552. Three panels attributed to =Roger van der Weyden=, of Tournai, town painter of Brussels, and teacher of Memling—a highly symbolical and religious master. Scenes from the Life of the Virgin. In the _centre_, the Presentation of the Virgin in the Temple. The foreground is occupied by St. Joachim and St. Anna, parents of the little Virgin, who is seen mounting the regulation fifteen steps of the Temple, assisted by a somewhat unusual angel. At the head of the steps stands the High Priest. Within, the Virgins of the Lord are seen reading. To the right, still in the same panel, is the Annunciation, with the usual features, angel L., Madonna R., _prie-dieu_, bed, Annunciation lily, and arcade in the foreground. The _left panel_ has the Circumcision; and the _right_, Christ among the Doctors in the Temple, with some excellent portraits in the background. (For Van der Weyden’s place in art, see Conway; for the Madonna ascending the steps, _Legends of the Madonna_.) 554. Also attributed to =Roger van der Weyden=: parts of the same series, Way to Calvary and the Crucifixion. The _first_ has the usual brutal soldiers and a suffering but not very dignified Christ. (Study for comparison with others.) Beside the Virgin kneels the donor. The _second_ has the conventional figures of the fainting Madonna, St. John, the Magdalen, and the other Maries: sun and moon darkened. In the distance of both, Flemish towns. (Good trees and landscape.) 105A. Fine Madonna with Child, and an apple by Van Clìve. 159. A crowded Calvary of the German School (late 15th century) with an emaciated Saviour, writhing and distorted thieves, and rather wooden spectators. Observe the St. Longinus in armour on the bay horse, piercing the side of Christ, for comparison hereafter with such later conceptions as Rubens’s at Antwerp. To the L. is the group of the Madonna, St. John, and the two Maries. The red eyes of St. John are characteristic of this scene, and descend to Van Dyck. The Maries are unmitigated German housewives. The Magdalen embraces the foot of the Cross. On the right are spectators and a brawl between soldiers. The background is full of characteristic German devils and horrors: also St. Veronica, Peter and Malchus, Judas hanging himself, etc. Above it, 523, German School, attributed to Wolgemut, Christ and the Apostles: gold background. Very flavourless: shows the tendencies from which the Van Eycks revolted. 517. Roger van der Weyden: head of a Woman Weeping. Perhaps a portion of a large composition, or a study for one. More likely, a copy by a pupil. Much damaged. Now, return along the same wall, beyond the great Van Eyck in the centre.