In Early Netherlandish art the Annunciation is typically set in contemporary domestic interiors, a motif and tradition established by Robert Campin, and followed by Jan van Eyck and Rogier van der Weyden.[1] Neither Campin nor van Eyck went so far as to set the scene in a bedchamber,[2] although the motif is found in van der Weyden's c. 1435 Louvre Annunciation and c. 1455 Saint Columba altarpiece in which the Virgin kneels by the nuptial bed, rendered in red made from costly pigments.[3] Memling's depiction is nearly identical to van der Weyden's Columba Altarpiece.[8]