In this central panel, Bouts did not focus on the biblical narrative itself but instead presented Christ in the role of a priest performing the consecration of the Eucharistic host from the Catholic Mass.

This contrasts strongly with other Last Supper depictions, which often focused on Judas's betrayal or on Christ's comforting of John.

[10] Bouts also added to the complexity of this image by including four servants (two in the window and two standing), all dressed in Flemish attire.

After attaining the rank of city painter of Leuven in 1468, Bouts received a commission to paint two more works for the Town Hall.

The first was an altarpiece of the Last Judgment (1468–1470), which exists today only in the two wings with the Road to Paradise and The Fall of the Damned in the Musée des Beaux-Arts, Lille (France), and a fragmentary Bust of Christ[11] from the central panel in the Nationalmuseum, Stockholm.

His 1462 Portrait of a Man[15] in the National Gallery (London) is the first instance of a sitter shown in three-quarter view before a discernible background with a glimpse of the landscape out the window.

Also widely attributed to Bouts is the Portrait of a Man in the Metropolitan Museum of Art (New York), which resembles some of the figures in the artist's late Justice Panels of 1470–1475.

The remaining panels from the Last Judgment Altarpiece (datable to 1468–1470) and the triptych The Martyrdom of St Erasmus (before 1466) are also fairly secure attributions.

The triptych the Martyrdom of St. Hippolytus (Groeningemuseum), Virgin Enthroned with Four Angels (Capilla Real, Granada), and an Annunciation[16] (Museu Calouste Gulbenkian, Lisbon).

One is the so-called Pearl of Brabant triptych,[24] which writers as early as 1902 tried to separate from Bouts' authentic works.

Little is known of the elder son, Dieric the Younger, although he appears to have continued in his father's style until his early death in 1491.