555. Flemish school: Annunciation. Chiefly interesting for its conventional features, and its very quaint figure of St. Mary of Egypt, with her three loaves, in the R. panel.
124b. (Old number; no new number given.) Unusual combined picture of St. Jerome, uniting the subjects usually known as St. Jerome in the Desert and St. Jerome in his Study.
622. Fine German portrait of the early 17th century.
316. Good strong portrait, by Sir Anthony More, of Hubert Goltzius.
123. Cranach the Elder (German 16th cent.): *Adam and Eve. Fine specimens of the later northern nude of the early Renaissance, interesting for comparison with the cruder realism of Van Eyck. As yet, however, even the figure of Eve has relatively little idealism or beauty. Excellent stag in the background.
361. A good Pourbus. Beyond the door, 536, Flemish school: (Hugo Van der Goes?). Donor, a lady in a nun’s dress (?), with her name-saint, St. Barbara, bearing her palm as a martyr: in the background, her tower with the three windows. To balance it, 536, Her brother (?) or husband, with his patron, St. James. (Staff and scallop-shell.)
Above, 84, Triptych by Jan Coninxloo of the History of St. Nicholas. (The wings are misplaced.) R. wing (it should be L.), St. Nicholas, three days old, stands up in his bath to thank God for having brought him into the world. Central panel, the young St. Nicholas enthroned as Bishop of Myra. L. wing (should be R.), The Death of St. Nicholas, with angels standing by to convey his soul to Heaven. A good transitional Flemish picture. Beneath, tolerable portraits.
361a. A late Flemish Virgin, with portrait of the donor and St. Francis receiving the stigmata.
572. Sir Anthony More. Portrait. Above it, 595, an Entombment, where note again the conventional grouping.
337. Wings of a triptych by Bernard van Orley. The centre is missing. L., Martyrdom of St. Matthias. R., The Doubting Thomas. In the background, Lazarus and Dives, and other episodes. Renaissance architecture.