Crowe and Cavalcaselle are no less undecided:--if Memlinc painted the shutters in question, he must have been aided by his pupils. Others shared their uncertainty, others again unhesitatingly averred that the triptych could not be Memlinc's. The Comte de Laborde was never able, perhaps he had never time, to solve the riddle he had propounded, but of late years a no less capable and patient investigator has, at least in part, succeeded in doing so. Mgr. Dehaisnes, like the author of _Les Ducs de Bourgogne_, was unable to affirm that the paintings on the St. Bertin's triptych were the handiwork of Memlinc. If now and again an angel for example resembled his angels, there were other figures reminiscent of the style of Dierick Boudts or of Roger van der Weyden. The scheme of colour too recalled rather the rich, mellow, sunny tints of the 'Adoration of the Lamb' than the clearer tones of the shrine of St. Ursula, and in point of vigour and precision the unknown artist fell short of the great masters of the Bruges school and especially of the greatest of them all. The long and careful investigation which Mgr. Dehaisnes undertook resulted in the identification of the donor of the precious triptych, viz., William Fillustre, Bishop of Toul, who ruled the Abbey of St. Bertin from 1450 to 1473; in the discovery of the price he paid for it, 1828 _livres_ 26 _sous_, a sum equivalent in current coin to at least £1400, not including the value of the gold, silver and precious stones, all of which were furnished by the abbey treasury; and in the discovery of the approximate date of its completion, between 1455 and 1459, probably in the June of the latter year. And although Mgr. Dehaisnes has not been able to establish the identity of the author of the pictures, he has shown that it is in the highest degree probable than Simon Marmion painted them. If what Mgr. Dehaisnes modestly calls his '_conjectures vraisemblables_' should prove to be correct, and if Memlinc was indeed Marmion's pupil, it may well be that he aided his master in painting the marvellous shutters, and in that case the St. Bertin's tradition that he was their author may perhaps be thus accounted for.