Near the window by the entrance is a =**Triptych=, also by Memling, commissioned by Brother Jan Floreins of this Hospital. The _central panel_ represents the =Adoration of the Magi=, which takes place, as usual, under a ruined temple fitted up as a manger. The Eldest of the Three Kings (according to precedent) is kneeling and has presented his gift; Joseph, recognisable (in all three panels) by his red-and-black robe, stands erect behind him, with the presented gift in his hands. The Middle-aged King, arrayed in cloth of gold, with a white tippet, kneels with his gift to the L. of the picture. The Young King, a black man, as always, is entering with his gift to the right. The three thus typify the Three Ages of Man, and also the three known continents, Europe, Asia, Africa. On the L. side of this central panel are figured the donor, Jan Floreins, and his brother Jacob. (Members of the same family are grouped in the well-known “Duchâtel Madonna,” also by Memling, in the Louvre.) To the right is a figure looking in at a window and wearing the yellow cap still used by convalescents of the Hospital, (arbitrarily said to be a portrait of Memling.) The _left panel_ represents the Nativity, with our Lady, St. Joseph, and two adoring angels. The _right panel_ shows the Presentation in the Temple, with Simeon and Anna, and St. Joseph (in red and black) in the background. (The whole thus typifies the Epiphany of Christ; left, to the Blessed Virgin; centre, to the Gentiles; right, to the Jews.) The _outer panels_, in pursuance of the same idea, have figures, right, of St. John Baptist with the lamb (he pointed out Christ to the Jews), with the Baptism of Christ in the background; and left, St. Veronica, who preserved for us the features of our Lord, displaying his divine face on her napkin. The architectural frame shows the First Sin and the Expulsion from Paradise. Note everywhere the strong character in the men’s faces, and the exquisite landscape or architectural backgrounds. Dated 1479. This is Memling’s finest altar-piece: its glow of colour is glorious. By the centre window, a =*triptych=, doubtfully attributed to Memling, represents, in the centre, =the Deposition from the Cross=, with the Holy Blood conspicuous, as might be expected in a Bruges work. In the foreground are St. John, the Madonna, and St. Mary Magdalene; in the background, the preparations for the Deposition in the Tomb. On the =wings=: _left_, Brother Adrian Reins, the donor, with his patron saint, Adrian, bearing his symbol, the anvil, on which his limbs were struck off, and with his lion at his feet; _right_, St. Barbara with her tower, perhaps as patroness of armourers. On the =exterior wings=, _left_, St. Wilgefortis with her tau-shaped cross; _right_, St. Mary of Egypt, with the three loaves which sustained her in the desert.