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Some years ago a German Artist was travelling in Norway, on foot, with his knapsack on his back and his stick in his hand. He lodged most of time in the cottages that he fell in with on his road. In one of them there was a seal, which the fisherman had found on the sand, after harpooning the mother of the poor animal. No sooner was it admitted into the cottage than the seal became the friend of the family and the playmate of the children. It played from morning till night with them, would lick their hands, and call them with a gentle little cry, which is not unlike the human voice, and it would look at them tenderly with its large blue eyes, shaded by long black lashes. It almost always followed its master to fish, swimming around the boat and taking a great many fish, which it delivered to the fisherman without even giving them a bite. A dog could not have been more devoted, faithful, teachable, or even more intelligent.

There is little wonder, then, that we have known practically nothing of the Apache and their customs beyond the meagre record of what has been given us by a few army officers; consequently their study was entered into with especial interest. Although much time was expended and much patience consumed before the confidence of their elders was gained, the work was finally successful, as will be seen particularly by the creation legend and the accompanying mythologic picture-writing on deerskin, which give an insight into the mode of thought of this people and a comprehensive idea of the belief respecting their genesis. Not satisfied with the story as first related by the medicine-men lest error perchance should have crept in, it was repeated and verified by others until no doubt of its entire accuracy remained. It is especially fortunate that the chief investigations were made in the summer of 1906, when the new "messiah craze" was at its height, thus affording exceptional opportunity for observing an interesting wave of religious ecstasy sweep over this primitive folk.

Memling (1425?-1495?), one of the greatest of the school, is another man about whose life little is known. He was probably associated with Van der Weyden in some way. His art is founded on the Van Eyck school, and is remarkable for sincerity, purity, and frankness of attitude. As a religious painter, he was perhaps beyond all his contemporaries in tenderness and pathos. In portraiture he was exceedingly strong in characterization, and in his figures very graceful. His flesh painting was excellent, but in textures or landscape work he was not remarkable. His best followers were Van der Meire (1427?-1474?) and Gheeraert David (1450?-1523). The latter was famous for the fine, broad landscapes in the backgrounds of his pictures, said, however, by critics to have been painted by Joachim Patinir. He was realistically horrible in many subjects, and though a close recorder of detail he was much broader than any of his predecessors.

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