The pictures in question were duly hung in the Justice Chamber, and they remained there till 1827, when they were sold to the King of the Netherlands for 10,000 florins. In 1861 they were repurchased by the Belgian Government for 28,000 francs, and placed in the Brussels Gallery, where they still remain (Nos. 3C and 3D). These two pictures and the pictures above mentioned of Saint Peter's, of Munich, of Berlin, are, of all the works attributed to Dierick Boudts, the only ones whose authenticity is incontestable. Some of the rest are most probably genuine, more, perhaps, than in the case of pictures attributed to Van der Weyden, for Boudts had a peculiar style of his own, which is more distinctive than Roger's. Several of the pictures formerly attributed to Dierick Boudts are now generally believed to be the work of his son Albert, notably the 'Last Supper,' in the Brussels Gallery (No. 3F). As for Dierick Boudts the younger, no picture painted by him has as yet been identified. His name appears again and again in the town accounts of his native city in connection with fines for brawling, he was born in 1448, and died before 1491, and this is all that we know of him. HUGO VAN DER GOES Hugo van der Goes was probably a native of Ghent, and if, as Van Mander says, he was a pupil of John van Eyck, who died in 1441, he must have been born somewhere about the year 1420. Be this as it may, his work bears witness that he was more deeply impressed by the great Bruges master than any other of the Flemish primitives. He was certainly at Ghent in 1465, and henceforth this town was his home until 1476, when, following the example of his brother, the only one of his kinsmen of whom we have any knowledge, he became a monk of Rouge-Cloître, near Brussels. Why this sudden flight from the world? Grief, suggests Alphonse Wauters,[40] at the loss of a wife. It is a mere conjecture; we do not even know for certain that Hugo was ever married. Van Mander tells how, when he was still a _vry gheselle_--that is, a bachelor--hence, notes Wauters, it follows that he presently ceased to be such--he painted on a wall, over a chimney-piece in her father's house at Ghent, the portrait of the woman he loved, in the guise of Abigail coming forth to meet David. [40] _Hugues van der Goes sa vie, et ses [oe]uvres_, par Alphonse Wauters, Archiviste de la ville de Bruxelles, etc. (Bruxelles, 1872.)