is too much landscape, and the picture is hardly decorative enough for an altar-piece. The St. Donatian's 'Marriage of St. Catherine' is also at present in the National Gallery. It seems to have been taken to Paris when the old cathedral was destroyed. It eventually became the property of M. de Beurnoville; when his collection was sold in 1881, the late Mrs Lyne Stephens purchased it for 54,100 frs. (£2164), and it was bequeathed by her to the nation. This panel is far superior to the Salviati picture. The colouring is very rich and mellow, the composition is perfect, the faces are admirably painted and, though somewhat heavy and Flemish in character, are on the whole pleasing; the background, with its vine-clad walls and lovely garden of roses, and lilies, and trees beyond, and picturesque buildings, is altogether beautiful and in no way obtrusive. The whole picture is admirably adapted to the purpose for which it was designed. The only one of David's sacred pictures which remains in Bruges is the triptych known as 'The Baptism of Christ.'