The second picture, a finely-painted Mater Dolorosa, is in the Cathedral. From the fact that it is signed with the initials _J. E._ it was formerly attributed to John, but it is now generally acknowledged to be the work of some other artist. Among the crowd of artists who in the course of the fourteen hundreds flocked to Bruges, and whose method of painting was inspired either directly or indirectly by the brothers Van Eyck, note Pieter Christus, a native of Baarle near Tilburg, who died at Bruges in 1473, the only pupil of John van Eyck whose name has come down to us; Gerhard van der Meire, Dierick Boudts, Roger van der Weyden, all of them perhaps pupils of Hubert's; Roger's pupil, Hans Memlinc, the greatest of all the Bruges painters after the brothers Van Eyck, and, towards the close of the century, Quentin Metsys, Albert Cornelis and Jerome Bosch. Strangely enough, of these men only one, Albert Cornelis, was a native of Bruges, and though they all of them spent a considerable portion of their lives there, the sum of their united labours is at present represented in the city by hardly a score of pictures. Of the work of Pieter Christus nothing remains; Quentin Metsys, Hugo van der Goes and Roger van der Weyden are likewise unrepresented, though several of the masterpieces of the last two were in the Church of St. Jacques at the close of the seventeen hundreds. When they disappeared, or what has become of them, is unknown. One picture remains in Bruges which was perhaps painted by Gerhard van der Meire, four which are probably the work of Dierick Boudts; Jerome Bosch and Albert Cornelis are each represented by one picture, Gerard David, as we have seen, by three or perhaps four, and Hans Memlinc by six which are certainly his work, and by some half-dozen others which are attributed to him with more or less probability, whilst scattered about the town there are many pictures, some of them very beautiful, which were no doubt painted at Bruges during the period we are now considering, but by artists who have not as yet been identified. Of the lives and surroundings of these great masters little has come down to us. All that is certainly known concerning most of them is the place of their birth and death, and the date of those events--even these meagre details are in the case of some of them lacking--and that of the multitude of pictures of the Flemish school of this period scattered throughout the churches and galleries of Europe, not a few can be positively traced to one or other of the Bruges masters. ROGER VAN DER WEYDEN.