the spectators are stiff and angular, especially one, who turns his head in the direction of his back, and gazes over his shoulder in a strange and dislocated manner.

If we find in Dierick neither grace nor elegance of composition and design, we must admit the beauty of his landscapes. The followers of Memling were noted for them, as we discover in the "Baptism" at Bruges. The School of Dierick, and Dierick himself, excelled in them. They copied with fidelity the features of the country which surrounds Louvain; they gave its pleasant prospects the clear and lucid atmosphere which marks the neighbourhood of the Meuse, and transferred to their panels scenes exactly similar to those which meet the traveller's eye as he journeys on to Aix and Bonn.

The pictures of this school were frequently a cento of Van der Weyden, Memling, and Petrus Cristus. From Van der Weyden, Dierick and his disciples took their stiffness and their ornaments; from Memling, what they could of grace and elegance; and from Cristus, that hard and horny mode of colouring which marks some of his panels. The painters of Cologne had, meanwhile, been changing like those of Flanders; and after exercising considerable influence in Belgium, were themselves subdued by the greater vigour of Flemish art. Yet they no more improved themselves by this than the Flemings did in pursuit of the Italians. When the sixteenth century dawned, the painters of Cologne were following the artists of Louvain in a sort of weak and servile imitation of the style of Van der Weyden.

Dierick's legendary pictures are those in which, perhaps, he least approached the style of Memling. He came

nearer to that painter in the portrait of 1462, assigned to Memling in the late Mr. Rogers' Collection, which, by its hard and glassy colour, reminds us more of the imitation of Van Eyck and Memling, noticed in the School of Louvain, than of a genuine picture by Memling himself.

Immobility and rigidity mark this portrait, as well as other panels of the school of Dierick; and though they obtrude but slightly in small and highly finished panels, they still are traceable even there. They are distinct and strong in the "Last Supper" of the church of St. Pierre, Louvain; which, notwithstanding the signature, "Opus Johannis Memling," a forgery,—we believe to be by Stuerbout. The general red and horny colour, the stiff and angular heads, are Stuerbout's; but the figure of the Saviour is an inspiration from Memling, as well as the heads of two persons in the distance. Another figure in the background reminds us of Van Eyck. The present panel, indeed, has not unfrequently been attributed to the latter; but it has no more his vigour than it has Memling's sentiment. This "Last Supper" was once the centre portion of a tryptic, of which the wings are now in the Galleries of Berlin and Munich. "The Prophet Elijah wakened by an Angel," and "The Jewish Passover,"2 at Berlin, "The Israelites picking Manna," and "Melchisedec and Abraham," at Munich, are four panels which,

1 No. 533, Berlin Catalogue. Wood, 2f. 9z. high by 2f. 24 z. broad.

2 No. 539, Ibid. Wood, 2f. 9z. high by 2f. 23z. broad.

3 No. 44, Cab. IV. Munich Gallery. Wood, 2' 9" high by 2′ 2′′ 6′′ broad.

4 No. 55, Cab. IV. Munich Gallery. Wood, 2′ 9" high by 2′ 2′′ 6"" broad.

doubtless, once were parts of the altar-piece. They are all similar in size, and by the same hand. The landscape in the panel of "The Prophet Elijah" is an undoubted one of the School of Louvain, and the panels at Munich have similar characteristic distances. These four pictures have been assigned, in succession, to Roger Van der Weyden and Justus of Ghent, and have finally settled in the Catalogues as Memlings.

"Judas kissing the Saviour, and the Capture," is a picture in the Munich Gallery similar in style to those of Dierick, and apparently painted by him at the time when he completed the legendary pictures of Louvain, now at the Hague,' where they are attributed to Memling.

The character of "The Last Supper" at Louvain is distinguishable in the picture of the Leuchtenberg Collection, also assigned to Memling-" St. John the Baptist showing the Saviour to a Repentant Sinner."2

"The Resurrection," in the Moritz Kapelle at Nuremberg, seems also, from its size and execution, to have formed part of "The Capture" in the Munich Pinakothek.8

A picture of some celebrity in connexion with the name of Memling, but representing a subject foreign to the delicate and elegant sentiment of that painter in his choice of subjects, is "The Martyrdom of St. Hippolytus,"

1 No. 58, Cab. IV. Munich Catalogue. Wood, 3′ 3′′ 3′′ high by 2' 1" 4" broad.

2 No. 104, II. Saal. Leuchtenberg Catalogue. Wood, 1' 8" high by 1' 3" 6" broad. This Collection is now transferred to St. Petersburg.

No. 23, Moritz Kap. Catalogue. Wood, 3′ 5′′ high by 2′ 2′′ broad, Nuremberg. Assigned to Memling.

in the church of St. Sauveur at Bruges, depicting the saint stretched upon the ground, and about to be torn to pieces by four very large horses, at whose heads are men about to start them. This hideous scene, treated in the style of Memling, has furnished one of the arguments in favour of that painter's stay at Venice. The horses, it is said, are copies of the celebrated bronze ones there; but we see no resemblance to warrant such an inference; and these are neither as natural nor as well drawn as those in the Apocalypse of the Sposalizio. It must be owned, however, that the painting as a whole has been much restored and touched, and that the tone and colours may be altered here and there; but the composition is as bad as that of the weakest followers of Memling; the character of the heads and figures is radically defective, the dresses are in bad taste, and the attitudes exaggerated according to Stuerbout's custom. The figure of the saint is thin and slender, and its muscular development faulty. The wings are in better preservation: one containing a group of men being like the central panel; the other, representing a kneeling man and woman in a landscape, being cold in tone, whilst it is soft in outline, and more in Memling's style than the rest of the altar-piece. The ill-restored obverse of this tryptic represents in chiaro'scuro St. Charles, St. Hippolytus, St. Elizabeth, and St. Margaret.

The point of contact between the Schools of Louvain and Cologne at the close of the fifteenth century is visible with certainty in "The Martyrdom of St. Erasmus," at Louvain. This "Martyrdom" is also repulsive in style and subject-the saint being stretched beneath a

windlass, on which the executioner turns his bowels. The naked form is slender and thin, and the character of the painting is similar to that of St. Hippolytus, but the landscape is more truly characteristic of the school. St. Jerome, with a lion at his feet, forms the subject of the left wing, which is also adorned with a beautiful landscape. The right wing represents St. Anthony, with some monstrous animals about him.

The local colour of this panel most approaches to that of panels assigned to the painters of Cologne. It is evident that they became amalgamated about the end of the 16th century with the School of Louvain, some slight peculiarities of each remaining common. The style of painting in the Saints of the tryptic at Louvain has as much resemblance to the picture of 1417, by Cristus, in the gallery of Francfort, as the monsters in the panel of St. Anthony1 have to those of the same master in his "Last Judgment," at Berlin.

There are numerous panels in divers galleries besides those already described, which, in some particular or other, bear the impress of the School of Stuerbout.

The "Christoffel Altarchen "" at Munich, which Dr. Waagen assigns to Memling, and compares with the altar-piece of Lubeck, is one of these. It represents the Adoration of the Magi; the wings containing the passage of St. Christopher and St. John the Baptist,

1 Wood. Signed with the false inscription, "OPUS JOHANIS HEMLING."

2 Nos. 48, 49, 54, Cab. IV. Munich Gallery Catalogue. Wood; centre, 1' 11" high by 1' 11" broad; wings, 1′ 4′′ 6"" high by 10" broad.