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The indebtedness of that rhythmically named Dutch master Geertgen tot Sint Jans to the so-called Monforte Adoration of the Magi (Berlin) of Hugo van der Goes has long been recognized.1 Motifs adapted from this famous painting of Hugo have been pointed out in three pictures which are generally accepted as by the hand of the Haarlem painter: the Van Mander attested Lamentation (Vienna), the Raising of Lazarus (Louvre), and the Madonna and Child (Berlin). For this reason virtually all modern scholars have assumed that Geertgen made a trip to Flanders as a young man, and that he might even have been a pupil of Hugo in Ghent for a short while.2 We believe that this hypothetical trip to the south may at last be documented.
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