536. A Baptism of Christ, where note the conventional arrangement and the angel with the robe.
561. Triptych. Madonna and Child. St. Christopher, and St. George. Harsh and angular.
548. Mater Dolorosa, transpierced by the sword.
535. Good Flemish Madonna with angels.
207. Lucas of Leyden: Adoration of the Magi. You can now note for yourself the ox, ass, Joseph, position, age, and complexion of Kings, etc.
29. Attributed (doubtfully) to Dierick Bouts: St. Christopher wading, with the Infant Christ. In the background, the hermit and lantern. (See Mrs. Jameson.)
176. Giotto: A St. Paul with the sword. Characteristic of early Florentine work.
257, 258, 259, 260. Simone Martini of Siena: Four panels. Extreme ends, **Annunciation, closely resembling the figures in the Ufizzi at Florence: Annunciations are often thus divided into two portions. Centre, Crucifixion and Descent from the Cross. These exquisitely finished little works are full of the tender and delicate spirit of the early Sienese School. In the Crucifixion, notice particularly the Magdalen, and St. Longinus piercing the side of Christ. Our Lady in the Annunciation has the fretful down-drawn mouth inherited by early Italian art from its Byzantine teachers.
177. Giotto: St. Nicolas of Myra with the three golden balls, protecting a donor.
Above are three good portraits by Van Orley, and other works which need no description.