In the quaint chapter-room of the old hospital, itself dating from the thirteenth century, Memling's compositions found an appropriate setting. Here was the great triptych of the Mystic Marriage of St. Catherine, an altar-piece for the high altar of the church connected with the hospital; two smaller triptychs, one of the Three Kings, the other a Pietà; the portrait of Mary Moreel, and a diptych ordered by Martin van Nieuwenhoven, on which is Memling's finest piece of portraiture, the likeness of the donor. "The man himself is no very superb specimen of humanity; he has a bright and pleasant though rather foolish face; but such as he is Memling has caught the idea of him, and placed him visibly and knowably on the panel.... Its colouring is unusual and most beautiful. The textures of the garments are superb, and not only are the little landscapes seen through the open windows full of the charm that Memling always threw into his backgrounds, but the charm extends to the interior of the room, with its stained glass windows, paneled walls, looking-glass and other pieces of furniture."[7] [7] Conway. But the most interesting work by the great Fleming that the hospital contains is the world-famed reliquary of St. Ursula. This chest, in shape like a tiny Gothic chapel, only three feet long and two feet ten inches high, bears on its sides in six arched panels the legend of St. Ursula and her eleven thousand virgins. The saint and her maidens are seen landing at Cologne, arriving at Basle, and received in Rome by the Sovereign Pontiff himself, who joins them for the return voyage down the Rhine. They are awaited at Cologne by the cruel Huns, who shoot them down without mercy, and, last of all, the saintly princess suffers martyrdom. This story is told in panels only one foot in width. The little pictures are crowded with figures dressed in the sumptuous costumes of the Court of Burgundy. Genuine landscapes are introduced in the backgrounds--the city of Cologne and the scenery along the Rhine are pictured from sketches which the artist made himself. These tiny paintings have the brilliant colouring of the van Eycks and the finish of detail of the old illuminators. They show the tenderness, the fancy, the patient industry of the master. "Gentle, cordial, affectionate, humble, painstaking as Memling must have been, his best works are those of the St. Ursula series type, where his fancy could play about bright and fairy-like creatures, where no storm nor the memory of a storm need ever come, where no clouds darkened the sky, and not even the brilliant tones of sunset gave forecast of a coming night."[8] [8] Conway. [Illustration: ST. LUKE PAINTING THE MADONNA.--VAN DER WEYDEN.] Another of the early Flemish masters was Roger van der Weyden. His St. Luke Painting the Madonna, in the Boston Museum of Fine Arts, is considered one of the masterpieces of that gallery.