of Federico da Montefeltro, the Duke of Urbino, van der Goes became the leading painter in Ghent. In 1467 the Burgundian court had paid van der Goes for creating the blazons used at Philip the Good's funeral. The painter was repeatedly elected as deacon of the painter's guild of Ghent and served as its deacon from 1474 to 1476. It was during this period that Hugo van der Goes painted the Adoration of the Magi (also known as the Monforte Altarpiece (Gemäldegalerie, Berlin)) and worked on the commission of Tommaso Portinari for the Portinari Altarpiece (Uffizi, Florence), which arrived at its destination in Florence only in 1483, when the artist had already died. Van der Goes achieved considerable success and secured important commissions from the Burgundian court, church institutions, affluent Flemish bourgeoisie and associations of Italian business people based in the Burgundian Netherlands. When he had reached the peak of his career in 1477 van der Goes suddenly decided to close down his workshop in Ghent to become a frater conversus (i.e. a lay brother) at the monastic community of the Rood Klooster (or Rooklooster) near Auderghem (now in Brussels). The Rood Klooster was part of the monastic wing of the Modern Devotion movement and belonged to the Windesheim Congregation. At the monastery he enjoyed certain privileges. He was allowed to continue working on painting commissions and to drink wine. According to the chronicle written up in Latin some time between 1509 and 1513 by Gaspar Ofhuys, a fellow monk in the Rood Klooster, van der Goes received visits by eminent persons including Archduke Maximillian. During his time at the cloister he received in 1482 a request from the counsel of the City of Leuven to value the works for the Leuven city hall that Dieric Bouts had left unfinished at the time of his death. As a reward for this service van der Goes received a jug of Rhine wine from the city authorities. It is believed that it was van der Goes who completed Bouts' unfinished Triptych for Hyppolite Berthoz. His contribution was the painting on the left panel of the portraits of the couple who had paid for the triptych. In 1482 the monastery sent van der Goes to Cologne together with his half-brother Nicolaes, who had also taken religious vows, and another brother of the monastery. On the return leg of this trip the artist suffered