335. Bernard van Orley (transitional). Triptych (sawn in two), with the Patience of Job inside, and Lazarus and Dives outside. In the centre panel, the house falling upon the sons of Job. In the background, Job and his comforters: his house in flames, etc. Left panel, the flocks and herds of Job driven off by the Sabeans, with Satan before the Almighty at the summit. Right panel, Job in his last state more blessed than formerly: his comforters ask him to intercede for them. Beyond this again, the outer shutters (the panels having been sawn through): extreme left, Lazarus at the Rich Man’s gate; above, his new-born soul borne aloft to Heaven. Below, cooks, servants, etc. Extreme right, the Rich Man dying, attended by his physician (compare the Dropsical Woman by Gerard Dou in the Louvre). Below, Dives in Torments (in a very Flemish Hell) calling to Lazarus. Above, Lazarus in Abraham’s bosom. This is a good characteristic example of the transitional period between the early and later Flemish art, greatly influenced by the Italian Renaissance. Van Orley travelled in Italy, and imitated Raphael in composition and drawing.
Beyond it, attributed to Roger van der Weyden, 553 (3 panels arbitrarily placed together). In the centre panel, two subjects. Left, the Nativity, elements all conventional: ruined temple, shed, ox and ass (extremely wooden), and St. Joseph in background. (He frequently bears a candle in this scene in order to indicate that the time is night.) Right, the Adoration of the Three Kings, old, middle-aged, young, the last a Moor. St. Joseph examines, as often, the Old King’s gift. Note his costume; it recurs in Flemish art. Left panel, Joseph of Arimathea with the Crown of Thorns, Nicodemus with the three nails, St. John, and the three Maries at the sepulchre. Right panel, Entombment, with the same figures: the Crown of Thorns and nails in the foreground. Great importance is always attached to these relics, preserved in the Sainte Chapelle, and at Monza, near Milan.
350. Patinier. Repose on the Flight into Egypt, with fine landscape background.
122. Cranach the Elder. Hard portrait of a very Scotch looking and Calvinistic Elder.
10. Amberger; German School, 16th century; excellent portrait of a gentleman; good beard.
569. Fine portrait of a man, by unknown artist. Flemish School, 16th century.
Above these, 618, Flagellation and Ascension, German School, with gilt backgrounds.
The skied pictures on this wall are only interesting as specimens of the later transitional period; when Flemish Art was aiming ill at effects unnatural to it.
Continue along the wall in the same direction.
By the door, 557, *portrait of Johanna of Spain (the Mad), mother of Charles V.: fine 15th century work.