4. Van Alsloot: The Procession of the Body of St. Gudula at Brussels: of the Spanish period, with the guilds named. Interest purely archæological. Each guild carries its mace and symbol. (The second part comes later.)
586. Above this, skied, are four good female saints, transitional, named on labels.
574. Portrait, of the school of Van Orley: lady with a pink, pleasing. Italian influence is obvious.
505. Portrait of a lady, by M. De Vos. Early 17th century, marking the latest transitional period. It belongs to a destroyed triptych.
79. Breughel the Elder: St. Michael the Archangel conquering the devils. A hideous nightmare of a morbid and disordered imagination.
627. Crucifixion, by an unknown German, with small figures of donors, and Rhine background.
597. German school. Tree of Jesse, of purely symbolical interest.
504. *Portrait by M. De Vos. Probably husband of (and pendant to) the previous one. It was the other wing of the same triptych.
5. Van Alsloot: Remainder of the Procession of St. Gudula, with a quaint dragon, and the Maison du Roi in the background. Observe, near the centre, the personification of the patron, St. Michael: elsewhere are St. Christopher, Ste. Gudule, etc.
561. Two panels from a triptych attributed to Van Orley. Centre, missing. L., The Birth of the Virgin. Note this for the conventional features: St. Anne in bed; attendant feeding her: bath for infant. In the background presentation of the Virgin in the Temple: Joachim and Anna below: the Virgin ascending: the High Priest welcoming her: the Virgins of the Lord by the side. R., Joachim’s offering rejected. In the background, the meeting of Joachim and Anna at the Golden Gate, and the angel foretelling the Birth of the Virgin. Compare this with the great Quentin Matsys, observing especially the money falling from the table.