211. Triptych, by Heemskerck (early Dutch School), representing, Centre, the Entombment, Christ borne, as usual, by Nicodemus and Joseph of Arimathea. In front, the crown of thorns. Behind, the Magdalen; then the Madonna and St. John, the two Maries, and an unknown man holding a vase of ointment. L. and R. the donor and his wife, with their patron saints Peter and Mary Magdalen (keys, box of ointment).
542. *Dierick Bouts of Louvain: The Last Supper. A fine and characteristic example of the town painter of Louvain. The faces are those of peasants or small bourgeois. To the right are the donors, entering as spectators: their faces are excellent. Judas sits in front of the table. The Christ is insipid. Note the admirable work of the pavement and background. The servant is a good feature. If you have Conway with you, compare this picture with the engraving of the very similar one by Bouts at Louvain, (p. 277:) only, the architecture there is Gothic, here Renaissance.
139. *Descent from the Cross (Van der Weyden or his school). Notice the white sheet on which the body is laid, as later in the great Rubens. Nicodemus and Joseph of Arimathea support the body, St. John and one of the Maries holds the fainting Madonna. Left, the Magdalen, with her long hair. By her feet, her box of ointment. Close beside it, the nails, hammer and pincers. (M. Lafenestre, following Bode, attributes this picture to Petrus Christus, but with a query.)
29. Pleasing transitional Madonna, School of Van Orley, somewhat Italian in feeling, in a pretty arcade, with nice landscape background.
Above these, 109, a triptych, by Coninxloo. Centre, Family of St. Anne. Interesting for comparison with the great Quentin Matsys in the centre of the room. L., Joachim’s offering rejected in the Temple (small episodes behind). R., the death of St. Anne. Come back to the central panel after you have viewed the Quentin Matsys. (The component personages are explained there.)
543. Tolerable triptych, Flemish school, representing the events of the Infancy. Centre, Adoration of the Shepherds, with the usual conventional features (ruined temple, shed, ox and ass, etc.), and St. Joseph holding his candle, as often, to indicate night time. Left, Annunciation, with the usual position of the angel reversed. Otherwise, the portico and other features persist. Compare the great Van Eyck at Ghent, from which some elements here are borrowed. Right, the Circumcision. Symbolical figure of Moses on altar, full of the symbolism of Van der Weyden’s school. (Outer shutters, uninteresting, SS. Catharine and Barbara.)
585. Above it, good family group of a donor and his sons, with St. George; and his wife and daughters, with St. Barbara. (The crucifixes mark monks and nuns.)
At the corner, 624, German school. St. Mary Magdalen and St. Thomas, on gold background. Companion piece to 624. At opposite end.
626. School of Martin Schongauer: Christ and the Magdalen in the house of the Pharisee. Very contorted. Compare with the Gossart.
Above it, 106, Flemish school. Mass of St. Gregory, with the Crucified Christ appearing on the altar. (Recall the Pourbus at Bruges.) A most unpleasant picture. Behind, are the elements of the Passion. L., the donors; R., Souls in Purgatory, relieved by masses. Many minor episodes occupy the area.