527. Unknown. Resurrection, the Saviour, bearing the white pennant, with red cross, and sleeping Roman soldiers.
42. An Adam and Eve, attributed to Cranach the Elder. Harsh northern nude.
341. Good portrait by Susterman, _alias_ Lambert Lombard.
Above these, Madonna, in the Byzantine style, with the usual Greek inscriptions.
521. School of Albert Dürer: Mater Dolorosa, with the Seven Sorrows around her.
549. Good Flemish portrait of William I., Prince of Orange.
Above, 387, Van der Meire: an Entombment, with the usual figures, Nicodemus and Joseph of Arimathea; the Magdalen in the foreground with the box of ointment; the Mater Dolorosa supported by St. John (in red); and, behind, the two Maries. In the background, a _Pietà_—that is to say, the same group mourning over the Dead Saviour.
425. Van Hemessen: The Calling of Matthew from the receipt of custom. Harsh and uninteresting.
568. School of Quentin Matsys: Christ and St. Veronica. Probably part only of a Way to Calvary. The spiked club is frequent.
241. Quentin Matsys: a fine and celebrated *Head of the Saviour Blessing, with more expression than is usual in the Flemish type of this subject. Notice even here, however, close adhesion to the original typical features.
242. Quentin Matsys: Companion *Head of Our Lady, as Queen of Heaven. Full of charm and simplicity.
Between these, 4, =*Antonello da Messina= (an Italian profoundly influenced by the School of Van Eyck, and the first to introduce the Flemish improvements in oil-painting into Italy). Crucifixion, with St. John and Our Lady. This work should be carefully studied, as a connecting link between the art of Flanders and Italy. It is painted with the greatest precision and care, and bears marks everywhere of its double origin—Flemish minuteness, Italian nobility.
254. Memling: **admirable cold-toned portrait of a member of the De Croy family. The hands, face, and robe, are all exquisitely painted.
Centre of the wall, 412, good early copy of Jan van Eyck’s altar-piece for Canon George van der Paelen, in the Academy at Bruges. If you have not been there, see page 59 for particulars. Better preserved than the original: perhaps a replica by the master himself.
519. Crucifixion, with Our Lady and St. John, on a gold background. Interesting only as a specimen of the very wooden Dutch painting of the 14th century. Contrast it with the Van Eyck beneath it, if you wish to see the strides which that great painter took in his art.