Abstract
Memling's Gdansk Last Judgment is undocumented before its capture at sea in 1473. Information about the career of the triptych's patron, Angelo Tani, implies that he commissioned it on an unrecorded trip to Bruges in 1465 and helps to clarify its much debated relationship to Rogier van der Weyden's Beaune Altarpiece. The activities of Tani's successor, Tommaso Portinari, as manager of the Bruges branch of the Medici Bank, suggest that the addition of Portinari's portrait on the scales of judgment relates to his piratic appropriation of the painting.
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