st, reached the lips of the upright judge by means of
a miracle. The wings contained an example of the justice of the Emperor
Trajan. These pictures are unfortunately no longer in existence, having
probably been burned when Brussels was besieged in 1695.

In the Museum of the Hospital at Beaune is one of the most important of
his works still in existence, _The Last Judgment_, though in this it is
generally supposed he was assisted by Dirk Bouts and Hans Memling. It
contains several portraits, notably those of the Pope, Eugenius IV., who
stands behind the Apostles in the right wing, and next to him Philip the
Good. The crowned female in the opposite wing is probably Philip's

[Illustration: PLATE XXII.--JAN VAN EYCK

PORTRAIT OF THE PAINTER'S WIFE

_Town Gallery, Bruges_]

second wife, Isabella of Portugal, whose portrait Jan Van Eyck went to
Lisbon to paint before her marriage. On the outer sides are excellently
painted portraits of the founder of the Hospital, Nicolas Rolin, and his
wife. This work has been classed with the Van Eycks' _Adoration of the
Lamb_, and the _Adoration of the Shepherds_ by Hugo Van der Goes, as
crystallizing the finest expression of early northern painting.

In 1450 he visited Italy, where he painted the beautiful little
altar-piece which is now in the Staedel Institute at Frankfort, for Piero
and Giovanni de'Medici.

Another very fine example of his work is the triptych, now in the Berlin
Museum, executed for Pierre Bladelin. In the centre is the Nativity,
with a portrait of Bladelin kneeling, and angels. On the one side is the
annunciation of the Redeemer to the ruler of the West--the Emperor
Augustus--by the agency of the Tiburtine Sibyl; on the other to those of
the East--the Three Kings--who are keeping watch on a mountain, where
the child appears to them in a star.

One of the largest as well as of the finest of the master's works is a
triptych in the Munich Gallery--the _Adoration of the Kings_, with the
_Annunciation_ and the _Presentation in the Temple_ in the wings. The
figure of the Virgin in the _Presentation_ is particularly pleasing for
its simple and unaffected realism. _S. Luke painting the Virgin_, also
in the Munich Gallery, is ascribed to Roger.

No painter of this school, the Van Eycks even not excepted, exercised so
great and widely extended an influence as Roger Van der Weyden. Not only
were Hans Memling--the greatest master of the next generation in
Belgium--an