The triptych when closed shows two figures, St. John the Baptist--this, according to Jacques van Oost is the veritable portrait of the painter--and St. Veronica. On the frame are representations of the Fall and the Expulsion from Paradise painted in _grisaille_. These are also undoubtedly Memlinc's handiwork. '_Ici_,' notes Canon Duclos, '_nous avons tout un poème: celui de la chute, de la rédemption et des manifestations du Rédempteur_.' The picture is certainly a glorious one, alike in design and in execution, and the scheme of colour is magnificent. It is esteemed by some to be Memlinc's masterpiece, and it is without doubt the best of his Bruges pictures. The third picture is a portrait of exquisite delicacy and finish, representing Marie, the second daughter of Willem Moreel, a master grocer of considerable wealth and standing in the city, and one of Memlinc's chief patrons. An inscription on the frame, which in Mr. Weale's opinion is certainly authentic, informs us that this picture was painted in 1480. The same year another Bruges tradesman, Master Tanner Peter Bultencke, commissioned Memlinc to paint a triptych for Notre Dame with scenes from the life of [Illustration: ST. JOHN THE BAPTIST _From Memlinc's 'Adoration of the Magi' in St. John's Hospital, Bruges_] [Illustration: ST. VERONICA _From Memlinc's 'Adoration of the Magi' in St. John's Hospital, Bruges_] Christ. Alas! it has long since left the city and is now in the gallery at Munich. The fourth picture is a beautiful diptych painted in 1487 for Martin van Nieuwenhove, and presented by him to the Hospice of St. Julian, a half-secular, half-religious house of entertainment for poor pilgrims, of which he was one of the two patrons appointed by the town. The left panel shows Our Lady with her Divine Infant, to whom she is offering a golden apple; the right has a portrait of the donor with his hands clasped in prayer, and an open breviary before him. This is one of Memlinc's finest portraits. The date of the paintings on the shrine of St. Ursula is not certainly known, but since the relic for which it was constructed was placed in the new shrine on October 24, 1489, it is probable that they were completed before that date.