Abstract
Sometime about the year 1478 a splendid triptych was placed in Sant'Egidio, the church of the Arcispedale Santa Maria Nuova in Florence, executed by Hugo van der Goes, dean of the painters' guild at Ghent, on the commission of Tommaso Portinari, representative of the Medici banking interests in the Netherlands.1 Now in the Uffizi, the painting is impressive in dimensions and design, in material richness and spiritual profundity.
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