less success than other pieces. Like that of St. Bavon, the altar-piece consists of numerous panels, of which all the subjects are relative, and form a complete picture. The central panel, superior to the rest in height, exhibits the Saviour in glory resting on the world. Whilst below him the archangel weighs the souls of the departed in a balance. On each side are six panels, of which the upper and the lower portion are divided by nebula. Beneath these, on one hand, are the condemned in the divers phases of perdition ; and, on the other, the good souls on the way to heaven. The third panel on each side represents heaven and hell, with angels in the one, and horrid figures of the condemned in the other.

Above the nebulæ, and advancing towards the Saviour on each hand, are St. Peter and numerous saints, headed by the Virgin, and kings and queens, headed by St. John.

The composition of the central panel is, perhaps, the most faulty portion of this picture, the glory and the foreground being crowded together, instead of being properly parted; but the distribution of the saints in glory is extremely good; the lines they form are agreeable, and in perspective, well grouped together, and animated in motion. The choice of expression in the various faces of the saints shows a good perception and command of character. St. Peter is proud and energetic, the Madonna full of affectionate and maternal sentiment. And St. John, with the figures accompanying him, is amongst the finest of the school, the attitudes being far more bold than we usually find them in the Flemish painters.

The choice or harmony of the colours of the vestments is kindly, vigorous, and successful; nor are the folds as angular as we find them in other pictures of the master. Although the character of the figure of Christ is not excellent, it recals most forcibly to mind the representations of the same subject by John Van Eyck; in truth, this great altar-piece, which no real judge will hesitate to assign to Van der Weyden, is one of the best productions of the Flemish school.

In the external portions of the picture, St. Sebastian, in chiaro-'scuro, is long and thin, exaggerated in motion, as usual with Van der Weyden, but executed with the utmost care and diligence. It is almost needless to add, that the hands and feet are long and meagre. The neighbouring figure of St. Anthony, with his bell and pig, may be classed, without exaggeration, amongst the noblest of the Flemish school; being one which Martin Schön studied and copied, endeavouring to imitate its vigour and movement. It is in such masterpieces as these, indeed, that one must study the school where the germ of Memling's manner is traced in parts, with almost as great certainty as that of Martin Schön.

The most truthful imitations of nature, however, are the portraits of Rollin and his wife, which are complete and splendid studies of reality, without flattery or idealism. These and other portraits already noticed are amongst the admirable portions of the work. One fault peculiar to Roger here must not pass unnoticed; and that is, a tendency to sameness in the features of personages; but this is a defect not peculiar to him. The

altar-piece has suffered much from restoration, the naked figures having been at some period painted over in certain parts by ignorant and squeamish persons. Although most of this has since been taken away, much extraneous and disagreeable colour remains and disfigures the panels.

In comparing the portrait of Rollin at Beaune with that of Rollin in the Louvre, we find the energetic financier of John Van Eyck's picture much older, and less grand in attitude. The comparison also serves to Ishow the difference which existed between the mode of colouring used by the two painters. The altar-piece of Beaune is certainly the masterpiece of Roger Van der Weyden.

Amongst the good productions of his pencil is a tryptic with half figures, in the Marquis of Westminster's Collection at Grosvenor House. Surrounded by its old oaken frame, and covered with its ancient scriptural inscriptions, it seems to have been a votive picture destined to adorn a sepulchral monument.1 The outer surface of the tryptic, instead of having a Scripture subject, such as the Annunciation, depicted there, contains a wooden cross, with the words, "O mors quam amara est memoria tua hom. injusto et pace habenti in substatiis suis, viro quieto et cujus vitæ directæ sunt in omîbus et adhuc valenti accipere cibu. Eccl. xli." Above the cross, near a shield containing arms, is the motto, "Bracque et Brabant." A large skull is also represented, with the epitaph of the person whose death is intended to be commemorated.

1 A votive picture of this sort is described in the Life of Van der Goes. Vide sup., P. 139.