ding a characteristic
Beggar Boy, 1717 (L. wall) will be seen on either side. By Velasquez,
the supreme master of the school are: (L. wall) 1734, Meeting of
Thirteen Spanish Gentlemen, Velasquez and Murillo standing left of the
group; and 1732, one of the many portraits scattered about Europe of
Philip IV. The sombre Zurbaran is represented by 1739 and 1738, A
Bishop's Funeral, and St. Pierre Nolasque and St. Raymond de Penafort.
Four portraits, 1704-1705B, by the facile and popular Madrid artist
Goya, should by no means be passed without notice. There follows next
a small collection of English paintings, rather indifferent in
quality, but historically of much interest, by reason of the
inspiration drawn from Constable and Bonington by the Barbizon school.
Bonington, whose untimely death was a grievous loss to modern art,
passed much of his time in Paris and was the link between the Valley
of the Stour and the Forest of Fontainebleau.

We pass to some productions of the German school. On the R. wall hang
2738 and 2738C, Episodes in the Life of St. Ursula by the Master of
St. Severin.[208] Opposite is 2737, an earlier specimen of the Cologne
school, Descent from the Cross, by the Master of St. Bartholomew. 2709
and 2709A, Head of an Old Man, and Head of a Child, are ascribed to
Albert Duerer. But the chief glory of this collection are the Holbein
portraits on the L. wall, four of which are of supreme excellence;
2715, Erasmus; 2714, William Wareham, Archbishop of Canterbury; 2713,
Nicholas Kratzer, Astrologer to Henry VIII.; and 2718, Anne of Cleves.
2719, Richard Southwell is a doubtful Holbein.

[Footnote 208: From an age when the personality of the painter was of
less importance than the subjects he painted, few names of German
artists have come down to us.]

Section E is filled with Flemish paintings. R. hangs, among other of
his works, Phil. de Champaigne's masterpiece, 1934, portraits of
Mother Catherine Agnes Arnaud and of his own daughter, Sister
Catherine, painted for the Convent of Port Royal. The intimate
association of this grave and virile artist, who settled at Paris when
nineteen years of age, with the austere and pious Jansenists of Port
Royal, is also traceable in 1928, The Last Supper. On the L. are some
excellent works by Rubens: 2075, Flight of Lot; 2077, Adoration of the
Magi; 2113, Portrait of Helen Fourment, the artist's second wife, and
their two children; 2144, Lady's Portrait, said to be that