In the Municipal Gallery there is an 'Adoration of the Magi' (No. 28), which formerly belonged to the monks of the great Cistercian Abbey of Our Lady on the Dunes at Coxyde. Much spoiled by restoration, somewhat quaint and naïve in design, it is still a beautiful picture. There is no extrinsic evidence to show who painted it, but the style is the style of Jerome Bosch. In the Church of St. Jacques, about half-way up the southern aisle, hangs the picture of Albert Cornelis--the central panel of a triptych on which is portrayed the Coronation of Our Lady in the presence of the nine choirs of angels. This is in every respect a most remarkable and a most interesting picture. Painted in 1520, at a time when the artists of Bruges had already begun to adopt the methods of the Renaissance, it is instinct with the spirit which animated the old illuminators of the beginning of the previous century. Of a delicate, miniature-like style, beautiful alike in sentiment, in design, in colour and in execution, it is the only known work of the master-hand that produced it. HANS MEMLINC. Hans Memlinc, the greatest painter in Christendom, as a writer of his own day calls him, seems to have been born somewhere about the year 1430. He was in all probability a native of Mayence, or of some locality within the electorate. M. Wauters, in his _Sept Études pour servir à l'histoire de Hans Memlinc_, published at Brussels in 1893, inclines to Memlingen, a village about forty miles from the city. M. Jules Helbig suggests Aschaffenburg, near which place flows a stream called the Mumling. Be this as it may, the Jesuit Father Henri Dursart's discovery in 1889 of Romboudt de Doppere's journal (1491 to 1498) at least puts an end to the dispute as to Memlinc's nationality. There can no longer be any doubt that the great Bruges painter was, at all events, of German extraction, and the same document informs us that he died at Bruges on August 11, 1494, and that he was buried in the Church of St. Gilles--_Die. XI. Augusti (1494), Brugis obiit Joannes Memmelinc, quem prædicabant peritissimum fuisse et excellentissimum pictorem totius tunc orbis Christiani oriundus erat Magunciaco, sepultus Brugis ad Ægidii_. A note at the beginning of his journal informs us that Doppere was a priest, a notary of Bruges and registrar to the Chapter of St. Donatian, and he himself tells us that in 1491 he had been attached to the Church of St. Donatian for over forty-six years--_Ego Romboldus de Doppere, presbyter, versatus sum hic in ecclesia S. Donatiani ultra annos XLVI._ ... We find him acting as notary from 1483 to 1491, and in that capacity he witnessed, on October 21, 1489, the translation of the relics of St. Ursula to Memlinc's new shrine. Doppere was then personally acquainted with Memlinc, perhaps his friend. In the later years of his life he seems to have been a canon of Notre Dame. He died, according to Meyer, in 1501, and was buried in the church he had so long served.