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--and his own son, also named Roger, his pupils, but innumerable works other than pictures were produced, such as miniatures, block-books, and engravings, in which his form of art is recognisable. It was under his auspices that the realistic tendency of the Van Eycks pervaded all Germany; for it was only after the death of Jan Van Eyck, in 1441, that the widespread fame of Roger Van der Weyden induced Germans to visit his studio at Brussels. Martin Schongauer, one of the greatest German masters of the sixteenth century, is known to have been his pupil, and it is certain that there must have been many others. It is in HANS MEMLING (_c._ 1435-1494), whom Vasari states to have been the pupil of Roger, that the early Netherlandish School attains the highest delicacy of artistic development. His poetical and profoundly human qualities had a special attraction for the "Pre-Raphaelite Brotherhood" inaugurated by Rossetti and Holman Hunt in the middle of the nineteenth century. This unusual tenderness of feeling is probably also the origin of the legend that Memling was taken into the Hospital of S. John at Bruges--where he painted most of his masterpieces--as a sick soldier after the battle of Nancy. In feeling for beauty and grace he was more gifted than any painter except Hubert Van Eyck, and this quality, conspicuous amid the somewhat ugly realism of most of his contemporaries, has ensured him perhaps a little more popularity than is rightly his share. Compared with the works of his master, Roger Van der Weyden, his figures are certainly of better proportions and less meagreness of form; his hands and feet truer to nature; the heads of his women are sweeter, and those of his men less severe. His outlines are softer, and in the modelling of his flesh parts more delicacy of half tones is observable. His colours are still more luminous and transparent. On the other hand he is inferior to Van der Weyden in the carrying out of detail, such as the materials of his draperies or the rendering of the full brilliancy of gold.