van der Goes's works spread the artist's influence across the Flemish borders into Germany. The prominent Bruges painter Gerard David and the assistants in his workshop clearly took their inspiration from the Ghent artist. Hugo van der Goes was an important painter of altarpieces as well as portraits. His principal religious works include the Portinari Triptych (Uffizi, Florence), the Adoration of the Magi (also called the 'Monforte Altarpiece'), the Adoration of the Shepherds (both Gemäldegalerie, Berlin), the Fall and Redemption of Man (Kunsthistorisches Museum) and the Death of the Virgin (Groeningemuseum, Bruges). In the 1460s, van der Goes was commissioned to provide an altarpiece for the Church of the Holy Trinity in Edinburgh by its first provost, Edward Bonkil. The church had been founded by Scotland's queen consort, Mary of Guelders. The four surviving panels of the Trinity Altarpiece depict James III, King of Scots, flanked by St. Andrew and his son, the future James IV, and his wife, Margaret of Denmark. The donor, Edward Bonkil, also features. The Portinari Triptych Van der Goes's most famous surviving work is the Portinari Triptych (Uffizi, Florence). The Triptych is an altarpiece commissioned for the church of San Egidio in the hospital of Santa Maria Nuova in Florence by Tommaso Portinari, the manager of the Bruges branch of the Medici Bank. In 1483, apparently some years after its completion by van der Goes, the Portinari Altarpiece arrived in Pisa from which it was shipped via canal to the Porta San Friano in Florence. The altarpiece was hung in the church of the hospital of Santa Maria Nuova. The raw features of the shepherds in van der Goes's composition made a deep impression on painters working in Florence. Domenico Ghirlandaio likely drew inspiration from the Portinari Triptych for his Epiphany in the Sasseti chapel. The largest Netherlandish work that could be seen in Florence, it was greatly praised. In his Vite of 1550 Giorgio Vasari referred to it as by "Ugo d'Anversa" ("Hugo of Antwerp"). This is the sole documentation for its authorship by Hugo van der Goes. All other works are attributed to van der Goes based on stylistic comparison with the altarpiece. After Hugo van der Goes's death the triptych was wrongly attributed to others, including Andrea del Castagno and Domenico Veneziano. These two artists had produced the frescoes around the altarpiece, but were not involved in its design. In 1824, Karl