Such paintings cluster into recognisable genres, all of which point to the sinful nature of preoccupation with money for its own sake. Hieronymus Bosch's panel of Death and the Miser, dating from the 1490s, started a fashion in depicting this subject among Low Countries artists. Bosch shows the miser on his deathbed, with various demons crowding about his possessions, while an angel supports him and directs his attention to higher things. The link between finance and the diabolical is also drawn by another Fleming, Jan Matsys, in his portrayal of the man of affairs being assisted in his double bookkeeping by a demon. The same connection is made in "The devil and the usurer" in the Valenciennes Musée des beaux-arts, formerly attributed to Pieter Bruegel the Younger, in which two devils pluck at the sleeve of a poorly dressed moneylender.