_In St. John's Hospital at Bruges_] was slain at the Battle of Edgecote near Banbury on July 26, 1469, this picture must be among the earliest, perhaps indeed it is the most ancient of Memlinc's uncontested works. Most of the figures herein portrayed are identical, or almost identical, with the figures in the Bruges triptych. Not only are they manifestly the same individuals, but their faces have the same expression and they are dressed in the same costumes. The colouring of this triptych is less rich than the colouring of the hospital picture, and perhaps the execution is less sure, but the grouping is more simple and more symmetrical, and there is an atmosphere of repose about it which one does not find to the same extent in the Bruges picture. The attention of the spectator is not distracted by a multiplicity of scenes in the background. Here there are no fluttering angels above Our Lady's head, and the calm, dignified figure of the Evangelist on the left-hand shutter is decoratively far more effective than the ecstatic Evangelist in the corresponding wing of the Bruges triptych. In the same year that Memlinc painted the 'Mystic Marriage of St. Catherine,' he painted also the picture which hangs opposite to it. This work is likewise a triptych, but of much smaller dimensions than the first. It probably adorned the private oratory of John Floreins, as an inscription in Flemish on the frame informs us that it was painted for him: _Dit werk dede maken Broeder Jan Floreins alias vander Rüst Broeder Proffes vanden hospitale van Sint Jans in Brygghe anno 1479 opus Johanis Memlinc_. If there is any truth in the Abbé Descamps's legend it was probably this picture, and not the shrine of St. Ursula, that Memlinc painted as a thank-offering to John Floreins, who, if he was not superior of the hospital when Memlinc is said to have been a patient there, certainly occupied a responsible position and was doubtless able to dispense favours. To the right of the central panel there is the figure of a man wearing a yellow cap, a form of headgear used until recently by convalescents in the hospital. Tradition says that we have here the portrait of Memlinc, and if Memlinc, indeed, portrayed his own features when he painted St. John the Baptist, tradition speaks the truth. These heads bear a striking resemblance to the head of the man in the nightcap. The central panel represents the Adoration of the Magi, that on the right the Nativity, and the other panel the Presentation.