531 and 532. Excellent old Flemish portraits.
Above these, 541, Scenes from the Life of the Virgin, with a donor. L., Nativity. Note the conventional elements. R., Circumcision. Above, Angel and patron saints.
557. *Portrait of Philippe le Beau, father of Charles V., companion to his wife opposite. Observe the collar of the Golden Fleece, and the united arms of Spain, Burgundy, etc., on his doublet. These portraits were originally the wings of a triptych.
544. A Holy Family and St. Anne, with the donor, a Franciscan monk, by a feeble imitator of Memling.
334. Tolerable portrait of a doctor, by Bernard Van Orley.
Next it, unnumbered, *Virgin and child. Gérard David. Our Lady feeds Christ with a characteristic Flemish wooden spoon.
348. Patinier, a painter chiefly memorable for his landscapes (of which this is a poor example). St. Jerome in the Desert, beating his breast with a stone before a crucifix. Beside him, his cardinal’s hat and lion. Not a good example of the master.
641. Holbein the Younger. Portrait of *Sir Thomas More.
Above, 575. Triptych, Flemish School, early 16th century. Centre panel, Miracle of St. Anthony of Padua and the Mule. (The Saint, carrying the Host, met a scoffer’s mule, which knelt till it passed.) Above, St. Bonaventura, attired as bishop, praying. These must be the chief objects of the donor’s devotion: they are also represented on the outer wings. Right and left, the donor (whose name was Tobias), with his personal patron, St. Raphael the Archangel (accompanying the young Tobias), and his wife, with St. Margaret and the Dragon. (For Tobias and the Fish, see Book of Tobit.)
174, skied, is a Last Judgment by Floris, also transitional and useful for comparison with others elsewhere. To R. and L., the Fall of the Damned and the Just Ascending recall early examples at Bruges.