Schoten, and Adrichem. Schoten was also the location of a St. Lazarus church (currently part of Het Dolhuys) that later came into the possession of the St. Janskerk. Geertgen painted The Lamentation of Christ for the altarpiece of the church of the Knights of Saint John in Haarlem. The painting Lamentation was copied by Jacob Matham in 1620, a mirror image engraving, that includes a Latin poem by Joan Albert Ban, a dedication to Jacob van Campen, and Latin quote by Albrecht Dürer, showing that three men were inspired by this painting. The other side of this altarpiece is showing the burning of the bones of St. John and probably contains a group portrait of the Haarlem members of the order of St. John, with the Commandeur or Precepteur holding the finger of St. John. The St. John's church in Haarlem is where this painting formed the main altarpiece, currently home for the North Holland Archives. Painting Of the paintings mentioned by Van Mander, the only one to survive is one wing of his triptych for an altar of the Knights of St. John at Haarlem, the two sides of which were sawn apart in about 1600, and are now in Vienna as The Legend of the Relics of St. John the Baptist, and the Lamentation of Jesus. The rest was destroyed during the siege of Haarlem in 1573. As is typical of the art of the time it was done primarily on oak panels with oil paints made by mixing pigments with drying oil. This allowed the painter to build up layers of paint to provide different visual effects. The number of works attributed to him (varying between 12 and 16) is under dispute among scholars who discuss the artist (Kessler, Boon, Snyder, Chatelet, Fiero, and Koch). His paintings are in the collections of the Rijksmuseum in Amsterdam, the Gemäldegalerie in Berlin, the National Gallery, London (Nativity at Night), the Musée du Louvre (The raising of Lazarus) in Paris, Museum Catharijneconvent in Utrecht (Man of Sorrows) and the Kunsthistorisches Museum in Vienna. Reception Van Mander states that Albrecht Dürer said of Geertgen "Truly he was a painter in his mother's womb", although Dürer's journal of his Netherlandish travels doesn't mention the painter, and it has been suggested that Van Mander was using a form of epideictic rhetoric to build esteem for a fellow Haarlemer. Technique Like most painters of