Few pictures have evoked more controversy or been coupled with the names of more artists than the Danzig triptych. The entry in a local church register of 1616 which asserts that it was painted in Brabant by John and George van Eichen, an ascription varied at a subsequent period by substituting the name of James for John, carries no more weight than usually attaches to popular traditions, and was generally disregarded by the connoisseurs and experts who have debated the question for more than a hundred years. The names of Albert van Ouwater, Michael Wohlgemuth, Hugh Van der Goes, Hubert and John van Eyck, Roger De la Pasture, and Dirk Bouts have all been canvassed with more or less assurance. Memlinc’s name was first associated with the work in 1843, by Hotho, whose opinion met with wide acceptance, a notable convert to his view being Dr. Waagen, who in 1860 declared the triptych to be “not only the most important work by Memlinc that has come down to our time, but also one of the masterpieces of the whole school, being far richer and better composed than the picture of the same subject by Roger De la Pasture at Beaune, though that master’s influence is still perceptible,” though two years later he recognised in the figures the influence of Dirk Bouts; and in 1899 Kämmerer as emphatically declared that “no one who is acquainted with Memlinc’s authentic works can possibly doubt that this picture is the work of his hand.” In the absence of contemporary documentary evidence, and with the donors of the picture still unidentified, confronted moreover with the fact that in its composition the Danzig triptych differs altogether from Memlinc’s authenticated paintings, many experienced judges still hesitated to admit the claim put forward in his behalf. But the recent discoveries made by Dr. A. Warburg leave little room for doubt. In the fifteenth century there was a considerable Italian colony at Bruges, and the powerful Florentine firm of the Medici, whose ramifications extended over all Europe, had a branch establishment there in the name of Piero and Giovanni de’ Medici, the acting manager of which from 1455 to 1466 was Angelo di Jacopo Tani, who, after serving as bookkeeper of the firm’s agency in London, had been transferred to Bruges in 1450. Tani may have taken Memlinc into his household with a view to the production of the triptych under his own eye. The absence of Memlinc’s name from the guild registers of the period lends probability to the theory that he was employed by Charles the Bold, for ducal service exempted painters settling in Bruges from the obligation of purchasing the right of citizenship, and of becoming members of the local guild. It is presumed that Tani engaged Memlinc’s services at some date after 1465 to paint or, if the work had been commenced by some other painter, to complete this picture. While the dexter shutter, representing the reception of the elect by Saint Peter