'Now Brother Hugo, on account of his art, had been greatly exalted in our order, and, of a truth, he had become more famous than if he had remained in the world, and, because he was a man like the rest of us, perchance his heart was puffed up on account of the honours bestowed on him, and the divers visits and the homage which he had received; and that God, in order to save his soul, sent him this humiliating infirmity, by which, of a truth, he was greatly abased. He himself, understanding this when he had recovered his senses, humbled himself exceedingly: of his own free will he left our table and meekly took his meals with the other lay brethren.' How long a time Hugo lived after he had recovered his reason his biographer does not say, nor does he tell us any of the details of his death or of his burial. After again enlarging on his skill in painting, and after some further notes on the origin of madness and a long theological disquisition, he simply says, '_Sepultus est in nostro atrio, sub divo_.' He was buried in our cloister, in the open air. Though Brother Hugo had been in his lifetime so famous a painter, he was soon forgotten, and Van Mander, who wrote at the beginning of the sixteen hundreds, could not even say when or where he died. Of his grave, which was probably removed or broken when the Church of Rouge-Cloître was rebuilt during the first half of the fifteen hundreds, no relic remains but the text of a doubtful epitaph-- PICTOR HUGO VAN DER GOES humatus hic quiescit Dolet ars, cum similem sibi modo nescit. [Illustration: THE WINGS OF THE SAINT ANNE TRIPTYCH BY QUENTIN METSYS, IN THE BRUSSELS GALLERY. _Shut._] Of all the works of Hugo van der Goes there is only one whose authenticity has as yet been established--a beautiful triptych which he painted before 1476 for Thomas Portinari, the agent of the Medici family in Bruges, and which Thomas afterwards presented to the Hospital of Santa-Maria-Nuova, at Florence, where it still remains. Amongst the pictures attributed to him with more or less probability, note in the Municipal Gallery of Bruges _La Mort de la Sainte Vierge_, which, in the opinion of Mr. Weale, is undoubtedly genuine; and in the Musée des Beaux-Arts at Brussels the _Sainte Famille_ (No. 36), which may or may not be his. QUENTIN METSYS Quentin Metsys, the son of old Josse Metsys, the metal worker of Louvain, was born in that city in 1466. Like his elder brother, Josse II., whose acquaintance we have already made, he was a man of many parts. By trade, of course, he was a painter, but he by no means confined himself to this craft; he made designs for wrought iron, and carried them out too--witness the exquisite well cover by the great porch of Antwerp Cathedral. He was also an accomplished musician, busied himself with wood engraving, and dabbled, it is said, with some success in Flemish letters.