In each of these cities, then, he must have remained a considerable time. He does not seem to have practised his art in Rome. Perhaps his stay there was a short one, and that his time was fully occupied by sightseeing and devotion. That he fully appreciated the art treasures of the Eternal City there can be no doubt, and we know that he was enraptured with the Lateran pictures of Gentile da Fabriano, whom he pronounced to be the first painter in Italy. On his return to Brussels, Roger van der Weyden set to work with renewed vigour. We still possess three of the pictures which he painted after his journey to Italy:--the 'Nativity' triptych, with the portrait of Peter Bladelin, now in the Museum at Berlin; the 'Last Judgment,' which Chancellor Rolin ordered for the Hôtel Dieu at Baune (the authenticity of this picture is disputed); and the 'Adoration of the Magi,' in the Pinakothek at Munich. The last two especially show how profoundly the great Brussels painter was influenced by his pilgrimage to Rome: the composition of the Baune picture is almost the same as that of Andrea Orcagna's 'Last Judgment,' and the main outlines of the Munich picture distinctly recall the 'Adoration' of Gentile da Fabriano. Of the numerous paintings attributed to Roger van der Weyden, probably not more than five or six are of incontestable authenticity. He certainly painted the 'Descent from the Cross' at Madrid, the 'Nativity' at Berlin, the Medici triptych at Frankfort, and the 'Adoration of the Magi' at Munich. These pictures are universally acknowledged to be his work. Of the rest, most are attributed to him merely on account of the similarity of style to the style of the work which is known to be his, and are without signature or other designation.