of the earlier style.  The whimsical and singular expression in the countenances of the pilgrims is also very remarkable.  The picture next to the last described is more pleasing; it represents the troop of holy anchorites passing out of a rocky defile.  In front are St. Paul the Hermit and St. Anthony, the two who set the first example of retirement from the world; and the procession closes with the two holy women who also passed the greater part of their lives in the wilderness, Mary Magdalen and St. Mary of Egypt.  The heads are full of character, with great variety of expression:  on every countenance may be traced the history of its life.  Grave old men stand before us, each one differing from the other; one is firm and strong, another more feeble; one cheerful and single-minded, another less open.  Some inspired fanatics wildly raise their heads, whilst others with a simple and almost humorous expression walk by their side, and others again are still struggling with their earthly nature.  It is a remarkable picture, and leads us deep into the secrets of the human heart—­a picture which in all times must be ranked amongst the master-works of art, and which to be intelligible needs no previous inquiry into the relative period and circumstances of the artists who created it.  The landscape background, the rocky defile, the wooded declivity, and the trees laden with fruit, are all eminently beautiful.  The eye would almost lose itself in this rich sense of still life if it were not constantly led back to the interest of the foreground.

The opposite wing pictures differ essentially in conception from those just described.  Their subject did not in itself admit such varied interest, and it is rather the common expression of a tranquil harmony of mind, and of the consciousness of a resolute will, which attracts the spectator, combined at the same time with a skilful representation of earthly splendour and magnificence.  Inside the wing to the right we see the soldiers of the Lord on fine chargers, simple and noble figures in bright armour, with surcoats of varied form and colour.  The three foremost with the waving banners appear to be St. Sebastian, St. George, and St. Michael, the patron saints of the old Flemish guilds, which accompanied their earls to the Crusades.  In the head of St. George, the painter has strikingly succeeded in rendering the spirit of the chivalry of the Middle Ages—­that true heroic feeling and sense of power which humbles itself before the higher sense of the Divinity.  Emperors and kings follow after him.  The landscape is extremely beautiful and highly finished, with rich and finely-formed mountain ridges, and the fleecy clouds of spring floating lightly across.  The second picture (the last to the left) represents the righteous judges; they also are on horseback, and are fine and dignified figures.  In front, on a splendidly caparisoned grey horse, rides a mild benevolent old man, in blue velvet trimmed with fur.  This is the likeness of Hubert, to whom his brother has thus dedicated a beautiful memorial.  Rather deeper in the group is John himself, clothed in black, with his shrewd, sharp countenance turned to the spectator.  We are indebted to tradition for the knowledge of these portraits.