Early Netherlandish painting: its origins and character, Vol. 1 kd17ct33w

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| EARLY NETHERLANDISH PAINTING } ITS ORIGINS AND CHARACTER |

| The Charles Eliot Norton Lectures 1947-1948

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EARLY NETHERLANDISH

PAINTING ITS ORIGINS AND CHARACTER BY

Erwin Panofsky VOLUME ONE

HARVARD UNIVERSITY PRESS CAMBRIDGE - MASSACHUSETTS

1966

COPYRIGHT, 1953, BY THE PRESIDENT AND FELLOWS OF HARVARD COLLEGE

SECOND PRINTING, 1958

THIRD PRINTING, 1964 FOURTH PRINTING, 1966

Distributed in Great Britain by | OXFORD UNIVERSITY PRESS LONDON

LIBRARY OF CONGRESS CATALOG CARD NUMBER 52-5402 PRINTED IN THE UNITED STATES OF AMERICA

D.M. FAVTI MAGISTRI

GVILLELMI VOEGE OBIIT A.D.III KAL.IAN.AN.SAL.MDCCCCLIII

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PREFACE

Tue title of the present publication is, like most titles, inaccurate. I have not attempted a presentation of Early Netherlandish Painting in its entirety —a task which will have to wait, I believe, for another Max J. Friedlander or Hulin de Loo — but concentrated my efforts on Hubert and Jan van Eyck, the Master of Flémalle and Roger van der Weyden. I have tried to clarify, as far as possible, the historical premises of their achievement; to assess what we know, or think we know, about their style; and to chart, however roughly, the course of those ensuing

developments which may be said to constitute the main stream of the Early Netherlandish tradition. Thus limited, the discussion must dwell at some length on the antecedents of the subject and, on the other hand, omit important aspects of the subject itself. Like my previous book on Albrecht Diirer, this study has grown out of a series of public , lectures — in this case, the Charles Eliot Norton Lectures delivered at Harvard University in 1947-1948. It steers, therefore, a similarly precarious course between the requirements of the “general reader” and those of the special student (who may derive some benefit from the notes and bibliography), and this under much less favorable conditions. He who speaks of the life and works of an individual artist places his listeners in armchairs, so to speak, and invites them to admire the varying aspects of a sculptured figure displayed before them on a revolving base. He who attempts to describe a phenomenon as vast and intricate as Early Netherlandish

Painting routs them out of their houses and asks them to accompany him on a strenuous tour through the remains of an ancient city partly preserved, partly in ruins, and partly buried in the ground. Faced with this task, I could not proceed like an archeologist who leads a group of colleagues straight to the most recent excavations. Rather I have contented myself with the role of a cicerone who, while not entirely avoiding excavations and occasionally venturing into tangly thickets where the digging has barely started,* must try to give a general idea of the old city’s location and topography and concentrate upon the major sights, familiar though they may be to many members of his party; who often reverts to the same spots to reconsider them in the light of intervening impressions; and now and then points out an unexpected vista that opens up between two walls. I am very much indebted to the Bollingen Foundation for a most generous grant in aid of the publication of this book, and to the Institute for Advanced Study for a special appropriation which made it possible to print the notes in what I hope will prove to be a fairly convenient * This applies especially to Chapter IV.

Vil

PREFACE , manner. As far as content is concerned, I have enjoyed the help of so many friends, colleagues and students that it is impossible to mention them all; where I am conscious of having made use of specific observations or suggestions, acknowledgement has been made in the proper

places. Messrs. G. H. Forsyth, Jr., L. Grodecki, E. Holzinger, W. Koehler, C. L. Kuhn, M. Meiss, C. Nordenfalk, A. Pope, J. Rosenberg, W. Stechow, and H. Swarzenski I wish to thank for many a fruitful discussion and the last-named as well as Mr. H. Bober for having called

| my attention to a number of pertinent manuscripts. For information on particular problems I am very much obliged to Messrs. M. Davies, J. Dupont, A. L. Gabriel, W. S. Heckscher, J. S. Held, L. H. Heydenreich, R. A. Koch, M. de Maeyer, M. Pease, R. G. Salomon, G. Schon-

berger, J. Byam Shaw, G. von der Osten, and E. K. Waterhouse as well as to Mmes. A. M. , Brizio, I. J. Churchill and M. Salinger. And I shall always be grateful to the late Miss Belle da Costa Greene and Miss Meta Harrsen, both of the Pierpont Morgan Library, Miss Dorothy

Miner of the Walters Art Gallery, Mlle. Jeanne Dupic of the Bibliothéque Municipale at Rouen, Mr. Francis Wormald, formerly of the British Museum, M. Jean Porcher of the Bibliothéque Nationale, and M. Frédéric Lyna of the Bibliothéque Royale de Belgique; all of

, these have shown unfailing patience and friendliness in giving me access to and information about the manuscripts entrusted to their care, and M. Lyna was good enough to let me have several books and articles which were published in Belgium and not available here at the time.

, Great difficulty was encountered in obtaining photographs suitable for reproduction. In , this respect, too, I am much indebted to many of the friends and colleagues already mentioned, some of whom were even so kind as to give or lend me photographs from their private col-

. lections. I am particularly grateful to Miss E. Louise Lucas and Miss Helen B. Harris for much kind help and for permission to reproduce material belonging to the Fogg Museum of Art at Cambridge and the Department of Art and Archaeology at Princeton. And I wish to express my profound appreciation for the unselfish generosity with which Dr. P. Coremans, Director of the “Archives Centrales Iconographiques d’Art National” and the “Laboratoire Central des Musées de Belgique,” as well as his helpful associates, Monsieur R. Sneyers and Mademoiselle N. Verhaegen, have placed at my disposal, not only a great number of excellent photographs (designated by “Copyright ACL Bruxelles” in the List of Illustrations) but also all the evidence concerning the technical investigation of the Ghent altarpiece. Other photographs were supplied by or obtained through the good offices of the following: Messrs. P. d’Ancona, J. Pita d’Andrade, A. H. Barr, Jr., V. Bloch, H. Broadley, A. Chastel, W. G. Constable, W. W. S. Cook, J. C. Ebbinge-Wubben, H. Gerson, J.-A. Goris, J. Gudiol Ricart, E. Hanfstaengl, P. Hofer, H. Kauffmann, E. S. King, H. Marceau, K. Martin, E. Meyer, G.I. Olifirenko, H. W. Parsons, A. E. Popham, G. Ronci, H. K. Rothel, P. J. Sachs, Count A. Seilern, Messrs. K. M. Swoboda, John Walker, M. Weinberger, K. Weitzmann, and G. Wildenstein;

and Mmes. S. Fosdick, H. Franc, L. Guerry-Brion, M. E. Houtzager, R. McGurn and E. Naramore. In conclusion, I wish to express my warmest gratitude to Miss Ellen Bailly for her untiring, perceptive and intelligent assistance in converting lecture notes into a book. E. P.

Princeton, N. J. , | Vill

Introduction THE POLARIZATION OF EUROPEAN FIFTEENTH-CENTURY

PAINTING IN ITALY AND THE LOWLANDS I

, FOURTEENTH CENTURY 21 I FRENCH AND FRANCO-FLEMISH BOOK ILLUMINATION IN THE

STYLE” 51

I] THE EARLY FIFTEENTH CENTURY AND THE “INTERNATIONAL

III scutprurE AND PANEL PAINTING ABOUT 1400; THE

PROBLEM OF BURGUNDY 75

IV THE REGIONAL SCHOOLS OF THE NETHERLANDS AND THEIR

, IMPORTANCE FOR THE FORMATION OF THE GREAT MASTERS gl Vs REALITY AND SYMBOL IN EARLY FLEMISH PAINTING: “‘SPIRI-

TUALIA SUB METAPHORIS CORPORALIUM 131

VI “ars Nova”; THE MASTER OF FLEMALLE 149

VII JAN VAN EYCK 178 VIII wusert and/or JAN VAN EYCK; THE PROBLEMS OF THE GHENT

ALTARPIECE AND THE TURIN-MILAN HOURS 205

IX ROGER VAN DER WEYDEN 247

NOTES 359 INDEX 537

Epilogue THE HERITAGE OF THE FOUNDERS 303

CONDENSED BIBLIOGRAPHY 513 ILLUSTRATIONS AT END OF VOLUME

1X

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LIST OF ILLUSTRATIONS IN VOLUME ONE Frontispiece Roger van der Weyden: Peter Bladelin.

PLATES AT END OF VOLUME Text Illustration

I. Masolino da Panicale: The Death of St. Ambrose. Rome, San Clemente. 2. Piero della Francesca: Sacra Conversazione of Federigo Montefeltre. Milan,

Brera. |

3. Rome, Vatican Library: Odysseus in the Land of the Cannibals.

4. Ravenna, San Vitale: Abraham and the Angels (Mosaic). | 5. Utrecht, University Library: The Utrecht Psalter, fol. 6 v. The Word of the Lord “Pure as Silver Tried in a Furnace”; The Wicked Chastised and Running

| in Circles (Psalm XI [XIT]). | 6. Paris, Bibliothéque Nationale: Ms. lat. 8846 (Psalter), fol. 20. The Word of the Lord “Pure as Silver Tried in a Furnace”; The Wicked Chastised and Running in Circles (Psalm XI [XII]) 7. Dresden, Alterttimermuseum: Romanesque Madonna from Otzdorf in Saxony. 8. Amiens, Cathedral, Northern Portal of the West Facade: Apostle Statues.

9. Paris, Notre-Dame, Tympanum of the South Transept Portal: The Story of St. Stephen.

10. Paris, Bibliothéque Nationale: Ms. lat. 10525 (Psautier de St. Louis), fol. 74. The People of Israel Giving Presents to Saul (I Kings X, 3-5).

It. Florence, Baptistry: The Dream of Pharaoh (Mosaic).

12. Monreale, Cathedral: The Last Supper (Mosaic). } 13. Monreale, Cathedral: Christ Healing the Palsied Man (Mosaic). 14. Naumburg, Cathedral, Jubé: The Last Supper. 15. Duccio di Buoninsegna: The Last Supper. Siena, Opera del Duomo. 16. Ambrogio Lorenzetti: The Presentation of Christ. Florence, Uffizi. 17, Pietro Lorenzetti: The Birth of the Virgin. Siena, Opera del Duomo. 18. Ambrogio Lorenzetti: “Ager Senensis.” Siena, Palazzo Pubblico. TQ. Cambridge, Fitzwilliam Museum: Achilles Taking Leave from the Daughters of Lycomedes, Detail from a Roman Sarcophagus.

20. New York, Morgan Library: Ms. 72 (Psalter of Isabella of Aragon), fol. 41 v. Noli Me Tangere.

21. Austrian Master of 1327-1329: The Three Marys at the Tomb; Nol: Me Tangere. Klosterneuburg, Monastery.

22. Giotto: Noli Me Tangere, Detail. Padua, Arena Chapel. 23. New York, Metropolitan Museum: The Entombment (Gothic Ivory).

24. Florence, Accademia: The Entombment, Detail of the Apron of a Tuscan Dugento Cross.

25. Berlin, Staatsbibliothek: The Lamentation of Christ (Byzantine Ivory). 26. Giotto: The Lamentation. Padua, Arena Chapel. 27. Altétting, Parish and Pilgrimage Church: The “Goldenes Réssel” (Front View). 28. Altétting, Parish and Pilgrimage Church: The “Goldenes Rossel” (Rear View, Detail).

29. Master Francke: The Adoration of the Magi. Hamburg, Kunsthalle. 30... The Master of the Ortenberg Altarpiece: The Adoration of the Magi. Darmstadt, Hessisches Landesmuseum.

31. Master Francke: The Pursuit of St. Barbara. Helsingfors, Museum. X1

ILLUSTRATIONS 32. Follower of Master Bertram: Angels Announcing the Passion to the Infant Christ. Hamburg, Kunsthalle.

33. Conrad of Soest, Calvary, Dated 1414 (?). Niederwildungen, Parish Church. 34. Paris, Notre-Dame, Trumeau of the North Transept Portal: Madonna. 35. Paris, Notre-Dame: “Notre-Dame la Blanche.” 36. Workshop of Peter Parler: Tomb of Ottokar I. Prague, Cathedral. 37. La Ferté-Milon, Church: The Coronation of the Virgin. 38. Miuhlhausen, Parish Church: Charles IV Receiving Homage. 39. Hans Multscher: The “Karg Altar,” Dated 1433. Ulm, Cathedral. 40. Strasbourg, Cathedral: St. Catherine Looking up to the Top of the Spire. 4I. Jacques de Baerze: Adoration of the Magi; Calvary; Entombment. Central Relief of an Altarpiece for the Chartreuse de Champmol. Dijon, Musée de la Ville.

42. Claus Sluter et a/.: Portal of the Chartreuse de Champmol. 43. New York, Morgan Library: Ms. 46 (Book of Hours), fol. 99 v. The Man of Sorrows.

44. Flemish Master of ca. 1460: The Man of Sorrows (Woodcut). London, British

Museum. | 45. Master Francke: The Man of Sorrows. Hamburg, Kunsthalle. |

46. The Master of the St. Erasmus: The Man of Sorrows (Engraving). Dresden, Kupferstichkabinett.

47. Master Francke: The Nativity. Hamburg, Kunsthalle. 48. Baltimore, Walters Art Gallery: Ms. 211 (Book of Hours), fol. 139 v. The Nativity.

49. Lower Rhenish Master of 1420-1425: The Annunciation (Brenken Altarpiece). Berlin, Deutsches Museum.

50. Upper Rhenish Master of ca. 1430: The Annunciation. Winterthur, O. Rein-

, hart Collection. Courtesy of Dr. O. Reinhart.

5I. New York, Metropolitan Museum: The Annunciation (Tapestry).

52. Reims, Cathedral: Madonna in the West Portal of the North Transept. , 53. Hubert van Eyck (?): Monkey, Detail of fig. 284.

54. Berlin, Staatsbibliothek: Cod. theol. lat. fol. 323 (Vita Ludgeri), fol. 2 v. “Werthina” between St. Benedict and St. Ludger. 55. Cambridge, Mass., Philip Hofer Collection: Cité de Dieu, fol. 1 v. St. Augustine Holding the Two Cities. Courtesy of Mr. Philip Hofer.

56. Jan van Eyck: Pelican, Detail of fig. 241. 57. School of Fra Angelico: The Entombment. Munich, Alte Pinakothek. 58. Haarlem, Teyler Stichting: Ms. 77 (Pontifical), fol. LVI. The Consecration of a Bishop.

50. Cambrai, Cathedral: Notre-Dame de Graces. 60. Hayne de Bruxelles: Madonna in Half Length. Kansas City, William Rockhill Nelson Collection. Courtesy of the William Rockhill Nelson Collection,

Kansas City. |

61. Amiens Master of 1437: Our Lady as Priest. Paris, Louvre. 62. French Master of ca. 1450: The Annunciation (Silver Point Drawing). Wolfenbiittel, Landesbibliothek.

63. The Master of Heiligenthal: St. Andrew Baptizing the Proconsul’s Wife, Dated 1438. Luneburg, Nicolaikirche.

64. Burgundian Master of 1450-69: The Presentation of Christ. Paris, Louvre (formerly Dijon, Pelletier Collection).

65. Gottingen, University Library: Cod. theol. 231 (Sacramentary), fol. 111. The Community of the Saints Worshiping the Lamb. 66. Paris, Bibliothéque Ste.-Geneviéve: Ms. 246 (Cité de Dieu), fol. 406. The Community of the Saints Worshiping the Triune God (“La Cour Céleste”). X11

ILLUSTRATIONS

Page .

DIAGRAMS AND GROUND PLANS

4. Perspective construction according to Brunelleschi.

6. “Correct” perspective rendering of a Loggia according to Vignola. | 11. Apparent magnitudes determined by distances and visual angles. 2109. Original scheme of the Ghent altarpiece (reconstruction). 229. Simplified cross section through the lower portion of the central panel in the upper tier of the Ghent altarpiece. 280. Ground plan of the apartments represented in Roger van der Weyden’s St. John altarpiece.

335. Misericord in the Church of Ludlow in Shropshire (England). 414. Arrangement of the zodiacal Signs in Jan van Eyck’s Washington “Annunciation.”

434. Ground plan of the basilica represented in Jan van Eyck’s “Madonna in a Church.”

434. Ground plan of Notre-Dame-de-Dijon.

497. + Original scheme of Geertgen tot Sint Jan’s big altarpiece for St. John’s at | Haarlem (reconstruction).

X111

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EARLY NETHERLANDISH PAINTING

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INTRODUCTION

THE POLARIZATION OF EUROPEAN

FIFTEENTH-CENTURY PAINTING IN ITALY AND THE LOWLANDS Wen two men of the sixteenth century as widely disparate as Luther and Michelangelo turned their conversation to painting, they thought only two schools worth mentioning, the Italian and the Flemish. Luther approved of the Flemings, while Michelangelo did not; but neither considered what was produced outside these two great centers.’ Giorgio Vasari, the sixteenth-century historiographer of art, quite correctly refers to Durer as a German when deploring his influence upon a great Florentine; * but as soon as the discussion takes a more general turn, the same Vasari automatically classifies not only Diirer but also

Diirer’s forerunner, Martin Schongauer, as “Flemings” operating in Antwerp.° , One-sided though it is, such a reduction of the whole diversity of European painting to one antithesis is not without justification when considered in the light of the preceding developments. From about 1430 down to the end of the fifteenth century, Italy and Flanders (or, to be more precise, the Netherlands) had indeed enjoyed a position of undisputed predominance, with all the other schools, their individual differences and merits notwithstanding,

depending either on Italy and Flanders in conjunction or on Flanders alone. In England, Germany and Austria, the direct or indirect influence of the “great Netherlandish artists,” as Direr calls them, ruled supreme for two or three successive generations; in France, in the Iberian peninsula, and in such borderline districts as the southern Tyrol, this influence was rivaled but never eclipsed by that of the Italian Quattrocento; and the Italian Quattrocento itself was deeply impressed with the distinctive qualities of Early Flemish painting. Italian princes, merchants and cardinals commissioned and collected Flemish pictures, invited Flemish painters to Italy, and occasionally sent their Italian protégés to the Netherlands for instruction. Italian writers lavished praise upon the Flemings and some Italian painters were eager to fuse their buona maniera antica with what was most admired in the maniera Fiamminga. In Colantonio of Naples and Antonello da Messina the Flemish influence is so strong that the latter was long believed to have been a personal pupil of Jan van Eyck. That Ghirlandaio’s “St. Jerome” and Botticelli’s “St. Augustine,” both in the Church of

I

EARLY NETHERLANDISH PAINTING Ognissanti, are patterned after an Eyckian “St. Jerome” then owned by the Medici * is common knowledge; and so is the fact that the adoring shepherds in Ghirlandaio’s “Nativity” of 1485 were inspired by Hugo van der Goes’ Portinari altarpiece, which had reached Florence just three or four years before.? When we take into account, in addition to such direct “borrowings,” the less palpable but even more important diffusion of a Flemish spirit in psychological approach and pictorial treatment (Piero di Cosimo’s landscapes, for example, would be in-

explicable without the wings of the Portinari altarpiece just mentioned), the influence of Flanders upon the Italian Quattrocento becomes almost incalculable. What the Italians of the Renaissance — enthusiasts and skeptics alike — considered as characteristic of this Flemish spirit can be inferred from their own words. First, there was the splendor of a new technique, the invention of which was ascribed, first by implication and later expressly, to Jan van Eyck himself.’ Second, and in a measure predicated upon this new technique, there was that adventurous and all-embracing, yet selective, “naturalism” which distilled for the beholder an untold wealth of visual enchantment from everything created by God or contrived by man. “Multicolored soldier’s cloaks,” writes Cyriacus of Ancona, the greatest antiquarian of his time, in 1449, “garments prodigiously

enhanced by purple and gold, blooming meadows, flowers, trees, leafy and shady hills, ornate halls and porticoes, gold really resembling gold, pearls, precious stones, and everything

else you would think to have been produced, not by the artifice of human hands but by all-bearing nature herself.” * Third, there was a peculiar piety which seemed to distinguish the intent of Flemish painting from the more humanistic — and, in a sense, more formalistic — spirit of Italian art. A great lady of fifteenth-century Florence wrote to her son that, whichever picture she might be forced to dispose of, she would not part with a Flemish “Holy Face” because it was “una divota figura e bella”; ° and Michelangelo is said to have remarked, to the dismay of the saintly Vittoria Colonna, that Flemish paintings would bring tears to the eyes of the devout, though these were mostly “women, young girls, clerics, nuns and gentlefolk without much understanding for the true harmony of art.” ° The most circumstantial and outstanding tribute is paid to Flemish painting in a collection of biographies, composed in 1455 or 1456 by Bartolommeo Fazio, a humanist from Genoa who lived at the court of Alphonso of Aragon at Naples. Of the four painters included in this

Book of Famous Men no less than two are Flemings: Jan van Eyck and Roger van der Weyden, the latter still alive at the time of Fazio’s writing." Jan van Eyck is referred to as “the foremost painter of our age” (nostri saeculi pictorum princeps). He is praised for his scholarly and scientific accomplishments and credited with the rediscovery of what Pliny and other classics had known about “the property of pigments” —an obvious allusion to those technical innovations which a good humanist felt bound to derive, by hook or by crook,

from classical antiquity. In his descriptions of such individual works as he had seen — unfortunately all of them lost — Fazio, too, untiringly stresses pious sentiment on the one hand, and verisimilitude on the other. He is moved by the grief of Roger van der Weyden’s Josephs of Arimathea and Marys, witnessing the Descent from the Cross, and by the Virgin’s 2

INTRODUCTION “dismay, with dignity preserved amidst a flow of tears” when she received the news of Christ’s arrest. But no less keen is his enthusiasm for Jan van Eyck’s “Map of the World” in which all the places and regions of the earth were represented in recognizable form and at measurable distances; his delight in Jan’s “St. Jerome in His Study,” where a bookcase, “if you step back a little, seems to recede in space and to display the books in their entirety while he who comes near sees only their upper edges”; and his admiration for a donor’s portrait with “a sunbeam stealing through a chink in the wall so that you would think it , was the real sun.” And Fazio’s highest praise is reserved for Jan’s picture of a Women’s Bath — perhaps a rendering of magic practices— which must have been a summa of optical refinements.” It included a mirror showing, in addition to the back of a bather represented in front view, whatever else was in the room; an aged woman attendant who “seemed to perspire”; a little dog that lapped up the spilled water; a lamp “looking like one that really burns”; and, furthermore, a landscape — apparently seen through a window — where “horses, people of diminutive size, mountains, woods and castles were elaborated with such artistry that one thing seemed to be separated from the other by fifty miles.” In thus describing the direct juxtaposition of the minutiae of an interior with a vast, almost cosmic panorama, of the microscopic with the telescopic, so to speak, Fazio comes very close to the great secret of Eyckian painting: the simultaneous realization, and, in a sense, reconciliation, of the “two infinites,” the infinitesimally small and the infinitely large.

: It is this secret that intrigued the Italians, and that always eluded them.

I When we confront Jan van Eyck’s famous double portrait of Giovanni Arnolfini and His Wife of 1434 (fig. 247) with a nearly contemporary and relatively comparable Italian

work, such as the “Death of St. Ambrose” in San Clemente at Rome executed about 1430 by Masolino da Panicale (text ill. 1) we observe basic similarities as well as basic differences. In both cases the scene is laid in an interior drawn to scale with the figures and furnished according to upper class standards in fafteenth-century Flanders and Italy, respectively; and in both cases advantage has been taken of that representational method which more than any other single factor distinguishes a “modern” from a medieval work of art (and without which the rendering of such interiors would not have been possible), namely, perspective.? The purposes, however, to which this method has been turned are altogether different. “Perspectiva,’ says Diirer, “is a Latin word and means a ‘Durchsehung’” (a view through something). As coined by Boethius and used by all writers prior to the fifteenth century, the word perspectiva refers to perspicere in the sense of “seeing clearly,” and not in the sense of

“seeing through”; a direct translation of the Greek dari, it designates a mathematical theory of vision and not a mathematical method of graphic representation. Durer’s definition, on the other hand, gives an excellent and brief description of “perspective” as understood in postmedieval usage, including our own. By a “perspective” picture we mean indeed a picture 3

EARLY NETHERLANDISH PAINTING wherein the wall, panel or canvas ceases to be a solid working surface on which images are drawn and painted, and is interpreted — to quote another theorist of the Renaissance, Leone Battista Alberti — as a “kind of window” through which we look out into a section of space. Exact mathematical perspective as developed in the fifteenth century is nothing but a method of making this “view through a window” constructible, and it is well known that the Italians, significantly under the guidance of an architect, Filippo Brunelleschi, had achieved this end about 1420 by drawing the mathematical consequences from the window simile. They con-

| ceived of the visual rays as of straight lines that form a pyramid or cone having its apex in

, . Eye

the eye and its base in the object seen; of the pictorial surface as of a plane intersecting this pyramid or cone; and of the picture itself as of a central projection onto this plane — perfectly

& ten, Ss€ls, 1935, Pp. 30 Hl. a .in. the 69, note 85. = This change can already be observed

from the “Trds Riches Heures” (Grimani Breviar a Book of Hours in the Walters Art Gallery, ms. 96, “Hennessy Hours’) has been stressed by C. de Tolna fol. 30 (Walt ers Catalogue, 1949, no. 80, pl. XXXVI,

Pierre Bruevel ’ Ancien. Brussels. 1 8 and erroneously captioned as no. 88).

2. Of these replicas and variations the following “Hours of Jeanne de Navarre” (see note 34°), fol. 39

are very exact: (Yates Thompson, pl. XIV); here the bas-de-page, (a) that in the “Hours of Jeanne de Navarre,” too, is copied from the Annunciation page in the daughter of Louis X, executed in the Pucelle workshop Hours of Jeanne d'Evreux.

between 1336 and 1349, now in the Maurice (?) de 6. “Hours of Yolande de Flandre” (see note 34”), Rothschild Collection at Paris (our figs. 13, 14); cf. H. fol. 13 v. (Cockerell, op. cit., pl. [IV], at the end of Yates Thompson, Thirty-Two Miniatures from the the volume).

373

NOTES 7. P. Durrieu, Les Trés-Belles Heures de Notre- forerunners of this manuscript, see the Bible His-

Dame a Duc JeanCatalogue de ary, aof1922, P Il. ; ated tone1357, in the Brit ms. Royal 17 E ve . Sotheby & Co., ... Illuminate and the Museum less well-known Bible Historiale Manuscripts and Printed Books Selected from the Re- in the Royal Library at Copenhagen, ms. Thott 6, 2°, nowned Library Formed by Baron Horace de Landau, which may be assumed to date some time between Sold July 12-13, 1948, lot 97, p. 64 ff.; see also The the London and the Hague redactions; cf. Stockholm

Illustrated London News, CCXII, 1948, May 29, p. Catalogue, no. 96, pl. XV. For the sumptuously let-

595. tered full-page inscription which faces the dedication g. See also note 34 7. page of the Hague Bible and gives detailed informa10. Contrary to Cockerell, op. cit. p. 15, the tion as to its genesis, see, e.g., the “Conrad Bible” in

“Heures de Savoie” (thus called because Blanche of Wiirzburg, dated 1246 (H. Swarzenski, Die lateinBurgundy was married to Edward, Count of Savoy, ischen illuminierten Handschriften des XIll. Jahrin 1307) was not entirely destroyed in 1904. The sur- hunderts, figs. 877, 878). The observation that Charles viving pages, preserved in the Catholic Episcopal V is represented in the garb of a Master of Arts of Library at Portsmouth, England, were edited by Dom Paris University was made by Canon A. L. Gabriel P, Blanchard and printed for H. Yates Thompson who also kindly called my attention to the fact that under the title of: Les Heures de Savote, Facsimiles of in the Aristotle manuscript in the Royal Library at Fifty-Two Pages from the Hours Executed for Blanche Brussels (ms. 9505/06, likewise a product of the of Burgundy, being all that is known to survive of a Bondol workshop), fol. 2 v., the King is shown famous Fourteenth-Century Ms. which was burnt at among a group of students attending a lecture, dressed Turin in 1904, London, 1910. The “Heures de Savoie” in the same costume but with a crown on his head.

should not be confused with the somewhat — though 2. The Hague, Museum Meermanno-Westreennot too closely—related Hours of her daughter, ianum, ms. 10 A 14 (Byvanck, Les Princtpaux ManuJeanne de Savoie (died 1344), now in the Musée Jac- scrits ...a@ la Haye, p. 99 £.), fol. 22. The Missal, quemart-André in Paris (Cockerell, op. cit., p. 14). executed by three different illuminators, was ordered

11. See again note 34 2. by a gentleman whose name (as I learn from Dr. H.

Gerson) was Arnoud van Oreye, Lord of Rummen

Page 35 (not “Ruiuuen,” as in Byvanck) and Quaebeke (died 1. The Information des Princes is: Paris, Biblio- 1373). théque Nationale, ms. fr. 1950 (A. Michel, Histoire Ri, The portraits of Jean le Bon and ena oe

de l'art, Paris, 1905-1929, III, 1, p. 125, fig. 66); the ijn are illustrated in juxtaposition in Sterling, Les Jeu des echecs moralisés: Paris, Bibliothéque Nationale, Primitifs, p. 27, figs. 13 and 15. As a whole, the ms. fr. 17281 (Martin, La Miniature francaise, pl. 65, “Calvary of Hendrik van Rijn” is illustrated, e.g., in

fig. XC); the Rational des Offices Divins, (dated Fierens-Gevaert and P. Fierens, Histoire de la pein1374): Paris, Bibliothéque Nationale, ms. fr. 437 bure Pamande os origines @ la fe du XV° siécle, (Martin, ibidem, pls. 62, 63, figs. LXXXVII and Paris and Brussels, 1927-1929, I, pl. IV.

Date Ls ; ; age 37 ibidem, pls. 55-57, figs. LKXX-LXXXII, and in sev- eS a ee ee Poet ee ae

: LXXXVIII); the Grandes Chroniques de France: P

Paris, Bibliothéque Nationale, ms. fr. 2813 (Martin, ‘As other Ital; f I ‘milated b

eral publications). .; ,;p. 279. i . . 2. Cf.other Thieme-Becker, IV, 1910,

; > Piss 59 9/7 TB™ ? Jean Bondol and his circle may be listed: first, the little canopies shaped like small barrel vaults (cf., e.g.,

; ; a Bolognese miniature of 1343 illustrated Mostra 3. This was, so far as I know, first pointedinout by

; . .op. dellacit., pittura bolognese del miniature Trecento, Bologna, PinaMartens, p.Nazionale, 240 ff.May-October, The showing .. : .e coteca 1950, Guida, fig. Blanche of Burgundy -adoring the Trinity (our fig. into ;4);a second, the elaboration of the flat background 18) is fol. 2 (Blanchard, op. cit., pl. 3); the miniature | f iv three-di ‘onal solids which

Leonard (our fig. 19) is fol. 4 v. (Blanchard, pl. pattern oF apparently taree-cimensiona’ solids ware 3f).St.oT ° gives the impression of found, a rusticated wall (excellent examples of this kind are for instance, in the P48° 6 Copenhagen Bible Historiale just mentioned, others 3 in the Copenhagen “Vincent of Beauvais,” ms. Thott 1. Museum Meermanno-Westreenianum, ms. 10 B 429, 2°, Stockholm Catalogue, no. 97).

23; see also A. W. Byvanck, Les Princitpaux Manu-

scrits @ peintures de la Bibliothéque Royale des Pays- Page 38

Bas et du Musée Meermanno-Westreenianum @ la 1. See Martin, La Miniature francaise, p. 44 and Haye, Paris, 1924, p. 104 ff.; pls. XLVITI-LI. For two passim; cf., however, Martens, op. cit. p. 240 ff. To

374

NOTES 34'-41? Miss Martens’ list of manuscripts (note 220) may be J. J. Rorimer, “The Museum’s Collection of Mediadded the “Livre du bien universel selonc la con- aeval Tapestries,” The Metropolitan Museum of Art, sideracion des mousches a miel” by Thomas of Can- Bulletin, new ser., VI, 1947-48, p. 91 ff.; ———, The timpré (Brussels, Bibliothéque Royale, ms. 9507, dated Metropolitan Museum of Art; Mediaeval Tapestries, 1372) which contains miniatures equal to the best in A Picture Book, New York, 1947, fig. 1; ——— and the Hague Bible and was also produced for Charles V. M. B. Freeman, “The Nine Heroes Tapestries at the 2. Paris, Bibliothéque Nationale, ms. fr. 15397; cf. Cloisters,” The Metropolitan Museum of Art, Bulletin,

Martin, Les Joyaux, pls. 45-48, figs. LVIII-LXII; new ser., VIII, 1949, p. 243 ff. ———,, La Miniature frangatse, pls. 45, 46, figs. LIX—

LXIV; Martens, op. cit., p. 240, fig. 47. While the Page 39 text was written in 1356, the major part of the illustra- 1. For this will (dated December 26, 1383), see

about 1370. p. 332 f.

tions, mostly unpublished, must have been executed R. Delachenal, Histoire de Charles V, V, Paris, 1931,

3. See A. Lejard, Les Tapisseries de l Apocalypse 2. See, eg., E. Verwijs and J. Verdam, Middel-

de la Cathédrale d’Angers, Paris, 1942; G. Ring, 4 nederlandsch Woordenboek, VII, 1912, col. 541: the Century of French Painting, 1400-1500 (hereatter painters of Bruges try to prevent the mirror makers quoted as “Ring, 4 Century”), London, 1949, Cat. and clederscrivers from “te werckene van schilderyen no. 5, fig. 3. For numerous reproductions in color, see up huere clederen, speghelen ende glasen.” Du, Schweizerische Monatsschrift, XI, 1951, May

number. That Bondol must have used, in addition to Page 41 the Paris manuscript ms. lat. 403, a model of the type 1. Curiously enough there does not seem to exist represented by Cambrai, Bibliothéque Municipale, ms. a biography of the Duc de Berry. For his activities as

422, was demonstrated by J. Maquet-Tombu, “In- a patron and collector, see A. de Champeaux and P. spiration et originalité des tapisseries de |’Apocalypse Gauchery, Les Travaux d’art exécutés pour Jean de d’ Angers,” Mélanges Hulin de Loo, Brussels and France, Duc de Berry, Paris, 1894; and J. M. J. GuifParis, 1931, p. 260 ff. For the Brussels manuscript frey, Inventaires de Jean, Duc de Berry, Paris, 1894(Bibliothéque Royale, ms. Il, 282), see C. Gaspar and 96. For the manuscripts that can be connected with F. Lyna, Les Principaux Manuscrits a peintures de la him, see a recent catalogue with contributions by Jean Bibliotheque Royale de Belgique, Paris, 1937-1945, I, Faviére and Jean Porcher which unfortunately app. 110, pl. XXII; and, for its Flemish origin, Hi. Bober, peared too late to be considered in the text: Musée de “The Apocalypse Manuscript of the Bibliotheque Bourges, Chefs-d’oeuvre des peintres-enlumineurs de Royale de Belgique,” Revue Belge d’Archéologie et Jean de Berry et de Ecole de Bourges, Hotel Cujas, d'Histoire de l Art, X, 1940, p. 11 ff. Mr. Bober also 23 Juin—4 Septembre, 1951. called my attention to the particularly close relation- 2. Paris, Bibliothtque Nationale, ms. fr. 13091; cf. ship between the Angers tapestries and the Apocalypse (apart from Thieme-Becker, III, 1909, p. 121 f.), V. in the Rylands Library at Manchester (ms. 19) which, Leroquais, Les Psautiers manuscrits latins des bibliothough iconographically closely related to the Paris theques publiques de France, Macon, 1940-41, Il, p. manuscript, must be dated in the third quarter rather 145 ff.; pls. CXVIII-CXXVII; further, Fierens-Gethan the first third of the fourteenth century (cf. vaert, Les Trés-Belles Heures de Jean de France, BrusM. R. James, 4 Descripuve Catalogue of the Latin sels, Leyden and Paris, 1924, p. 31 ff. and “planches

Manuscripts in the John Rylands Library at Man- documentaires,” 4, 5. Cf. also Musée de Bourges, chester, Manchester and London, etc. 1921, p. 57, Chefs d’oeuvre, no. 1. There is no evidence for Fierenspls. 41-45). Another series of monumental tapestries Gevaert’s assertion that Beauneveu entered the service

apparently executed in the workshop of Nicholas of the Duc de Berry as late as 1386. The payment Bataille, and manifestly influenced by the “Angers received in this year is not necessarily the first, and Apocalypse,” was commissioned by the Duc de Berry Beauneveu is last mentioned in the service of Louis and consisted of nine hangings representing the Nine de Male of Flanders in 1380-81, having been apWorthies. They are, however, of slightly later date pointed in 1374. Neither is there much probability in (say, about 1385-1395) and designed by a Franco- G. Hulin de Loo’s identification of the Master of the

| 375

Flemish master inferior to Jean Bondol and some- “Parement de Narbonne’ with André Beauneveu what related to the illuminator of the Astrological (“Rapport,” Academie Royale de Belgique, Bulletins

Treatise in the Morgan Library, ms. 785 (see p. 106 f.). de la Classe des Beaux-Arts, VII, 1925, p. 123 ff.), About two thirds of this series are now reassembled tentatively endorsed by E. Michel, L’Ecole flamande at the Metropolitan Museum (The Cloisters). See du XV® siecle au Musée du Louvre, Brussels, 1944,

NOTES pp. 6 £., 38, pls. I, II. The stylistic “oscillations” within 3. Paris, Bibliothéque Nationale, ms. lat. 18014; cf.

the “Psalter of the Duc de Berry,” which are adduced Leroquais, Les Livres d’Heures, Ul, p. 175 ff, pls. as evidence of Beauneveu’s variability, cannot be de- XIV—XIX, and Musée de Bourges, Chefs d oeuvre, tected in the only part of the manuscript which is no. 5. The miniature on fol. 288 v., showing the Duc attributable to him on documentary grounds, viz., de Berry setting out for a journey from the gates of a the twenty-four “illuminations at the beginning.” castle, was executed in the workshop of the Limbourg 3. Paris, Bibliothéque Nationale, ms. lat. 1052. See brothers.

Leroquais, Les Bréviaires, Il, p. 49 ff.; pls. XLII- 4. Brussels, Bibliothéque Royale, ms. 11060/61, XLVI. Another outstanding specimen of this edited by Fierens-Gevaert, Les Trés-Belles Heures de “Pucelle renaissance” of ca. 1360-1370 which pre- Jean de France; cf. Gaspar and Lyna, op. cit., I, p. 399, ceded and, in a sense, prepared for the advent of pls. XCIII, XCIV; Musée de Bourges, Chefs d’oeuvre,

Jacquemart de Hesdin, is the “Bible of Queen Chris- no. 2. The inventory notice, reprinted in Fierens- , tina,” Stockholm, Royal Library, ms. A 165, reputedly Gevaert, p. 16, leaves no doubt as to the identity of the

executed in 1362 (J. Roosval, “La Bible de la Reine volume: “Item, unes trés belles heures trés richement Christine,” Konsthistorisk Tidskrift, XVII, 1948, p. 68 enluminées et ystoriées de la main de Jaquemart de

ff.; Stockholm Catalogue, no. 93, pl. XIV). Odin, et par les quarrefors des feuillez en plusieurs

lieux faictes des armes et devises de Monseigneur.” |

Page 42 5. Paris, Bibliothéque Nationale, ms. lat. g19; cf. 1. Paris, Louvre, frequently illustrated (see Ring, Leroquais, Les Livres d' Heures, I, p. 9 ft. pls. XXVIIA Century, Cat. no. 2, fig. 26). The “Parement de XXXI; Musée de Bour SeS5 Chefs d'oeuvre, no. 6. Narbonne” must have been executed between the ac- The names “Petites Heures and “Grandes Heures cession of Charles V (1364) and the death of Jeanne have no liturgical significance as has been erroneously de Bourbon (1378); within these limits, the date can supposed, but refer only to the size of the manuscripts. be determined only by estimating the age of Charles

(born 1337) who seems to be in his middle thirties. Page 43 The Church, surmounting the portrait of the King, 1. Illustrated in Robb, op. cit., fig. 20. For later inis accompanied by Isaiah holding a scroll inscribed: stances of the Angel’s gesture, see Art Bulletin, XVII, “Vere languores nostros ipse tulit” (Isaiah LIII, 4); 1935, pl. facing p. 446, figs. 15, 16; further, the “Egthe Synagogue, surmounting the portrait of the Queen, mont Breviary” in the Morgan Library, ms. 87, fol. by David holding a scroll inscribed: “Respice in faciem 345 v., and the famous “Heures de la famille de

Christi tui” (Psalm LXXXIII, 10). Rohan,” Paris, Bibliothéque Nationale, ms. lat. 9471 2. For Jacquemart de Hesdin, see (apart from (see p. 74), fol. 212, an instance all the more interestThieme-Becker, XVI, 1923, p. 571 f.), the introduc- ing as the motif was here interpolated into a composition to P. Durrieu, Les Trés-Belles Heures and Fierens- tion almost literally copied from the Bible Moralisée, Gevaert, Les Trés-Belles Heures de Jean de France. Paris, Bibliothéque Nationale, ms. fr. 9561 (see note Since the master’s birthplace is variously spelled “Es- 23*), fol. 79. For the surprising appearance of the din,” “Esdun,” “Oudain,” “Odin,” and “Hodin,” but gesture in the Portinari altarpiece by Hugo van der

never “Hesdin,” it has been thought to be identical, Goes, see p. 344. The Diirer drawing of 1526 alluded not with Hesdin in the Artois (which, as part of to in the text is in the Musée Condé at Chantilly Flanders, went to Burgundy in 1384, was ceded to (Lippmann, no. 344). Diirer may have become familiar France by the Treaty of the Pyrenees in 1659 and is with the motif on his journey to the Netherlands where today roughly coextensive with the Départment Pas- it survived after its introduction by Hugo; cf., e.g., a de-Calais) but with Houdeng-Aimeries or Houdeng- miniature close to Gerard David in the Robert Lehman Goénies, both in the Hainaut. However, the occur- Collection at New York (Walters Catalogue, 1949, no. rence of “Esdin” and “Esdun” makes the commonly 206, pl. LXXVIII). Curiously enough, the Matins accepted reading somewhat more probable. That the page of the “Petites Heures,” illustrated in Rorimer master worked for the Duc de Berry as early as about and Freeman, “The Nine Heroes Tapestries,” p. 255, 1380 is also confirmed by the Cité de Dieu manu- and Robb, op. cit., fig. 21 (the Annunciation only), has

script referred to in note 47*. A “Last Judgment,” been eliminated from the oeuvre of Jacquemart de dated 1405, which seems to reflect Jacquemart’s style Hesdin by Leroquais, Les Livres d’ Heures, Il, p. 187. in the medium of wall painting, is found in the church While it is true that the principal figures, especially

of Ennezat near Riom, one of the Duc de Berry’s the Angel Gabriel, are somewhat influenced by the residences; see M. Thibout, “Les Peintures murales de Passion Master (cf. p. 44), there is no reason to ascribe l’Eglise d’Ennezat,” Revue des Arts, II, 1952, p. 85 ff. this master page of the whole manuscript to any one

376

NOTES 41°-46° but the chef d’atelier, least of all (as has been sug- iconography, and that its model must have been ingested orally by some scholars) to Beauneveu whose spired by Cavalca. In a relief in the archevaults of the

work is far less delicate in execution and shows no west facade of Auxerre Cathedral (M. Aubert, La trace of Italianism. For the Italian type of the “Man Bourgogne; La Sculpture, Paris, 1930, II, pl. 51) St. of Sorrows” in the upper border, see, e.g., a Sienese John the Baptist in the Wilderness is represented by a panel illustrated in Meiss, “Italian Style in Catalonia,” full-grown man and is accompanied only by a lion p. 62, fig. 18. For the further development of the with whom he does not seem to have established any Annunciation in an ecclesiastical setting, see Robb, personal relations — a symbol of the desert rather than op. cit., p. 499 ff. and above, pp. 57, 59, 137 f. a “bestia dimestica” —and such fifteenth-century interpretations of the subject as the eponymous engrav-

Page 44 ing by the Master of St. John the Baptist (M. Lehrs, 1. Cf. Martens, op. cit., p. 92, figs. 35, 36. It should Geschichte und kritischer Katalog des deutschen, be noted, however, that this “Lamentation” — like the miederlindischen und franzdsischen Kupferstichs im “Annunciation” on fol. 141 v.— is based, not so much XV. Jahrhundert, 1, Vienna, 1908, pl. 28, no. 77) and

on Jean Pucelle’s original in the “Hours of Jeanne its numerous relatives are still more widely different d’Evreux” as on its later variations in the “Hours of from the miniature in the “Petites Heures.” It is reJeanne de Navarre” and the “Hours of Yolande de markable, however, that a certain similarity exists Flandre.” In the “Hours of Jeanne de Navarre” (Cock- between this miniature and such representations of the erell, plates following p. 16, fig. 3) the sarcophagus is youthful St. John the Evangelist on Patmos as the two already placed diagonally (in this respect the state- well-known engravings by the Master E. S. (M. Geisment in Martens, p. 237, note 193, stands in need of berg, Die Kupferstiche des Meisters E. S., Berlin, 1924,

correction) while the general mood is calmer; in the pls. 108, 109). , “Hours of Yolande of Flanders” (Cockerell, pl. [V] 2. This part, edited by P. Durrieu, Les Trés-Belles at end of volume) the woman behind the similarly Heures de Notre Dame, contains, of course, no miniaplaced sarcophagus throws up her arms as does her tures executed after 1413. In addition to those procounterpart in the “Petites Heures,” fol. 94 v., whereas duced by the Master of the “Parement de Narbonne”

the huddled figure in the foreground is omitted. and other artists then associated with him and Jacque-

2. For the hypothesis that the Germanic Pietd mart de Hesdin (for the distinction between the originated from the Madonna with the Infant Jesus, various “hands,” see Hulin de Loo, Heures de Milan, on the one hand, and from the grieving mothers in Brussels and Paris, 1911, p. 11 ff.), there are only two the Slaughter of the Innocents, on the other, see E. (originally three) pages (Durrieu, pls. XXV-XXVIT) Panofsky, “Reintegration of a Book of Hours Exe- supplied by the Limbourg brothers who, we remember, cuted in the Workshop of the ‘Maitre des Grandes also added a page to the “Petes Heures” (see note Heures de Rohan,’” Medieval Studies in Memory of 42°). Miss Mirella Levi d’Ancona calls my attention A. Kingsley Porter, Cambridge, Mass., 1939, II, p. to the fact that the “unsubstantial little angels” flutter479 ff. particularly p. 491, with further references. ing about in the borders are derived from Sienese models (especially Andrea Vanni).

Page 45 3. Edited by P. Durrieu, Heures de Turin, Paris,

1. As to the iconography of the scene — unique, 799. , ; . oe a. .study the famous as to whether ing on thequestion youthful Baptist in Jan art,and/or kindlyHubert in- : so far as I know — Mrs. Marylin Lavin, who is prepar- 4. Edited by Hulin de Loo, Heures de Milan. For forms me that it is based on Domenico Cavalca’s Vite van Eyck contributed to the illustration of the Turin

, ei

dei Santi Padri(see 85). translated from an anon- and Milan sections of theff“Trés-Belles Heures de Santi Padri p. 281), translate a Notre Dame.” ymous Vitae Patrum: “E incomincié a trovare di orre Mame, See Pp. 232 Mquelle bestiuole piccolle, che stano per il bosco, e incon-

tanente corse a loro, e presele, e abbracciolle, e recassele Page 46

in grembo, e dimesticavasi con loro, e quelle bestiuole 1. Durrieu, Les Trés-Belles Heures, pl. XXI and venivano a lui, e stavansi con lui, come fanno a noi p. 70. le dimestiche.” Cavalca even specifically mentions that 2. Hulin de Loo, Heures de Milan, pl. VI. the little St. John “s’abbracciava coi liont e colle bestie 3. The adoration of the new-born Saviour by His grandi salvatiche, che trovava nel diserto,” and that all holy mother is first explicitly described in the Medz-

creatures, large or small, loved to be petted by him. tationes Vitae Christi by Pseudo-Bonaventure, now It appears, then, that the delightful idyl in the “Pezztes happily identified as Johannes de Caulibus of S.

Heures” is Italianate, not only in style but also in Gimignano (P. L. Oliger, “Le ‘Meditationes Vitae

377

NOTES Christi’ del Pseudo-Bonaventura,” Studi Francescani, Cologne Cathedral (see Glaser, Die altdeutsche Manew ser., VII, 1921, Numero Speciale, p. 143 ff.; new lerei, Munich, 1924, p. 54, fig. 36; A. Stange, Deutsche

ser., VIII, 1922, p. 18 ff.). Here it is said that the Malere: der Gottk, Ill, Berlin, 1934-1938, fig. 61) and Virgin Mary, to quote from the old English translation, often even influenced the Nativities according to St.

“knelynghe doun worshipped and loued God” (The Bridget, which in Germany appeared from ca. 1400, Murrour of the Blessed Lyf of Jesu Christ, L. F. Powell, in that the Christ Child is not placed upon the ed., London, Edinburgh, New York, and Toronto, ground but in a very high, though no longer altarlike 1908, p. 46). The locale, however, is described (in crib or manger (characteristic instance: the altarpiece literal agreement with the Golden Legend), not as a at Frauenberg Castle, F. Burger, Die deutsche Malerei cave but as a “common place betwixe tweyne houses vom ausgehenden Mittelalter bis zum Ende der Rethat was heled aboue men for to stonde ther fore the naissance [Handbuch der Kunstwissenschaft], Berlinreyn and was i-cleped a dyuersorie.” Pacino da Buo- Neubabelsberg, I, 1913, p. 143, fig. 157). The textual naguida’s rendering in his “Tree of Life” of 1310-1320 source of this motif can be inferred from the miniature

(R. Offner, A Critical and Historical Corpus of Flor- in the “Gradual of Gisela van Kerssenbroeck” just entine Painting, New York, 1930 ff., sect. III, vol. II, quoted. Illustrating the first of the three Christmas pt. I, pl. II, 6) seems to be directly inspired by this Masses (the second, Dolfen, pl. 7, is illustrated by the text, which is all the more probable as his composition Annunciation to the Shepherds, the third, Dolfen, pl.

is based upon the real Bonaventure’s Lignum vitae 8, by a normal Nativity with the Virgin reclining in and no difference was made at the time between the bed), it is nevertheless inscribed with the first antiSaint’s genuine and apocryphal writings. The Pacino phon sung at Vespers in the liturgy of the Feast of type sporadically survived in Italy and, even more em- the Purification (February 2): “Ipsum quem genuit phatically, in Spain (cf., e.g., Ferrer Bassa’s and Jaume adoravit” —a noteworthy example of the fact that Serra’s “Nativities” of 1346 and 1361, respectively; S. texts familiar to everyone for many centuries yet failed

Sanpere i Miquel, Els Trescentistes [La pintura mig- to produce a visual image until the temper of the eval catalana], Barcelona, n.d., I, pp. 227, fig. 80, and times demanded it. Professor Millard Meiss calls my

273, fig. 99). attention to a North Italian Quattrocento picture At the same time, however, if not a little earlier, the where the Nativity with the kneeling Virgin still bears

motif of the Virgin adoring the Christ Child occurs, the inscription “Quem Genuit Adoravit” (Catalogo apparently quite independently of Pseudo-Bonaventure, della Pinacoteca di Cremona, 1950, fig. 67).

in the northern countries. Here the Infant Jesus is Thus the ground for the adoption of the St. Bridget placed in a manger deliberately styled as an altar (for type (for this, see Cornell, The Iconography of the this much earlier custom, see the excellent article by Nativity of Christ, and above, p. 125 f.) was more Miss V. Wylie, “A Copper-gilt Shrine in the Museo thoroughly prepared in Spain and the Germanic counSacro of the Vatican Library,” Art Bulletin, XXVII, tries than in France, where — setting aside the isolated 1945, p. 65 f., [with quotation from Walafrid Strabo: case of the “Trés-Belles Heures de Notre Dame” — “Ponitur Christus in praesepio, id est corpus Christi the motif of the kneeling Virgin does not seem to super altare”]), and the Virgin is represented — often occur in renderings of the Nativity prior to 1400. And

alone —in a fairly stiff pose not unlike that of a that even then a Nativity with the Virgin on her donor’s portrait. Cf., e.g., the well-known “Gradual of knees struck the French mind as something out of the Gisela van Kerssenbroeck” in Osnabriick (C. Dolfen, ordinary is shown by its peculiar use within the conCodex Gisle, Berlin, 1926, pl. 6) which was executed text of the Bible Moralisée. Here the Birth of Moses is

in 1300 as stated in the inscription, and not late in the likened to the Birth of Christ, and his Finding and fourteenth century as assumed by the editor and most Adoption by the daughter of Pharaoh to Christ’s reclater scholars (for a cogent refutation of their argu- ognition and veneration by the Christian community. ments, see R. Norberg, “Den heliga Birgitta Codex Accordingly, in the earlier manuscripts (Oxford, Gisle i Osnabriick,” Forvannen, XXXIV, 1939, p. 226 Bodleian Library, ms. 270 A, middle of the thirteenth

ff.); a North Italian Antiphonary in the Stockholm century; Paris, Bibliothéque Nationale, ms. fr. 9561 Museum (ms. B 1578, fol. 71 v.) kindly brought to [see note 234]; Paris, Bibliothéque Nationale, ms. fr. my attention by Dr. Carl Nordenfalk; and cod. Vind. 167, ca. 1370) the Birth of Moses is juxtaposed with 1774 (dated 1315), fol. 28 v., illustrated in J. Kvet, the normal, “nursery type” of Nativity, while his Illuminované Rukopisy Krdlovny Rejcky, Prague, Finding and Adoption are matched by representations

1931, pl. X, fig. 25. This type, symmetrized by the of Christ received and worshiped by the Church addition of St. Joseph, survived up to the end of the and/or the community, with a most significant verbal

fourteenth century, e.g., in the “Claren altarpiece” in change from Ecclesia (Bodl. 270 A and Paris, ms. fr. ,

378

NOTES 46°-48° 9561) to devota anima or devota persona, quae com- “Belleville Breviary” (Paris, Bibliothéque Nationale,

pungitur et compatitur dulci et pauperi infantiae ms. lat. 10484, fol. 321 v.), where the ground consists Salvatoris in the fourteenth-century manuscripts (A. of alternating human heads and little animals, all de Laborde, Etude sur la Bible Moralisée illustrée, blue, within a framework of mat gold quatrefoils. Paris, 1911-1927, pls. 37-38, 763, 727-728). However, Similar backgrounds are found in the “Hours of in an early fifteenth-century redaction based on ms. fr. Jeanne d’Evreux,” for instance in the “Visitation,” 167 but executed in the circle of the Limbourg brothers the “Flight into Egypt,” the “Nativity,” etc. (Paris, Bibliothéque Nationale, ms. fr. 166; de La- 4. In this connection mention may be made of the borde, pls. 742-743; see note 62°), the scene of wor- Cité de Dieu of the Duc de Berry now owned by Mr. shipful reception is replaced by a “modern Nativity” Philip Hofer in Cambridge, Mass. (A. de Laborde, (developed from the one in the “Trés-Belles Heures Les Manuscrits @ peintures de la Cité de Dieu de St. de Notre Dame’), with the Virgin Mary on her knees; Augustin, Paris, 1909, I, p. 241 ff., pls. VI, VII, VIII, whereas the “Birth of Moses” is still juxtaposed with IX; E. G. Millar, The Library of A. Chester Beatty; an old-fashioned “Nativity” showing the Virgin Mary II, A Descriptive Catalogue of the Western Manuin bed. From the point of view of these artists, the scripts, Oxford, 1930, II, no. 73, pls. CLIX—CLXI; new Nativity type with the Virgin kneeling still bore Sotheby & Co., Catalogue of the Renowned Collection the implications of “adoration” rather than “nativity.” of Western Manuscripts, the Property of A. Chester

For the motif of the cave, see p. 125 f. Beatty, Esq., the First Portion, Sold on June 7, 1932, 4. See also note 424. For the initials I must refer lot 19, pl. 25; Walters Catalogue, 1949, no. 70). Prothe reader to the forthcoming study by Professor duced shortly after 1380, this manuscript epitomizes,

Millard Meiss. as it were, the various currents prevailing at the court of the Duc de Berry at this comparatively early time.

Page 47 Its marginal decoration, with animals and insects, 1. That miniatures on vellum were occasionally harks back to Jean Pucelle and his followers. Ten of its used as devotional images is shown, for instance, by twelve miniatures are in the tradition of Jean Bondol. Petrus Christus’ “Portrait of a Gentleman” in the Na- One, however (vol. II, fol. 206 v.), showing a man tional Gallery at London (see p. 313) and the Ma- tortured as an example of human as opposed to divine donna, erroneously ascribed to the same master, in the justice, reveals the influence of Beauneveu in the

Galleria Sabauda at Turin (see note 203°) where heavily tessellated background, the larger scale, the

miniatures on vellum are tacked to the wall. greater plasticity and somewhat coarser type of the 2. The heterogeneous character of the double page figures, and the complete absence of an interest in was simultaneously observed by Fierens-Gevaert, Les space; and the style of the “Coronation of the Virgin” Trés-Belles Heures de Jean de France, p. 47 ff. and by (vol. ITI, fol. 288) is closely akin to the early manner Panofsky, “Die Perspektive als symbolische Form,” of Jacquemart de Hesdin in the choice of clear, flower-

fig. 27. Both authors concluded that it was the work of like colors, animation of design, the use of a red a different artist whom they identified —the former ‘angels’ tapestry” ground, and the treatment of positively, the latter tentatively — with Beauneveu. the clouds which, in sharp contrast to the conventionThis attribution is accepted, e.g., in de Tolnay, Le alized bands in the other miniatures, aim at a naturalMaitre de Flémalle et les Fréres van Eyck, Brussels, istic, almost atmospheric effect. 1939, p. 39, while Ring, A Century, Cat. no. 46, pls.

21, 22, ascribes the double page to Jacquemart de Page 48 Hesdin and all the other miniatures to the Boucicaut 1. For this theme and its international diffusion, Master, in this respect perpetuating the original error cf, C. P, Parkhurst, Jr., “The Madonna of the Writing of Durrieu. For the appearance of the Duc de Berry Christ Child,” Art Bulletin, XXIII, 1941, p. 292 ff; (born in 1340) in the Brussels double page and in. his J. Squilbeck, “La Vierge a lEncrier ou a lEnfant other portraits, see Hulin de Loo, Heures de Milan, Ecrivant,” Revue Belge d’Archéologie et d’Htstoire de

p. 5. l Art, XIX, 1950, p. 127 ff. The Brussels miniature 3. The fully developed “angels’ tapestry” ground seems to be based upon a cult image of still earlier

occurs in the “Hours of Jeanne de Navarre,” fols. 65 v. date, which would explain the curious fact that, in and 150 (Yates Thompson, pls. XIX, XXX) and was sharp contrast to the correct perspective convergence occasionally adopted in the Bondol workshop (Hague of the pavement in the donor’s page, the floor of the Bible, Museum Meermanno-Westreenianum 10 B 23, Madonna page exhibits the obsolete “herringbone” fol. 6). A preliminary stage may be seen in a charm- construction (cf. pp. 12, 17, 19).

ing unfinished miniature in the second volume of the 2. See note 26%. The monograms and devices in

379

NOTES the “Brussels Hours” (the letters “UE,” a bear and a most throughout the fifteenth century. In panel paint-

swan) are supposed to allude to a paramour of the ing, too, gold ground was used for special effect by Duc de Berry’s youth named Ursine. The “U” and masters as advanced as the Master of Flémalle, En“E” would represent the first and last letters of her guerrand Quarton, Roger van der Weyden, Geertgen name, and the two animals (ours and cygne) would tot Sint Jans, etc. (cf. especially note 1677). Neither spell out the name itself in the form of a rebus. It “abstract” ground in miniatures nor gold ground in should be noted, however, that the combination of panels can, therefore, be used as an ipso facto index bear and swan (in this order) already occurs in the of date or “progressiveness.” famous “Album” of Villard de Honnecourt (Hahn- 2. See also p. 57 and passim. loser, ed., p. 22, pl. 7). This would either be a remark- 3. The second dedication page, being a free variaable coincidence or point to the possibility that an- tion on the first, retains therefrom the “angels’ tapes-

other, older symbolism is involved. try” ground.

3. Fierens-Gevaert, Les Trés-Belles Heures de Jean 4. See also p. 33 f. de France, pi. VIII.

4. Fierens-Gevaert, zbidem, pl. VI. The posture of

the Virgin is very similar to that in the “Tree of Life” Page 50

by Pacino da Buonaguida (see note 46%); in the 1. Durrieu, Les Trés-Belles Heures, p\. XXVIII, as Rothschild part of the “Trés-Belles Heures” (Durrieu, compared to ibidem, pl. VIII. pl. IV) the Virgin prays while still reclining on a couch. In spite of its somewhat paradoxical nature the

idea of the Virgin kneeling upon the bed was occa- Page 51 sionally retained by later illuminators (e.g., Walters 1. Paris, Bibliothéque Ste.-Geneviéve, ms. 1028. See Art Gallery, ms. 231, fol. 46 and Morgan Library, ms. also Martin, La Miniature francaise, pl. 74, fig. XCIX; 743, fol. 58 v.); but much more frequently this curious A. Boinet, “Les Manuscrits 4 peintures de la Biblio-

compromise between the “adoration type” and the théque Sainte-Geneviéve de Paris,” Bulletin de la “nursery type” was reasonably modified in such a way Société Francaise de Reproductions de Manuscrits a that the Virgin is shown kneeling by instead of upon Peintures, V, 1921, p. 122, pls. XXXVII, XXXVIII)._ the bed. This was sanctioned by the authority of the The contrast between “courants novateurs” and “‘couBoucicaut Master (see p. 60; fig. 66) and occurs, e.g., rants traditionalistes” (the latter represented, on a in Morgan Library, ms. 293, fol. 42; Walters Art higher artistic level, by such manuscripts as the Missal Gallery, ms. 254, fol. 63; ms. 265, fol. 69; ms. 288, fol. for Chalons-sur-Marne use in the Morgan Library, ms. 52v.; and Bibliothéque de |’Arsenal, ms. 647, fol. 41 331, Morgan Catalogue, 1934, no. 79, pl. 66) has justly

(as one of four variations, three of which show the been stressed, with special reference to Jean de Niziére,

“adoration type” pure and simple). by de Tolnay, Le Maitre de Flémalle, p. 10 ff., fig. 149. 5. Fierens-Gevaert, Les Trés-Belles Heures de Jean So far as I know, however, no serious scholar has ever de France, pl. IV. For the Lorenzettian prototype, see maintained the “fiction” that the French style of about Meiss, “Italian Style in Catalonia,” p. 55 ff., figs. 11, 1400 was “un art homogéne.” 12. In the iconography of the Annunciation, too, the 2. Paris, Bibliothéque Nationale, ms. fr. 616, com-

kneeling posture of the Virgin is in itself an Italian- pletely reproduced in an official edition of the Dé ism; it first occurs in Giotto who may have been influ- partement des Manuscrits de la Bibliothéque Nationale.

enced by the Meditationes of Pseudo-Bonaventure (see 3. Brussels, Bibliothéque Royale, ms. 9125 (Gaspar

Robb, op. cit., p. 485). It should be noted, also, that and Lyna, op. cit., I, p. 396, pls. XCI, XCII), fol. the Angel Gabriel in the “Brussels Hours” is, appar- 177 v. Gaspar and Lyna note both the relation to ently for the first time in Northern art, clad in liturgi- Beauneveu (and, less convincingly, to Jacquemart de cal vestments (dalmatic and stole), as 1S the case in Hesdin), and the “influences germaniques” among

Lorenzetti’s panel of 1344. which they adduce, however, the purely Italianate 6. Fierens-Gevaert, Les Trés-Belles Heures de Jean motif of the Magdalen Embracing the Cross, long de France, pls. XVI, XVIII; “planches documen- acclimatized in French and Franco-Flemish art. For the

taires,” 4. motif of the jet of blood drenching the Virgin, and its derivation from Suso, see C. R. Morey, “A Group of

, Page 49 Gothic Ivories in the Walters Art Gallery,” Art Bulle1. Even in the “Boucicaut Hours” itself natural tin, XVIII, 1936, p. 199 ff. The conspicuous accentuskies alternate with tessellated, diapered or otherwise ation of the Crown of Thorns may be connected with patterned grounds, and the latter can be observed al- its veneration in the Sainte Chapelle.

380

NOTES 48°—54?

Page 52 4. Paris, Bibliothéque de l’Arsenal, ms. 5057, fol.

note 61 3, 5. See also p. 50.

1. See Thieme-Becker, XV, 1922, p. 487; see also 44 (see also, e.g., fols. 3 v., 7).

2. Paris, Bibliothéque Nationale, ms. lat. 924, fol.

262 v. (Leroquais, Les Livres d’Heures, I, p. 39, no. Page 54

39, pls. XX—XXII). A somewhat related Book of 1. Pending the publication of the “Boucicaut Hours for Roman use, formerly in the collection of Hours” in extenso, see the essays of Paul Durrieu, who Mr. Robert Garrett in Baltimore, is now in the Prince- was the first to recognize the Boucicaut Master’s paraton University Library; see Seymour de Ricci and mount importance and listed most of the manuscripts W. J. Wilson, Census of Medieval and Renaissance attributable to him and his workshop: “Jacques Coene,

Manuscripts in the United States and Canada (here- peintre de Bruges établi a Paris sous le régne de after referred to as “de Ricci-Wilson, Census”), New Charles VI,” Les Arts Anciens de Flandre, Il, 1905,

York 1935-37, I, p. 873, no. 47. p. 5 ff.; “Le Maitre des Heures du Maréchal de Bouci3. Paris, Bibliothéque Nationale, ms. fr. 12201; cf. caut,” Revue de l Art Ancien et Moderne, XIX, 1906, Martens, op. cit., p. 197 and p. 266, notes 509-511, p. 401 ff.; XX, 1906, p. 21 ff.; “Les Heures du Maré-

with further references. chal de Boucicaut du Musée Jacquemart-André,” 4. Paris, Bibliothéque Nationale, ms. fr. 12201, Revue del Art Chrétien, LXIII, 1913, pp. 73 ff., I45 ff.,

fol. 1. 300 f.; LXIV, 1914, p. 28 ff. See also Martens, op. cit., 5. Ibidem, fol. 17 v. passim (see Index); G. Paulsson, Konstens Warld-

6. One of these manuscripts is the “Boccace de historia, III, Stockholm, 1952, p. 25 f., where the Philippe le Hardi,” Paris, Bibliothéque Nationale, ms. Boucicaut Master is justly acclaimed as “the great fr. 12420; the other, the “Boccace du Duc de Berry,” innovator”; and Thieme-Becker, XXXVII, 1950, p. Paris, Bibliothéque Nationale, ms. fr. 598. See Martin, 222 ff. Thus far only three manuscripts produced by La Miniature francaise, pl. 86, figs. CXI-CXIII; and, the Boucicaut Master and/or his workshop have been more specifically, Martens, op. cit., passim, especially published in extenso: the Livre des Merveilles du p. 192 ff., p. 241 (note 221), figs. 6, 7, 42, 43, 50, 52; Monde, Paris, Bibliothéque Nationale, ms. fr. 2810 53, 59, 80. To Miss Martens belongs the credit of (official edition of the Département des Manuscrits), having established the Master of 1402 as an artistic and two Books of Hours in the Bibliothéque Royale personality of note; I differ from her only in stressing at Brussels, mss. 10767 and 11051 (J. van den Gheyn, his Netherlandish affiliations. A third Boccaccio manu- Deux Livres d’ Heures attribués a lenlumineur Jacques

script (Brussels, Bibliotheque Royale, ms. 9508; Gaspar Coene, Brussels, n. d.). The latest additions to the and Lyna, op. cit., I, p. 436, pl. CII a) presupposes the enormous oeuvre attributable to the Boucicaut worktwo Paris manuscripts but was executed somewhat shop are: two Books of Hours sold at Sotheby’s on later and in a different workshop. Recently there has December 18, 1946 (lot 567) and on July 12 and 13, been discovered a very fine Parisian Book of Hours, 1948 (lot 59), respectively (for the latter, see Catalogue privately owned, which, to judge from the reproduc- quoted above, note 34%), and a Book of Hours in a tions, is fairly close to the Master of 1402 (L. M. J. private collection at Brussels, described and partly Delaissé, “Le Livre d’Heures d’Isabeau de Bavieére,” illustrated by L. M. J. Delaissé, “Une Production d’un

Scriptorium, IV, 1950, p. 252 ff.). atelier Parisien et le caractére composite de certains +. Paris, Bibliothéque Nationale, ms. fr. 598, fol. 46. Livres d’Heures,” Scriptorium, II, 1948, p. 78 ff. For 8. Paris, Bibliothéque Nationale, ms. fr. 12420, fol. the “tripartite diaphragm” arch of its “Annunciation”

29. | and “Vigils of the Dead,” pls. 8 and ro d, cf. the mss. Paris, Bibliothéque Mazarine, ms. 469 (Couderc, op. cit., pl. LV), fols. 66, 117, and Bibliothéque Nationale,

Page 53 ms. lat. 10538, fols. 78, 173 v. (our fig. 76). For a 1. Paris, Biblothéque Nationale, ms. fr. 598, fol. panel (“Dives and Lazarus,” formerly in the Engel71 V. Gros Collection at the Chateau de Ripaille) supposedly 2. Paris, ms. fr. 598, fol. 99. Maupassant’s version executed by or in the workshop of the Boucicaut

of the old story is called “Idylle” (Oeuvres completes, Master, see G. Ring, “Primitifs Francais,” Gazette des

VII [Miss Harriet], Paris, 1908, p. 203 ff.). Beaux-Arts, ser. 6, XIX, 1938, p. 149 ff., ———, A 3. Paris, Bibliothéque Nationale, ms. fr. 159, fol. Century, Cat. no. 37, pl. 7. To judge from the repro289 v.; Bibliothéque de l’Arsenal, ms. 5058, fol. 1. See ductions, the attribution is unconvincing; I am not Martin, La Miniature francaise, pl. 75, fig. C; H. even sure that the panel is French. For bibliographical, Martin and P. Lauer, op. cit., p. 31, pl. XX XVIII. biographical and heraldic data concerning the “Bouci-

381

NOTES caut Hours,” see F. G. A. Guyot de Villaneuve, Hours,” fol. 269 v. (One Hundred Manuscripts in the Notice sur un manuscript Francais du XIV siécle; les Library of Henry Yates Thompson, London, V, 1915, Heures du Maréchal de Boucicaut (pour la Société des pl. LIT). On the other hand, de Villeneuve believes Bibliophiles Francais), Paris, 1889. Cf. also P. Pansier, the necklace worn by the youngest King in the “AdoLes Boucicaut a Avignon, Avignon, 1933, especially ration of the Magi,” fol. 83 v. (our fig. 67) to refer to

pp. 31 ff. and 205 ff. (reprint of Antoinette de Tu- the “knotted stick” adopted as a badge by Louis of

renne’s will of April 10, 1413). Orléans in 1403 (see p. 119), which would date this , miniature between 1403, when the badge was adopted, Page 55 and 1407, when Louis was murdered. However, as a

1. See p. 42; note 425, terminus post quem non the necklace would not be

2. Geneva, Bibliothéque Publique et Universitaire, cogent even if it did allude to the “knotted stick,” for ms. fr. 165, fol. 4 (Martin, La Miniature francaise, pl. nothing would militate against the assumption of a go, fig. CXVII; H. Aubert de La Rue, “Les Principaux posthumous memorial; and it may well be a mere Manuscrits 4 peintures de la Bibliothéque Publique et circlet treated “en style rustique” as, for example, the Universitaire de Genéve,” Bulletin de la Société Fran- Cross of St. Andrew on the banner of Charles the ¢aise de Reproductions de Manuscrits &@ Peintures, Il, Bold in the Historical Museum at St. Gaul (O. Cartel-

1912, p. 74, pl. XXXV). It was, so far as I remember, lier, Am Hofe der Herzége von Burgund, Basel,

the late Professor Adolph Goldschmidt who orally 1926, pl. 22). oe

called attention to the fact that the marginal decora- 6. Guyot de Villeneuve, op. cit., p. 57, identifies tion with the beautiful peacock was executed by an this portrait as the Marshal's brother, Geoffroy le English hand. In this connection it is of interest that Meingre. This assumption, however, is all the more the Horae, Paris, Bibliothéque Mazarine, ms. 469 (re- unfounded as Geoffroy was younger than the Marshal ferred to in note 541) contains an English insertion and did not wear the latter’s personal device “Ce que (fols. 123-149) with an English prayer (“Ye blessed vous voudrez. sterre of sterrys”’) on fol. 140 v. and two obviously English miniatures (a “Man of Sorrows” and a “Ma-

donna’) on fols. 126 v. and 141 v., respectively. Page 56 3. Paris, Bibliothéque Nationale, ms. fr. 23279 1. Among the earlier miniatures I should count, (Martin, La Miniature francaise, pls. 88 and 89, figs. apart from fol. 26 v., fols. 13 v., 15 v., 17 v., 18 Vv. CXV and CXVI). The text of this work — which, in- IQ V., 23 V., 24 V., 36 V., 37 V., 40 v.; among the late cidentally, contains not only the “Dialogues” of Pierre ones, apart from fol. 38 v., fols. 20 v., 65 v., 73 v., le Fruictier, called Salmon (that is to say, the “De- 79 V., 83 V., 90 V., 105 v., 118 v., 128 v. The remaining

mandes” posed by Charles VI to his somewhat ques- miniatures would seem to fall between these two tionable secretary and adviser and their answers) but classes, fols. 11 v., 30 V., 32 V., 35 v. and 43 v. being also the latter’s memoirs and correspondence — was comparatively close to the earlier group.

published, with some omissions, by G.-A. Crapelet, 2. The earliest dated instance of what I have called Les Demandes faites par le Rot Charles VI, touchant the “pseudo-acanthus leaf” seems to occur in a Book of

son état et le gouvernement de sa personne avec les Hours in the Bodleian Library at Oxford (Douce,

reponses de Pierre Salmon, Paris, 1833. 144) dated 1407 (cf. Delaissé, “Une Production d’un 4. See note 541. For the earlier literature on this atelier Parisien,” p. 81). manuscript, see G. Doutrepont, La Littérature fran- 3. G. Swarzenski, “Miniatures from a Lost Manucaise a la cour des Ducs de Bourgogne (Bibliothéque script,” Bulletin of the Museum of Fine Arts, Boston,

du XV¢° siécle, VIII), Paris, 1909, p. 242. XLII, 1944, p. 28 ff. 5. Guyot de Villeneuve, op. cit., p. 36 f., holds 4. P. Durrieu, in Les Arts Anciens de Flandre and that the representation of St. Leonard with two prison- Revue de l Art Chrétien, quoted above, note 541. The

ers “en ses petits draps” (fol. 9 v.) alludes to the non-identity of the Boucicaut Master with the Master Marshal’s and his friend Guy de la Tremoille’s captiv- of the “Brussels Hours” eliminates the chief argument

ity; but this would only prove that the manuscript for the former’s identity with Jacques Coene. Jacques postdates 1396 — quite apart from the fact that similar Coene was in Milan from 1402 to 1404, which would representations occur in Books of Hours owned by fit in with the conspicuous Italianism of the “Brussels personages who were never taken prisoner, e.g., in the Hours”; but since the “Brussels Hours” is indubitably

“Hours of Blanche of Burgundy” known as the not by the Boucicaut Master, and as indubitably ante“Heures de Savoie” (see p. 34 f.), fol. 4 v. (pl. 8 in dates Jacques Coene’s trip to Italy, the Coene theory the edition by Dom Blanchard) and in the “Dunois loses much of its attractiveness.

382

NOTES 55'*-59°

Page 57 tively early date, in the “Boccace de Jean sans Peur” 1. For the windmill on the hill, see, for example, (Bibliothéque de l’Arsenal, ms. 3193, between 1409 the “Betrayal of Christ” in the “Brussels Hours” and January 1, 1411) but only in miniatures attribut(Fierens-Gevaert, Les Trés Belles Heures de Jean de able to the Master of the “Missel de l’Oratoire de St.

France, pl. XII1). Magloire” (note 612). See H. Martin, Le Boccace

2. Paris, Bibliothéque Nationale, ms. fr. 23279, fol. de Jean sans Peur, Brussels and Paris, rgrt, figs. LX,

69. LXI (cf. also Martens, op. cit., p. 62, fig. 4, and Pan-

3. Leonardo da Vinci, Trattato della pittura, H. ofsky, “Die Perspektive als symbolische Form,” p. Ludwig, ed. (Wiener Quellenschriften zur Kunstge- 328, fig. 39), XCII, CXLV. Elsewhere in this manu-

schichte, XV ff.), Vienna, 1881, I, p. 260, no. 234 script we find a transitional solution in which the (“Of those who in a landscape represent the more delimiting opening is, as it were, halfway between a distant objects as being darker”). Leonardo’s own genuine “diaphragm arch” and an abbreviated exterior views are set forth, e.g., ibidem, p. 192, no. 150 (on (e.g., figs. LXXXIM, CX, CKXVII, CXXX), and the the fading of the “true color” of the sky near the same is generally true of the “Térence des Ducs” of ca. horizon), and p. 226, no. 194 (on the submergence of 1408 (Bibliothéque de l’Arsenal, ms. 664); cf. H.

local color in distant objects). Martin, Le Térence des Ducs, Paris, 1907, passim. It is only in the illustrations of the “Adelphi,” contributed

Page 58 by the most advanced illuminator in this still some1. For representations of St. Jerome in his Study, what enigmat ic workshop » that we ‘encounter somesee A. Striimpel, “Hieronymus im Gehiuse,” Mar- thing approximating though not quite achieving the burger Jahrbuch fir Kunstwissenschaft, Il, 1925/26, genuine diaphragm arch (Martin, pl. XIX, 69; XXII, p. 173 ff. (see also below, note 249 ®). For the Petrarch 83; XXII, 88; XXIV, 89). portrait, see S. Bettini, Giusto de’ Menabuoi e l arte

del Trecento, Padua, 1944, pl. 62; J. von Schlosser, Page 59 “Ein Veroneser Bilderbuch und die héfische Kunst 1. In what seems to be the earliest representation of des XIV. Jahrhunderts,” Jahrbuch der Kunsthistor- a chapelle ardente (Durrieu, Les Trés-Belles Heures, ichen Sammlungen des Allerhéchsten Kaiserhauses, pl. X) it is seen from the side as was, and long reXVI, 1895, p. 144 ff., especially 183 ff. and pl. XXIV mained, the usual thing in renderings of ordinary (excellent reproduction of the title miniature of the catafalques; and it is placed within a conventional Petrarch manuscript, Darmstadt, Staatsbibliothek, ms. “doll’s house” setting rather than within a real church 101); and, most recently, T.. M. Mommsen, “Petrarch interior. For the fashion of chapelles ardentes, see W.

and the Decoration of the Sala Virorum Illustrium H. Forsyth, “A Head from a Royal Effigy,” The in Padua,” Art Bulletin, XXXIV, 1952, p. 95 ff. For Metropolitan Museum of Art, Bulletin, new ser., II, the Boucicaut Master’s familiarity with North Italian 1945, p. 214 ff.

art and his supposed stay at Milan, see P. Toesca, La 2. Paris, Bibliothéque Nationale, ms. lat. 10538, pittura e la miniatura nella Lombardia, Milan, 1912, fol. 137 v. (Leroquais, Les Livres d’ Heures, I, p. 338, p. 413 f., and Pacht, “Early Italian Nature Studies,” no. 158, pl. XXXIV). Since this chapelle ardente mini-

Pp. 43, note 2. ature shows the church interior in asymmetrical view,

2. The origin and development of the “diaphragm it is much closer to Jan van Eyck’s “Madonna in a arch” would make an interesting subject for a special Church” than the “Mass” (not “Mass for the Dead”)

study. One of the earliest instances known to me is in the Horae, London, British Museum, ms. Add. found in the illustration of the Offices of the Dead in a 16997, adduced as a parallel in the otherwise excellent

Book of Hours in the Morgan Library, ms. 515, fol. article by M. Meiss, “Light as Form and Symbol in 153 (de Ricci-Wilson, Census, II, p. 1464, no. 515), Some Fifteenth-Century Paintings,” Art Bulletin, which has the rare advantage of being dated and XXVII, 1945, p. 175 ff., fig. 6. For two other minialocated by a circumstantial colophon: it was written tures from the Boucicaut workshop which show a and illuminated at Nantes in 1402. Surprisingly fine more than accidental similarity with universally acfor a provincial work, this little manuscript may well cepted works of Jan van Eyck, cf. pp. 184, 192. have been executed by a Paris-trained illuminator who ‘The Book of Hours, ms. lat. 10538, may have come

may even have been in contact with the youthful to Jan van Eyck’s attention all the more easily as it Boucicaut Master. As for Paris itself, we can observe had passed, in an unfinished state, into the possession

that the genuine “diaphragm arch” —an arch, that is, of Philip the Good for whom it was finished in a which overlaps rather than connects with the archi- Flemish workshop about 1430. This workshop (probtecture shown in the picture — occurs, at a compara- ably located at Ghent) supplied the Genesis illustra-

383

NOTES tions from fol. 221 v. to fol. 268 v., as well as a number scene so as to convey the impression of a reception at

of illustrations of the Suffrages (fols. 299-304) and court. conveniently added the coat-of-arms and badge of 2. Cf. H. Martin’s edition (quoted in note 58 7) and Philip the Good on several pages (notably fols. 221 v., Martens, op. cit., passim (see Index).

234 v., 286 v.). An even finer Book of Hours closely 3. For the Master of the “Missel de l’Oratoire de related to Paris ms. lat. 10538 and probably executed St. Magloire” and his supposed identity with the by the same member of the Boucicaut workshop is “Bedford Master” — so-called after two manuscripts preserved in the Walters Art Gallery at Baltimore, ms. executed for John of Lancaster, Duke of Bedford from 260 (de Ricci-Wilson, Census, I, p. 786, no. 185); the 1414 and Regent of France from 1423 to 1435, viz.,

“Nativity” on fol. 63 v. (our fig. 73) is nearly identical the Horae, British Museum, Add. 18850 and the (though reversed) with that in the Paris manuscript, “Salisbury Breviary,” Bibliothéque Nationale, ms. lat. fol. 63 (our fig. 72). For the Walters Horae, see the 17294 (cf. note 74%) —see Martens, op. cit., passim, Walters Catalogue, 1949, no. 86 (no illustration). The especially p. 241, note 222 with list of manuscripts, curiously two-dimensional, even diaphanous character and Thieme-Becker, XXXVII, p. 211 f. (for the of its miniatures, somewhat at variance with the gen- “Hours of Charles VI,” cod. Vind. 1855, see also eral tendencies of the atelier, may be accounted for by note 347). The identification of the master with the assumption that they did not receive the custom- Haincelin de Haguenot — presupposing the latter’s

ary “going over.” questionable responsibility for the Livre de chasse and 3. This “Annunciation” (Florence, Corsini Li- its relatives and his even more questionable identity

brary) is illustrated, e.g., in E. Panofsky, “The Fried- with one “Jean Haincelin” mentioned as late as 1448

sam Annunciation and the Problem of the Ghent (possibly a son or pupil of the real “little John”) — Altarpiece,” Art Bulletin, XVI, 1935, p. 433 ff., fig. 17. does not appear convincing to this writer; see K. For another, somewhat less impressive instance, a Perls, “Le Tableau de la famille des Juvénal des miniature in the “Hours of the Holy Ghost” formerly Ursins; le ‘Maitre du Duc de Bedford’ et Haincelin de owned by Count Paul Durrieu at Paris, see Robb, Hagenau,” Revue del Art Ancien et Moderne, LXVIII,

Op. Cit., p. 499, fig. 26. 1935, p. 173 ff. The close affinity between the earlier 4. Bourges, Bibliothéque Municipale, ms. 34, fol. phase of the “Bedford Master” and the style of the 46 v. (illustrated in Durrieu’s article in Revue de [Art Boucicaut Master is illustrated by the beautiful Brevi-

Ancien et Moderne, XIX, 1906, p. 407; de Tolnay, ary of Chateauroux (Leroquais, Les Bréviaires, I, p. | Le Maitre de Flémalle, fig. 156; Musée de Bourges, 315, no. 187, pls. LXVI-LXXIV) which has been Chefs d’oeuvre, no. 15). For the Pierre Salmon connected with either workshop by equally serious

manuscripts, see notes 55 * 3. scholars. For a panel painting representing a Last Judgment (Paris, Musée des Arts Décoratifs) tenta-

Page 61 , tively ascribed to the workshop of the “Bedford 1. Owing to a dissension of opinion as to where Master,” see Ring, “Primitifs Frangais,” Ag. I; ———_, the Adoration of the Magi had taken place, the shed A Century, Cat. no. 76. See also note 242 ®. ,

which was its customary setting in the fourteenth In the United States the mature style of the “Bedand early fifteenth centuries was at times replaced by a ford Master” is represented by four important manu-

more sumptuous building, as in the altarpiece at scripts: two Books of Hours in the Morgan Library Schotten (Hesse), illustrated in Stange, op. cit., II, (mss. 359 and 453: Morgan Catalogue, 1934, NOs. 116 fig. 140, and the Wildungen altarpiece by Conrad and 117, respectively, the former in my opinion the of Soest (1bidem, II, fig. 15; M. Geisberg, Meister later of the two); a Paris Missal in the Walters Art Konrad von Soest {Westfalische Kunsthefte, IT], Gallery at Baltimore, dated 1429 (ms. 302, Walters Dortmund, 1934, pl. 5; K. Steinbart, Konrad von Catalogue, 1949, NO. 95; pl. XXXVIII); and a Book Soest, Vienna, 1946, pl. V). In a recently discovered of Hours, also in the Walters Art Gallery (ms. 281, manuscript produced in the workshop of the Master Walters Catalogue, 1949, no. 99, pl. XL). The lastof the “Grandes Heures de Rohan” (see p. 74), fol. 57, named manuscript is of special interest in that it bears,

the scene is even laid in the interior of a church; see on fols. 15 and 19, the impaled coats-of-arms of E. Panofsky, “The de Buz Book of Hours; a New Thomas Malet de Berlettes and his wife, Jeanne de Manuscript from the Workshop of the Grandes Lannoy. The identification of these personages makes Heures de Rohan,” Harvard Library Bulletin, WU, it possible to date the manuscript in 1430-35; no other 1949, p. 163 ff., pl. V a. It was, however, left to the gentleman of the house of Malet married a lady of the Boucicaut Master to combine the rustic shed with the house of Lannoy in the first half of the fifteenth regal cloth of honor and canopy, and to arrange the century, and a younger brother of Thomas Malet, Jean,

384

NOTES 59*°—62° must have married about 1435-38, because two of his et les inscriptions de ses miniatures,” Revue de l’Art sons were executed for rape as early as 1458 (see A. L. Ancien et Moderne, XXV, 1909, p. 81 ff.; de Tolnay, de la Grange and Comte du Chastel de la Howarderie, Pierre Bruegel l Ancien, pp. 38 ff., 89, figs. 72, 77). “Généalogie de la famille Malet, dite de Coupigny, de For the Hennessy Hours (Brussels, Bibliothéque RoyBerlettes et du Hocron,” Souvenirs de la Flandre ale, ms. II, 158), see de Tolnay, zbidem, figs. 66, 67, 73,

Wallonne, VII, 1887, pp. 5 ff., 54 ff., 60 ff.). The 78, 83, 87, 88. manuscript, then, was executed for members of two 2. On New Year’s Day, 1411, the brothers surold families residing at Lille, and it is, in fact, closely prised the Duke with an illuminated manuscript connected with four Books of Hours of indubitably which was, in reality, a dummy (“livre contrefait”), Netherlandish origin, three of them belonging, more consisting “d’une piéce de bois blanc paincte en sem-

or less, to the “Gilbert of Metz” family, the fourth blance d’un livre, ot il n’a nulz feuillets ne riens being a crossbreed between this family and the so- escript” (Durrieu, Les Trés Riches Heures, p. 81). called “Gold Scroll” group (see p. 121 ff.). Two of the Paul, apparently the oldest of the brothers since his , compositions in the “Malet-Lannoy Hours,” the name always takes precedence in the documents, was “Adoration of the Magi,” fol. 91, and the “Presenta- presented by his patron with a house the owner of tion of Christ,” fol. 97, recur, with relatively minor which had died in 1409. variations in: Walters Art Gallery, ms. 263, de Ricci- 3. For the “Heures d’Ailly” (executed for the Duc Wilson, Census, I, p. 792, no. 221 (fols. 58, 62); de Berry after 1402 but several years before 1413), see Walters Art Gallery, ms. 270, Census, I, p. 795, no. P. Durrieu, “Les ‘Belles Heures’ de Jean de France 242 (“Presentation” on fol. 59 v.); Morgan Library, Duc de Berry,” Gazette des Beaux-Arts, ser. 3, XXXV, ms. 82 (destined for Mons), Census, II, p- 1381, no. 82 1906, p. 265 ff.; and, more recently, J. Porcher, “Two

(fols. 62 v., 66 v.); Walters Art Gallery, ms. 211, Models for the ‘Heures de Rohan,” Journal of the Census, I, p. 789, no. 201 (fols. 147 v., 151 v.). It is, of Warburg and Courtauld Institutes, VII, 1945, p. 1 ff. course, entirely possible that the Malet-Lannoy couple M. Porcher plans to publish the manuscript 77 extenso.

ordered their Horae in Paris or that the patterns which 4. “Heures d Ailly,” fol. 63 (Porcher, ibidem, pl. served as models for the Adoration and Presentation + c); for the Broederlamesque picture (Antwerp, compositions in the four Flemish manuscripts had Musée Meyer van den Bergh), see p. 95, fig. 111. found their way from Paris into the Netherlands. But 5. “Heures d’Ailly,” fol. 221 (Porcher, ibidem, pl.

there remains the alternative hypothesis that a pro- 6 d). :

ficient member of the “Bedford” workshop, in view of 6. R. Schilling, “A Book of Hours from the Limthe hard times in Royal France, had established him- bourg Atelier,” Burlington Magazine, LXXXI, 1942, self at Lille, main capital of the Burgundian empire p. 194 ff. (for a discussion of its date, cf., however, from 1420; and this alternative hypothesis may find Pacht, “Early Italian Nature Studies,” p. 40, note 2). some support in the fact that a continuance of the Good illustrations are found in Sotheby & Co., Cata“Bedford” influence can be observed in the “Mansel logue of the Manuscripts, Printed Books and AutoMaster,” active in or not far from Lille up to ca. 1440 graph Letters Presented to the Duke of Gloucester’s

(F. Winkler, Die flamische Buchmalerei des XV. und Red Cross and St. John Fund, Sold October 13-15, XVI. Jahrhunderts, Leipzig, 1925, pp. 8, 36). 1942, Lot 117. It is interesting to note that, while the 4. For the Limbourg brothers, see Thieme-Becker, “Flight into Egypt” almost literally agrees with the XXII, 1929, p. 227 f., with bibliography up to 1929 corresponding miniature in the “Brussels Hours,” (especially important P. Durrieu’s edition of the the “Vigils of the Dead” no less closely agrees with “Trés-Belles Heures,” quoted in note 347, and the the corresponding miniature in the “Heures d Ailly,” same great scholar’s edition of “Les Trés Riches fol. 94 v. While both the “Heures d’Ailly” and the Heures de Jean de France, Duc de Berry,” Paris, 1904). “Trés Riches Heures” were executed for the Duc de

For two panel paintings that can be connected with Berry, the Bible Moralisée, Bibliothéque Nationale, the Limbourg brothers, see p. 82. For some additions ms. Fr. 166 (see Hulin de Loo, “La Bible de Philippe

to the bibliography, see the following notes. le Hardi historiée par les fréres de Limbourc: Manuscrit Francais no. 166 de la Bibliothéque Nationale a

Page 62 Paris,” Bulletin de la Société d’Histoire et d’ Archéo1. The Grimani Breviary (Venice, Biblioteca di logie de Gand, XVI, 1908, p. 183 ff.) and the “Breviary San Marco) was published im extenso by Scato de of John the Fearless,” British Museum, mss. Add. Vries and S. Morpurgo, Das Breviar Grimanti, Leipzig, 35311 and Harley 2897 (see note 764) seem to date n.d, (See also Winkler, Die fldmische Buchmalerei, p. from the time of the Limbourg brothers’ early connec200 ff., pls. 84-88; F. de Mély, “Le Bréviaire Grimani tion with the Burgundian court; whereas the original

385

NOTES of the Louvre portrait of John the Fearless, if I am Page 64 right in ascribing it to one of them, appears to have 1. See F, Winkler, “Paul de Limbourg in Florbeen executed after the death of the Duc de Berry ence,” Burlington Magazine, LVI, 1930, p. 94 ff.

(see note 82°). 2. Cf. van Marle, op. cit., VII, p. 87, fig. 47. B.

7. Cf. Robb, op. cit., p. 496; Panofsky, “The Fried- Kurth, “Ein Freskenzyklus im Adlerturm zu Trient,” sam Annunciation,” especially p. 441 ff. and figs. Jahrbuch des kunsthistorischen Institutes der K. K. 9-12; ———_ “Once More the ‘Friedsam Annuncia- Zentralkommission fir Denkmalpflege, V, 1911, p. 9 tion and the Problem of the Ghent Altarpiece,’” Art ff., especially p. 98 ff., believes that the sketchbook

Bulletin, XX, 1938, p. 419 ff., especially p. 420 and figs. drawing was copied from the December page in the 1, 2. The “Annunciation” formerly ascribed to Agnolo “Trés Riches Heures” rather than the other way around Gaddi is illustrated in van Marle, op. cit., III, p. 546, and concludes that the sketchbook, in spite of its inscrip-

fig. 303; that in the “Trés-Belles Heures de Notre tion, is not the work of Giovanni dei Grassi. This Dame,” with the Virgin seated (Hulin de Loo, Heures theory has, so far as I know, not been accepted by de Milan, pl. IX), is in reality a conflation of the ex- many scholars other than L. von Baldass, Conrad Laib terior type with the good old Pucelle scheme exem- und die beiden Rueland Frueauf, Vienna, 1946, p. 61, plified by another miniature in the same manuscript and is indeed exceedingly improbable (for an explicit (Durrieu, Les Trés-Belles Heures de Notre Dame, pl. refutation, see Pacht, “Early Italian Nature Studies,”

II). p. 39 ff.). For classical analogies to Giovanni dei _ Grassi’s hunting group, cf., e.g., the sarcophagi illus-

Page 63 trated in Reinach, Répertoire de reliefs, II, pp. 212, 1. See, e.g., Hulin de Loo, “Les Trés Riches Heures 213. de Jean de France, Duc de Berry, par Pol de Limbourc 3. See p. 329. et ses fréres,” Bulletin de la Société d’Histoire et 4. Ct. Kehrer, op. cit., L Pp. 63. John of Hildesheim, d’ Archéologie de Gand, XI, 1903, p. 178 ff.; H. Been- mentioned in 1362 as diblicus in Paris, traveled exken, “Zur Entstehungsgeschichte des Genter Altars; tensively in Italy and France, and his Historia Trium Hubert und Jan van Eyck,” Wallraf-Richartz Jahr- Regum, translated into several languages, attracted the buch, new ser., II/III, 1933/34, p. 176 ff., especially attention of Goethe. The Latin original and its Old p- 217 ff. In addition to Durrieu’s monumental edition English version were edited by C. Horstmann, The of the “Trés Riches Heures,” there may be mentioned Three Kings of Cologne (Early English Text Society, a less ambitious publication by M. Malo, “Les Trés vol. LXXXV), London, 1886; the account of the meetRiches Heures du Duc de Berry,” Paris, 1933. Color re- ing at Mount Golgotha, pp. 52 ff. (English), 230 ff.

productions of the Calendar have appeared in Verve, (Latin). Cf. also note 83°.

1940, no. 7, and Life, January 5, 1948; of several other 5. J. von Schlosser, “Die altesten Medaillen und die

pages, in Verve, 1940, no. 10. Antike,” Jahrbuch der Kunsthistorischen Sammlungen

2. This much-debated picture has finally found a des Allerhéchsten Katserhauses, XVII, 1897, p. 64 ff, satisfactory explanation in H. Bober, “The Zodiacal especially p. 75 ff. (cf. also Michel, Histoire de l’Art, Miniature of the “Trés Riches Heures’ of the Duke of IIT, 2, p. 905 ff., and E. Panofsky, “Conrad Celtes and Berry; Its Sources and Meaning,” Journal of the War- Kunz von der Rosen: Two Problems in Portrait Iden-

burg and Courtauld Institutes, XI, 1948, p. 1 ff. tification,” Art Bulletin, XXIV, 1942, p. 39 ff., p. 54;

3. In contrast to Emile Male’s opinion (L’Art note 76).

religieux de la fin du moyen age en France, 2nd ed., , 1922, p. 37), the “Nativity” in the “Trés Riches Page 66

Heures” is not the earliest example of the shepherds’ _ 1. The September, October, November and Decemadmission to the scene. The motif is indubitably Ital- ber pictures (fols. 9 v.-12 v.) are painted on a separate ian, as shown, e.g., by the “Nativity” in the Fogg quire consisting of only two double leaves; the lower Museum at Harvard University, formerly ascribed to half of the September picture and the entire Novemthe mythical “Ugolino Lorenzetti” and now attributed ber picture are by Jean Colombe. The next snow

to Bartolommeo Bulgarini or Bolgarini (M. Meiss, landscape occurs in the “Nativity” in the “Bedford “Bartolommeo Bulgarini altrimenti detto ‘Ugolino Hours” (British Museum, ms. Add. 18850, fol. 65; Lorenzetti’?,” Rivista d’ Arte, XVIII, 1946, p. 113 ff.). cf. note 613).

For further Italian influences on the Limbourg 2. See p. 33 f. brothers, especially their familiarity with Ambrogio 3. It is interesting to note that the Calendar poems Lorenzetti and Michelino da Besozzo, see Pacht, by Folgore da San Gimignano (quoted by Pacht,

“Early Italian Nature Studies,” p. 41 ff. “Early Italian Nature Studies,” p. 46 f.), composed at

386

NOTES 62'—68° the beginning of the fourteenth century, do not em- 2. Such bells are first mentioned in the ’eighties of phasize this contrast between the nobles and the poor the fourteenth century and occur in art from the but deal exclusively with the occupations of the better nineties, e.g., in the efhgy of Heinrich von Werther

classes. in the Museum at Nordhausen, dated 1397 (W. F.

4. For a more detailed characterization of this in- Creeny, A Book of Facsimiles of Monumental Brasses terlude, I cannot do better than to refer the reader to on the Continent of Europe, London, 1884, pl. facing Emile Male’s L’Art religieux de la fin du moyen age p. 24). They are seen in the Wildungen Calvary by en France and Jan Huizinga’s Waning of the Middle Conrad of Soest (see text ill. 33), and in the Hague Ages, London, 1924 (especially useful, the second and portrait of Lisbeth van Duivenvoorde of 1430. For

third German editions, Herbst des Mittelalters, Mu- the latter, see G. J. Hoogewerff, De Noordneder-

nich, 1928 and 1931). landsche Schilderkunst, The Hague, 1936-1947 (hereafter quoted as “Hoogewerff’’), II, p. 50, fig. 52.

Page 67 , 3. The late Mr. Joseph Brummer in New York 1. To give a few instances: the well-known “Vierge once showed me a complete collection of such “horse

a lEcritoire” in the Louvre (P. A. Lemoisne, Gothic medals,” many of them extremely beautiful. Of spePainting in France, Florence, 1931, pl. 28), formerly cial interest are those which show no figural FEpre-

“Southwest French,” is now firmly established as sentation but only a big Gothic “Y. ; This letter is Viennese (cf. Sterling, Les Primitifs, note 30; Park- very frequent in tapestries (eg. the Anger s Apochurst, op. cit., p. 297, note 28), and the same is true alyp * ), paintings (eg. the curtain in Conrad of of the fine “Trinity” in the National Gallery at Lon- Soest’s Aachen altarpiece, Geisberg, Meister Konrad don (W. Hugelshofer, “Eine Malerschule in Wien zu von Soest, p l. 42, and the brocade lining in the p ortrait Anfang des 15. Jahrhunderts,” Beitrdge zur Geschichte of Lisbeth van Duivenvoorde just quoted) and minia-

der Deutschen Kunst, E. Buchner and K. Feuchtmayr, tures (eg. our figs. 160 and 161); and it has often eds., Augsburg, 1924, I, p. 21 ff, fig. 14) though it is induced historians to connect such works with persons still illustrated as French in Joan Evans, Art in Medi- named Yolande or the like. We know, however, that

aeval France, 987-1498, London, New York and To- lettres BTEcques ct turquesques, and quite esperonto, 1948, fig. 200. Austrian provenance must also be cially the “Y gregois, were worn at pageants and assumed for the large altarpiece from Heiligenkreuz tournaments without any reference to proper names in the Vienna Museum which was originally considered (O. Cartellieri, Ritter sp riche am Hofe Karls des French and, for a time, even ascribed to the Rohan Kihnen von Burgund,” Tijdschrift voor Geschiedenis, Master (L. Réau, French Painting in the XIVth, XVth XXXVI, 1921, p. 25); and much can be said for the and XVIth Centuries, London, Paris and New York, assumption that the “Y” was still understood as the 1939, pls. 41, 42; cf. however, Sterling, Les Primitifs, “Pythagorean Letter” whose divergent strokes, unnote 31, and Ring, A Century, Cat. no. 58, withdraw- equal in width, were held to symbolize the choice being her original attribution to the Rohan Master). tween the wide road of pleasure and the narrow p ath The Lippmann-Morgan Diptych (Lemoisne, op. cit. of virtue (R. Graham, The Apocalypse Tapestries pl. 22; Labande, Les Primitifs francais, pls. XVII, from Angers, B urlington Magazine, LAXXIX, 1947 XVIII) is, as already suspected by H. Bouchot, not p. 227). It was simply a symbol of chivalrous virtus Or Provencal but Bohemian, and this applies also to the feminine chastity which could be used singly, doubly tiny Madonna now in the Boston Museum of Fine or in combination with other letters as the case may Arts (G. H. Edgell, Bulletin of the Museum of Fine be. It may be noted that the Duc de Berry owned “un Arts, Boston, XXXII, 1935, p. 33; cf. Sterling, Les Y grec d'un saphir assis en un annel dor, the gift Primitifs, note 31, and Meiss, “Italian Style in Cata- of his chamberlain, Jean Dompme (Guiffrey, op. cit., lonia,” p. 48). The fine organ shutters at Kansas City, I, p. 118, no. 385). formerly “French” (The William Rockhill Nelson Collection, Kansas City [first edition, n.d.], p. 43), were soon transferred to Siena (ibidem, second edi- Page 68 tion, n.d., p. 39) and are probably Florentine. And one 1. A. R. Wagner, Historic Heraldry of Britain, of the main attractions of the epoch-making exhibi- London, New York and Toronto, 1939, p. 21. tion of French Primitives in Paris, 1904, the Douglas- 2. T. Krautheimer-Hess, Review of R. S. Loomis, Morgan Quadriptych, can be assigned to an individual Arthurian Legends in Mediaeval Art, Art Bulletin, Catalan painter, the Master of St. Mark (Meiss, “Ital- XXIV, 1942, p. 102 ff. ian Style in Catalonia,” p. 45 ff.). For further re- 3. Eustache Deschamps, Oeuvres completes, De

387 |

adjustments on similar lines, see p. 82 f. Queux de Saint Hilaire and G. Raynaud, eds., Paris,

NOTES 1878-1903, IX, p. 45 (quoted in O. Cartellieri, The Je ne scay se leurs travaulx

Court of Burgundy, New York, 1929, p. 211): Iz emploient bien ou non;

“Heures me fault de Nostre Dame... as piqués de operon 1

Qui soient de soutil ouvraige, ont autant que ents ¢ ar

D’or et d’azur, riches et cointes, Jennes amoureux nouveaulx.

Bien ordonnées et bien pointes, Recently, a parallel has been drawn between the ronDe fin drap d’or bien couvertes, deau “Le temps a laissié” and the “Trés Riches Heures”

Et quant elles seront ouvertes, by H. A. Hatzfeld, “Literary Criticism through Art

Deux fermaulx d’or qui fermeront.” and Art Criticism through Literature,” Journal of

4. H.T. Bossert, ed., Geschichte des Kunstgewerbes Aesthetics and Art Criticism, VI, 1947, p. 1 ff.; but : aller Zeiten und Volker, Berlin, V, 1922, p. 388, pl. his intention was not so much to illustrate the spirit XXI; R. Krautheimer, “Ghiberti and Master Gusmin,” of a specific historical period as to demonstrate a

Art Bulletin, XXIX, 1947, p. 25 ff., figs. 4, 5. “typically French” tendency “never to show nature without cultural or civilized implication.” Page 69

1. J. Evans, “The Duke of Orleans’ Reliquary of Page 70 the Holy Thorn,” Burlington Magazine, LXXVIII, 1. Abbot Suger on the Abbey Church of St-Dents 1941, p. 196 ff.; ———, Art in Mediaeval France, fig. and its Art Treasures, pp. 19 ff., 62 ff., 183.

197. For the other objects mentioned, see, in addition 2. Stange, op. cit., III, fig. 177; C. Glaser, op. cit., to the literature quoted in Krautheimer, loc. cit., p. p- 80, fig. 58. 30 f., and Bossert, op. cit., p. 386 ff.: A. Michel, His- 3. Stange, op. cit., fig. 6; Glaser, op. cit., p. 70, fig. toire de l'art, Ill, 2, p. 867 ff.; G. Lehnert, ed., Ilus- 48; Martens, op. cit., pl. XXV. trierte Geschichte des Kunstgewerbes, Berlin, II, n.d., 4. For the emergence of the genre rustique, see p. 363 ff; W. Burger, Abendlindische Schmelzar- especially J. von Schlosser, “Armeleutekunst alter beiten, Berlin, 1930, p. 148 ff. For a wax model and Zeit,” reprinted in Prédludien, Berlin, 1927, p. 324 ff.; a group of small, polychromed ivories apparently and A. Warburg, “Arbeitende Bauern auf Burgunrelated to the style of gold enamel work, cf. E. Panof- dischen Teppichen,” op. cit., I, p. 221 ff. Warburg’s sky, “A Parisian Goldsmith’s Model of the Early article deals especially with the interesting fashion Fifteenth Century?,” Essays in Honor of Georg Swar- of adorning princely chambers with tapestries trans-

zenski, Chicago and Berlin, 1951, p. 70 ff. forming the room into a forest alive with “grans per2. The “Goldenes Réssel” was given to Charles VI sonnaiges comme gens paysans et bocherons,” the by his wife, Isabeau of Bavaria, on New Year’s Day, earliest recorded instance being a “chambre semée de

1404, and pawned by him in the following year; the bocherons et de bergiers” owned by Valentine of same fate befell its lost companion piece transmitted Orléans in 1407. by an eighteenth century painting. Cf. M. Frankenburger, “Zur Geschichte des Ingolstadter und Lands- Page 71 huter Herzogsschatzes und des Stiftes Altotting,” 1. Stange, op. cit., fig. 3; Glaser, op. cit., p. 74, fig.

Repertorium fir Kunstwissenschaft, XLIV, 1924, p. 52; Martens, op. cit., pls. IV, XIV; F. Winkler,

23 ff., especially p. 32. Altdeutsche Tafelmalere1, 2nd ed., Munich, 1944, p. 58. 3. Charles d’Orléans, Poésies, P. Champion, ed., 2. Stange, op. cit., fig. 13; Glaser, op. cit., p. 61,

Paris, 1923-1927, II, p. 307, no. XX XI; the translation fig. 41; Geisberg, Meister Konrad von Soest, pls. 12given in the text is by Mr. Parker T. Lesley. Another 18; Steinbart, Konrad von Soest, pls. VIII, IX, 26-35. of Charles’ rondeaux (Charles d'Orléans, Poésies, P. Most recent German writers insist that the date in the Champion, ed., I, p. 247, no. LXXIII) might almost be inscription of the Wildungen altarpiece, now illegible a paraphrase of the May picture in the “Trés Riches in its crucial part, should be read as 1404 or even 1403

Heures”: (Winkler, Altdeutsche Tafelmalerei, captions his illus-

“Jennes amoureux nouveaulx, tration, p. 13, as “1414” while favoring 1403 in his

En la nouvelle saison, explanatory text, p. 227). I am inclined to agree with Par les rues, sans raison, the lone dissenter, C. Holker, Meister Conrad von

, Chevauchent, faisans les saulx, Soest (Beitrage zur Westfalischen Kunstgeschichte,

Et font saillir des carreaulx VII), Miinster, 1921, who prefers 1414. According to Le feu, comme de cherbon, him, p. 5 f., the first transliterator of the inscription, Jennes amoureux nouveaulx L. Curtze ( writing in 1850), has the nonsensical read-

En la nouvelle saison. ing MCCCCIIIV, obviously interpolating two “T’’s be388

NOTES 68°-—74° tween the then still legible four “C’s and the final Parker T. Lesley. The special appeal of Charles d’Or“IV.” Thus is seems safer to conjecture an “X” in- léans to the modern mind is attested by the fact that stead of Curtze’s two “I’’s than to replace the whole his poems have recently been transcribed by hand and

“IITV” by the words “quarto” or “tertio” as do most copiously illustrated by Henri Matisse: Poémes de recent German writers. However, even Geisberg, who Charles d@’Orléans, manuscrits et illustrés, Paris, 1950.

declares the date 1404 as “unshakable,” expresses him- 5. Paris, Bibliothéque Nationale, ms. lat. 1161 self more cautiously in other places and admits that (Leroquais, Les Livres d’Heures, I, p. 82, no. 26), fol. the Wildungen altarpiece, if really executed in 1404, 27. would be “a little miracle” (ein kleines Wunder). 6. “Buxtehude Altarpiece” by a follower of Master Steinbart, pp. 11 and 25, accepts the date 1404 with Bertram, Hamburg, Kunsthalle (W. Worringer, Die considerable reluctance and explicitly states that 1414 Anfange der Tafelmalere1, Leipzig, 1924, p. 193, fig.

would “fit in much better with the general stylistic 59). situation” inasmuch as some of the French and Franco- 7. “De Buz Hours,” fol. 155 (Panofsky, “The de Flemish sources of the Wildungen altarpiece post- Buz Book of Hours,” pl. IX). After the death of Mr.

date 1400. William King Richardson this manuscript, first called to the attention of this writer by Mr. Philip Hofer, Page 72 became the property of the Houghton Library of Har1. Alain Chartier’s Espérance ou Consolation des vard University. trois Vertus was written in 1428, and its Prologue

concludes with the words: “Dont par douleur ay Page 74 commencé ce livre.” Cf. P. Champion, Histoire po- 1. Paris, Bibliothéque Nationale, ms. lat. 1161, étique du quinziéme siécle, Paris, 1923, I, p. 135 ff, fol. 212. with reproduction of a miniature illustrating Char- 2. Michel, Histoire de Part, Ill, 1, p. 381, fig. 193; tier's encounter with “Dame _Mélancholie. This M. Aubert, La Sculpture francaise du moyen dge et scene is also represented in the title woodcut of Faits de la Renaissance, Paris, 1926, p. 335; cf. C. R. Morey,

Maistre Alain Chartier, Paris, 1489. Mediaeval Art, p. 390. For the general preoccupation 2. See, e.g., Eustache Deschamps, Oeuvres com- with the macabre, see the masterly chapters in Male’s

pletes, 1, p. 113, no. 31: L’Art religieux de la fin du moyen age en France “Temps de doleur et de temptacion, and Huizinga’s Waning of the Middle Ages. For the Aages de plour, d’envie et de tourment... much-debated subject of the Dance of Death, see I. Aages menteur, plain d’orgueil et d’envie, Kozaky, Geschichte der Totentinze, Budapest, 1936, Temps sanz honeur et sanz vray jugement, and W. Stammler, Der Totentanz, Entstehung und Aage en tristour qui abrege la vie... ... Deutung, Munich, 1948. Cf. also E. M. Manasse, “The 3. See P. Champion, Vie de Charles d’Orléans, Dance Motive of the Latin Dance of Death,” MeParis, rg11. The line “Je suy cellui” is from Poésies, dievalia and Humanistica, IV, 1946, p. 83 ff.; and —

I, p. 36, no. XVIII. : for the interesting representations of a real chorea 4. Charles d’Orléans, Poésies, II, p. 508, no. (people of all ranks dancing around a coffin which

CCCLXXVI. contains a decaying corpse or skeleton) —F. Saxl, “A Spiritual Encyclopaedia of the Later Middle Ages,”

Page 73 Journal of the Warburg and Courtauld Institutes, V, 1. Charles d’Orléans, Poésies, I, p. 156, no. C. The 1942, p. 82 ff., especially P- 95 ff., pl. 23 €.

only difference is that Charles d’Orléans wrote: “Je 3: See note 61°. The influence of the Master of

meurs de soif en couste la fontaine.” Flémalle is especially noticeable in the Salisbury Bre2. R. Steele, The English Poems of Charles of viary, Paris, Bibliothéque Nationale, ms. lat. 17294, Orleans (Early English Text Society, Original Series, which postdates 1424 (Leroquais, Les Bréviatres, Ul,

215), London, 1941, p. 81, Ballad 70 (translated from P. 271; pls. LIV-LXV).

Poésies, I, p. 88, no. XLII: 4. Paris, Bibliotheque Nationale, ms. lat. 9471

(Leroquais, Les Livres d’Heures, I, p. 281, no. 141,

“En la forest d’Ennuyeuse Tristesse a pls. XXXVII-XLII); some fine color reproductions L’omme esgaré qui ne scet ou il va”). in J. Porcher, Les Grandes Heures de Rohan (Les 3. R. Steele, op. cit., p. 70, Ballad 59 (original com- Trésors de la peinture Frangaise, I, 7 [KV]), Geneva,

position in English). 1943. The contributions which have appeared after 4. Charles d’Orléans, Poéstes, II, p. 484, no. the basic article by A. Heimann, “Der Meister der

CCCXXXVII; the translation given in the text is by Mr. ‘Grandes Heures de Rohan’ und seine Werkstatt,”

389

NOTES Stédel-Jahrbuch, VII-VIII, 1932, p. 1 ff. (especially XXXIV, 1911, p. 536 ff.;——, “Studien zur Geimportant is the article by Porcher, quoted in note schichte der niederlandischen Miniaturmalerei des XV. 62 3), are listed in Panofsky, “The de Buz Book of und XVI. Jahrhunderts,’ Jahrbuch der Kunsthis, Hours” (to which may be added the observation that torischen Sammlungen des Allerhéchsten Kaiserhauses, the representation of the Trinity in the guise of three XXXII, 1915, p. 281 ff., particularly p. 320 f.). This Persons of different age emerging in half-length from manuscript, which was completed by two purely a piece of drapery, discussed there on p. 180 f., de- Flemish illuminators, will be more thoroughly invesrives from the “Heures d’Ailly,” fol. 155). Cf. also tigated by Professor Millard Meiss. Ring, A Century, Cat. nos. 86—go, fig. 5, pls. 36-42, 5. See p. 118 ff. color pl. p. 17. The inherent monumentality of the Rohan Master’s compositions has always tempted Page 77 scholars to ascribe to him Panel paintings in addition 1. All these sculptures are frequently illustrated. to book illuminations. While the first of these attempts For “Notre-Dame la Blanche,” see, e.g. A. Goldhas proved unsuccessful (see note 67"), the recent schmidt, Gotische Madonnenstatuen in Deutschland, attribution of a diptych wing in the Museum at Laon Augsburg, 1923, fig. 13; P. Muratoff, La Sculpture (Ring, 4 Century, Cat. no. 89, pls. 41, 42) appears to gothique, Paris, 1931, pl. LXXXVII. For the German

be very acceptable. . instances: W. Pinder, Die deutsche Plastik des vier-

5. Paris, Bibliothéque Nationale, ms. lat. 9471, fol. zehnten Jahrhunderts, Munich, 1925, pls. 22, 23

85 v. (Leroquais, Les Livres d’Heures, pl. XXXIX; (Cologne), 25-28 (Freiburg); H. Beenken, Bildhauer

Porcher, Les Gr andes Heur es de Rohan, pl. Ill). des vierzehnten Jahrhunderts am Rhein und in | 6. Paris, Bibliotheque Nationale, ms. lat. 9471, fol. Schwaben, Leipzig, 1927, pp. 74 ff. (Cologne), 166 ff. 159 (Leroquais, op. cit, pl. XLII; Porcher, Les (Strasbourg and Freiburg); O. Schmitt, Gotische Grandes Heures de Rohan, pl. IX). In recollection of Skulpturen des Strassburger Miinsters, Frankfort, 1924, the passage quoted in the text (Job I, 215 cf. also II, pl. 197; ———-, Gotische Skulpturen des Freiburger Ecclesiastes V, 15) suicides have been known to un- Munsters, Frankfort, 1926, pls. 210-226. For works dress before committing the final act. And the most representing a similar kind of attenuation and planipious district of France, Brittany, still insists on the metric rather than stereographic curvature, see also rule that infants to be christened be brought to church Pinder, Die deutsche Plastik des vierzehnten Jahrin the nude, even in bitter cold: “Faut qu'il attende hunderts, pls. 29, 30, 32, 33-35» 37-395 44l’bon Dieu tout nu” (Maupassant, Oeuvres completes, 2. For Beauneveu, see (apart from the literature

X [Monsieur Parent], Paris, r910 [“Le Baptéme’’], adduced in note 417), Michel, Histoire de lart, IIl,

p. 139). 1, p. 714 £.; M. Aubert, La Sculpture francaise, p. 344

ff.; de Champeaux and Gauchery, op. cit., passim. For

Page 76 Jean de Liége, Aubert, p. 338 ff., and M. Devigne, La | 1. See L. V. D. Owen, The Connection between Sculpture mosane du XII au XVI siécle, Paris and

England and Burgundy during the First Half of the Brussels, 1932, p. 77 ff., pls. XXI, XXII. For Jean de

Fifteenth Century, London, 1909;-——, “England Cambrai, M. Weinberger, “A French Model of the and the Low Countries, 1405-1413,” English Hts- Fifteenth Century,” The Journal of the Walters Art torical Review, XXVIII, 1913, p. 13 ff.: “Trade bound Gallery, IX, 1946, p. 9 ff. For illustrations, see also G. them to England, while politically they were depend- Troscher, Die burgundische Plastik des ausgehenden

ent on France.” Mittelalters und ihre Wirkungen auf die Europiische 2. For all these manuscripts, most of them men- Kunst, Frankfort, 1940. tioned above, see P. Durrieu, “Manuscrits de luxe 3. Cf. Thieme-Becker, XXVI, 1932, p. 243. There executés pour des princes et grands seigneurs Fran- are some good illustrations in Pinder, Die deutsche cais,” Le Manuscrit, I, 1895, pp. 82 ff., 97 ff., 130 ff., Plastik des vierzehnten Jahrhunderts, pls. 82-84, 9o-

145 ff., 162 ff., 178 ff. 100. 3. Cf. Durrieu, ibidem, p. 114 ff. and Les Tres 4. Cf. G. Pauli, “Die Sammlung alter Meister in

Riches Heures, p. 80 ff. der Hamburger Kunsthalle,” Zeitschrift fir Bildende 4. See especially the Bible Moralisée, Paris, Biblio- Kunst, LV, 1920, p. 21 ff. théque Nationale, ms. fr. 166 (see note 62°) and the 5. R. Krautheimer, op. cit., p. 31, fig. 6. “Breviary of John the Fearless,’ London, British 6. Ibidem, figs. 1, 2. For the “Reliquary of the Holy

Museum, mss. Add. 35311 and Harley 2897 (F. Thorn,” see p. 69. The reliefs from the Servatius Winkler, “Ein neues Werk aus der Werkstatt Pauls Reliquary produced at Maastricht in 1403 (Bossert, von Limburg,” Repertorium fir Kunstwissenschaft, op. cit., pl. XXI) combine, in interesting fashion, the

390

NOTES 74°-81? style and technique of the Northern flat relief (as in monumental publication by C. Monget, La Chartreuse

the “Scepter of Charles V” and the “Reliquary of de Dijon d’aprés les documents des Archives de

. Page 80

the Holy Thorn”) with those of the silver altar of St. Bourgogne, Montreuil-sur-Mer, 1898-1905. John the Baptist in Florence.

7. For the celestial page boys, see pp. 56, 64. , ; 1. Weinberger, “A French Model of the Fifteenth

Page 78 Century,” p. 9; p. 10, note 3; fig. 2 (head modern). 1. K. Hans Multscher. Leipzi , 2. Cf. D. Roggen, van K,Gerstenbero, g, Hans Multscher, Leipzig, 1928,“De9 Portaalskulpturen .. de Kunstgep..21, fig. 6. Champmol, Gentsche Bijdragen tot 2. Pinder, Die deutsche Plastik des vierzehnten schiedenis, IV, 19372 P- 107 ft, especially p "13? t 3. J. Huizinga, The Waning of the Middle Ages,

Jahrhunderts, pls. 87, 88. Chapter XVIII (Herbst des Mittelalt d ed

3. Schmitt, Gortsche Skulpturen des Strassburger 381, 385) COST GES WATOGLEDS, NE CEy’ PP

Minsters, I, pls. 221-224. 4. Illustrated, for example, in G. Dehio and G. von

Page 79 Bezold, Die Denkmiler der Deutschen Bildhauerkunst, Berlin, I, 1905, 15. Jahrhundert, pl. 3.

I. The best illustration of Jacques de Baerze’s two 5. Cf, W. Pinder, “Zum Problem der ‘Schénen altarpieces, together with a clear discussion of their Madonnen’ um 1400,” Jahrbuch der Preussischen history, is found in A. Kleinclausz, Les Peintres des Kunstsammlungen, XLIV, 1923, p. 147 ff. It is inDucs de Bourgogne,” Revue de [Art Ancien et teresting to note that a miniature in the “Boccace de Moderne, XX, 1906, p. 161 ff. For Broederlam’s paint- Philippe le Hardi” of 1402 shows the paintress Cyrene

ings, see p. 86 ff. . polychroming a statue of this type (Bibliothéque Na2. Cf. _ Pinder, Die deutsche Plastik vom aus- tionale, ms. fr. 12420, fol. g2 v., illustrated in Martin, gehenden Mittelalter bis zum Ende der Renaissance La Miniature francaise, p\. 86, fig. CXII). (Handbuch der Kunstwissenschatt), Wildp ark-Pots- 6. This beautiful though practically unnoticed head

dam, I, 1924, p. 112 ic G. D chio, Geschichte der is listed but not illustrated in Buffalo, Albright Art deutschen Kunst, Berlin and Leipzig, 1919-1926, II, Gallery, Catalogue of the Paintings and Sculptures in p. 115 ff., figs. 171 ff. An excellent instance of the the Permanent Collection, 1949, p. 213, 00. 230; an German fourteen th-century type of “Schnitzaltar” 18 illustration may be found in Fortune, January, 1946. Master Bertram s Hamburg altarpiece of 1379» illus- It gives the impression of a head of Christ by Jactrated, e.g., in Dehio, op Othe, fig. 173, and in Winkler, quemart de Hesdin enlarged and transposed into a

Altdeursche Taf elmaleret, Pp. Tr. three-dimensional medium, and it is interesting to 3: See O. Goetz, D La Reliure en Brabant, Antwerp, 1935, p. 118 (19263), kindly brought to my attention by Dr. , 143 (erroneously dating the binding in the middle of Hanns Swarzenski. The manuscript is a mere frag-

the fourteenth century). ment. Its Calendar is as closely related to that of the 5. It is interesting that the “Flight into Egypt” in “Rouen Hours” as is the style of its miniatures. a Franco-Flemish manuscript of ca. 1415 (Walters Art 3. Amsterdam, W. A. van Leer Collection. Cf. Gallery, ms. 265, fol. 90, Walters Catalogue, 1949, no. A. W. Byvanck and G. J. Hoogewerff, La Miniature 88, pl. XXXV, erroneously captioned no. 80) shows hollandaise, The Hague, 1922-1926, pl. 3; Kuhn, op. the motif of the St. Joseph drinking from the canteen cit. p. 147. While Byvanck has rightly excluded this

in a form more closely akin to the miniature in the manuscript from La Miniature dans les Pays-Bas “Rouen Hours” than to Broederlam’s painting, from septentrionaux, Hoogewerff, I, p. 139, is still inclined to

which we may conclude that the motif was trans- assign it to the Utrecht school and even extends this mitted through illuminations or illuminators’ pattern opinion to the somewhat later Horae, Morgan Library, drawings rather than through drawings after the ms. 76 (Kuhn, op. cit. fig. 37). The Flemish prove-

original painting. nance of this latter manuscript and its connection with the so-called Gold Scroll group (see note 1221) were

Page 113 already recognized by Byvanck, “Aanteekeningen over

| 1. Carpentras, Bibliothéque de la Ville, ms. 57 Handschriften met Miniaturen, IX,” Oudheidkundig (kindly brought to my attention by Dr. Hanns Swar- Jaarboek, ser. 3, X, 1930, p. 93 ff., figs. 13, 14; cf. zenski). See Catalogue général des manuscrits des also ———, “Kroniek der Noord-Nederlandsche MinBibliothéques Publiques de France, XXXIV, 1, Paris, iaturen, II,” Oudherdkundig Jaarboek, ser. 4, IV, 1935,

Ig0I, p. 32. The use is Roman; the Calendar agrees p. 10 ff. G02

NOTES 112*-117" 4. Urbana, University of Illinois (Museum of Eu- Paris, 1928, pls. 122, 123; Kuhn, op. cit., passim, figs. ropean Culture), ms. MEC 423. See de Ricci-Wilson, 14-16, Census, I, p. 702, no. 15 (here dated in the fourteenth 5. London, British Museum, Royal ms. 2 A XVIII. century). This very small Horae for Roman use See Millar, op. cit., p. 72, pl. 85; Kuhn, op. cit., passim, repeats the standard vocabulary of the “Ypres school” fig. 8. in a greatly simplified and very negligent manner. 6. London, formerly A. Chester Beatty Collection.

5. Tournai, Grand Séminaire, no signature. See Kuhn, op. cit., passim, fig. 10. 6. Indianapolis, Ind., Dr. G. H. A. Clowes Collec- 7. London, British Museum, Royal ms. 1 E IX. See tion, apparently undescribed. This manuscript, which Millar, op. cit., p. 69, pls. 74-78; Saunders, op. cit., contains 21 full-page miniatures with at least two pls. 119-121; Kuhn, op. cit., passim, figs. 24-26. missing, is of particular interest, not only because its 8. London, British Museum, ms. Add. 42131. See language is explicitly designated as Flemish (fol. 98: Kuhn, op. cit., passim (especially p. 149), figs. 17-21. “Dit es Stabat Mater Dolorosa in vlamsce”) but also The year 1414 is established as a terminus post quem because its use (Antiphon in Prime: Sub tuam pro- by Herman’s engaging inscription on fol. 21: “I comtectionem; Little Chapter in Prime: Haec est virgo; minde me vnto you. I pray God saue the Duke of

Antiphon in None: Alma virgo; Little Chapter in Bedford.” This title was not conferred upon the None: Per te Dei) is identical with that of the “Hours owner — John of Lancaster, brother of Henry V— of Daniel Rym” (see p. 119) which was demonstrably until that year. produced at Ghent. The “Clowes Hours,” probably g. To the “York Hours” (Oxford, Bodleian Library, executed ca. 1410-1420, holds in fact an intermediary ms. Lat. Liturg. f. 2) the Master of the Beaufort position between the “Ypres” and the “Ghent” schools; Saints contributed fols. 6 v., 11 v., 12 v. (see Kuhn, it may be conjectured that it was either produced at op. cit., p. 141 ff., fig. 5); to the “Beaufort Hours” Ypres for Ghent use, or, perhaps more probably, by itself (London, British Museum, Royal ms. 2 A XVIII) a workshop that had transferred itself from Ypres to everything except for fol: 23 v. (Kuhn, figs. 7, 9).

Ghent. In somewhat crude form his style recurs, it seems to me, in a Psalter for Sarum use which, since the battle

Page 115 of Agincourt in the . wage Calendar, was mustsubsequently antedate 1415commemorated (Rennes, Bibliothéque

1. Cambridge, Fitzwilliam Museum, ms. 49. See Municipal described and illustrated in Lero-

M. R. James, A Descriptive Catalogue of the Manu- Haterpare, IMS. 225 Cescr a

a vo aape quais, Les Psautiers, II, p. 176 ff., no. 391, pls.

scripts in the Fitzwilliam Museum, p. 121. CXXVIII-CXXX)

2. London, British Add. note 29704-29705. 4 , ; Io.Museum, See p.ms.122; 122 *.

See — apart from Millar, op. cit. p. 70 £., pls. 7981 — M. Rickert, “(Herman the Illuminator,” Burling-

ton Magazine, LXVI, 1935, p. 39 £;———, “The Page 117 Reconstruction of an English Carmelite Missal,” Bur- 1. Kuhn, op. cit., fig. 12. lington Magazine, LXVII, 1935, p. 99 ff.;-——, 2. London, British Museum, ms. Add. 16998, fol. “The Reconstruction of an English Carmelite Missal,” 17,

Speculum, XVI, 1941, p. 92 ff.;-——-, The Recon- 3. Lambeth Palace Library, ms. 69, fol. 4 v. structed English Carmelite Missal in the British Mu- (Saunders, op. cit., pl. 122; Kuhn, op. cit. fig. 16).

seum, Chicago, 1951. A nearly identical composition is found in the same 3. Kuhn, op. cit, p. 152 f£, figs. 43, 44. manuscript, fol. 313.

4. Millar, op. cit., pl. 85; Kuhn, op. cit., fig. 8.

Page 116 5. Kuhn, zbidem, fig. 5. 1. London, British Museum, ms. Add. 16698. See 6. Ibidem, fig.

, Kuhn, op. cit., passim, figs. 12, 13 (with further refer- 7. Cambridge, Fitzwilliam Museum, ms. 49, no.

ences). I according to James numeration. 2. London, Eric G. Millar Collection. See Kuhn, 8. Kuhn, op. cit., fig. 3

Op. cit. passim, fig. 11. 9. Ibidem, fg. tr.

3. Oxford, Bodleian Library, ms. Lat. Liturg. f. 2. 10. London, British Museum, ms. Arundel 28, fol. See Kuhn, op. cit., p. 141 ff. and passim, figs. 1-6. The 37 (Kuhn, ibidem, fig. 4).

manuscript was discovered by Professor Kuhn. II. Millar, op. cit., pl. 81, c. 4. London, Lambeth Palace Library, cod. 69. See 12. Ibidem, pl. 81, a. O. E. Saunders, English Illumination, Florence and 13. London, British Museum, ms. Add. 29704, fols.

403

NOTES | 14, 26, 31; fols. 14 and 31 are illustrated in Millar, op. phalian altarpieces of ca. 1370, one in Netze near

cit., pl. 81, a and c. Wildungen, the other now in the Wallraf-Richartz Museum at Cologne (Stange, op. cit., II, figs. 151-

Page 118 161); then in Conrad of Soest’s famous Wildungen 1. Millar, ibidem, pl. 79. altarpiece (text ill. 33); and then in a score of pictures

2. Kuhn, op. cit. fig. 17. This miniature obviously directly or indirectly dependent thereon (e.g., Stange, influenced the rather dismal “Annunciation” in the op. cit., III, figs. 41, 45, 64, 82, 84, 165, 192, 228, 251; much later “Hours of Henry de Beauchamp,” com- Glaser, OP. Cle, fig. 943 Holker, op. cit. pl. XVII; R.

monly known as “Warwick Hours,” in the Dyson Nissen, Der Stand der Derick-Baegert-Forschung, Perrins Collection at Malvern (ms. 18, fol. 12, illus- Wallraf-Richartz Jahrbuch, X, 1938, p. 139 ff., fig. 88).

trated in Millar, op. cit, pl. 91). It was obviously from nearby Westphalia that that 3. Kuhn, op. cit. fig. 18. The penetration of the great imitator, the Arenberg Master, appropriated it Boucicaut style into England is highlighted by the for one of the Thieves in the “Arenberg Hours” fact that a Book of Hours largely executed in the (Hoogewerff, I, fig. 233, our fig. 129) although the Boucicaut Master’s workshop (Paris, Bibliothéque figure itself is derived from the Master of Flémalle Mazarine, ms. 469, see Kuhn, p. 156, fig. 40 and above, (cf. p. 176 £.). notes 541, 552) was completed in England by artists 5: This is especially true of those scholars who beworking in the Herman Scheerre tradition. lieve the Wilton diptych to be Parisian: Réau, op. cit., 4. For Herman Scheerre’s and his associates’ influ- pl. 4 (ascribing it to Beauneveu); Dupont, Les Pr mience on the insular production, see the excellent re- tifs fr an¢ais, p. 11; Sterling, Les P ernires, pl. XVI (in marks in Kuhn, op. cit., p. 153 ff. I should like to add Les Primiuf s figs. 20, 21, however, ‘toward 1395 )3 an observation concerning John Siferwas’ “Sherborne G. Bazin, L’Ecole Parisienne (Les Trésors de la peinMissal” of 1407 in the Library of the Duke of Nor- ture francaise, 1, 5) Geneva, 1942; pl. 73 Schaefer,

thumberland at Alnwick Castle (The Sherborne Mis- op. cit. pls. 4, 5. L. Gillet, La Peinture francaise, sal, J. A. Herbert ed., Oxford, 1920). Kuhn justly Moyen-Age et Renaissance, Paris and Brussels, 1928, stresses the fact that Siferwas’ style is far more insular pl. XXI, and Lemoisne, op. cit. pl. 23, likewise than Herman Scheerre’s and considers him an English- believe the Diptych to be French but date it about born illuminator who “either was influenced directly 1390 and 7395-14095 respectively. T’. Borenius, “Das

by Herman, or by some related Continental source.” Wilton Diptychon, Pantheon, XVIII, 1936, p. 209 It may be asked, however, whether the “impression ff. dates it between 1396 and 1399 and attempts to of flatness and profusion” which distinguishes his style connect it with the first dedication page of the Brussels

from that of Herman and his circle may not be ac- Hours, while Dimier, Les Primitifs francais, _Pcounted for by the conjecture that he was a thoroughly 231 f., assigns it to the Netherlandish school, which

Anglicized Rhinelander rather than a moderately is not so unreasonable in view of its connection with Continentalized Englishman. His drapery style is the style exemplified by Herman Scheerre. For the somewhat reminiscent of the “Liége Hours,” and his correct attribution to the English school, see M. V. name sounds Germanic rather than English; it may, Clarke, “The Wilton Diptych,” Burlington Magazine, in fact, be composed of the ancient word siefern LVI, 1931, p. 283 ff; Ww. A. Shaw, The Early Eng(meaning: “to trickle” or “to leak”) and vas (the lish School of Portraiture, Burlington Magazine, old spelling of Fass, the German word for “vat”) and LXV, 1934; p. 171 ft; V. H. Galbraith, “A New Life thus represent a satirical patronymic denoting some- of Richard II,” History, XXVI, 1942, P. 223 ff, espething like “leaking vat.” Whatever his nationality, cially Pp. 237 ff.; T. Bodkin, The Wilton Diptych in Siferwas’ Continental affiliations would seem to be the National Gallery (The Gallery Books, no. 16), Lower Rhenish rather than Flemish. In his famous London, n.d. Recently E. W. Tristram (“The Wilton “Crucifixion” (The Sherborne Missal, pl. XXII, also Diptych,” The Month, new ser. I, 1949, p. 379 ff, Millar, op. cit., pl. 82) we can observe a curious de- and II, 1949, Pp. 18 ff.) and J. Evans (“The Wilton tail: the arms of the Thieves are fastened, not to the Diptych Reconsidered,” Archaeological Journal, CV, T-beams of their crosses but to an iron rod parallel to 1948 [published 1950], p. I ff.), while rightly insisting these T-beams. This peculiarity — often combined, in- on English authorship, have tried to defend very early cidentally, with a svenimento group closely akin to dates on historical grounds, Tristram insisting ON 1377; that in the “Sherborne Missal” — appears to be of Miss Evans proposing 1389-1390. As stylistic parallels, Westphalian origin and survived almost exclusively however, Tristram quotes only the “Beaufort Hours,”

within the sphere of influence of Conrad of Soest. It the “Bedford Psalter,” the “Carmelite Missal,” the occurs for the first time in two very similiar West- “Chichele Breviary,’ and the erroneously so-called

404

NOTES 118°-120° “Bible of Richard IT” — in short, the works of Herman term, and a certain Broederlam influence is recogniz-

Scheerre and his circle— without explaining how able both in the figure types (compare, e.g., the this imported style, admittedly “of rather later date thickset St. Anthony with the High Priest in Broederthan seems probable for the Diptych,” could have lam’s “Presentation”) and in the patterns of the pavebeen practiced by an English panel painter of about ments (especially fol. 9 v., for which see note 114?) 1377. And Miss Evans adduces and illustrates the though these are here depicted with a sovereign disdedication page of a Psalter in the British Museum regard for perspective. (ms. Cott. Domitian A XVII, fol. 75) as containing a portrait of Richard II of ca. 1377 whereas the manu- Page 119 script was executed for Henry VI about 1420, probably 1. Paris, Bibliothéque Nationale, ms. lat. Nouv. in France. Mr. Francis Wormald kindly informs me Acqu. 3055. See V. Leroquais, Un Livre d’Heures de that it contains, on fols. 8—g v., computistical tables Jean Sans Peur, Duc de Bourgogne, Paris, 19393 with dates ranging from 1420 to 1462. It should be ———.,, Supplément aux Livres d’Heures manuscrits de added that the figure of Richard II and its English la Bibliotheque Nationale, Macon, 1943, p. 5 ff. (with parallels have their closest relatives in donors’ por- bibliography). traits attributable to the Ypres school; see, in addition 2. Baltimore, Walters Art Gallery, ms. 166 (erroto the “Rouen Hours” itself, an approximately con- neously referred to as ms. 170 in Leroquais, Un Livre temporary manuscript formerly in the Pouiller-Ketele d’Feures de Jean Sans Peur, p. 53, and Byvanck, Collection at Brussels, illustrated in Parkhurst, op. “Kroniek der Noordnederlandsche Miniaturen, III”).

cit. fig. 21. Cf. Walters Catalogue, 1949, p. 47, no. 125. The use, 6. See preceding note. here given as “Arras,” is identical with that of the

7. I am much obliged to Mr. Wormald for having “Clowes Hours” (cf. note 114°).

communicated his views to me in Iitterts. 3. Baltimore, Walters Art Gallery, ms. 170. Cf. 8. See p. 36. I am inclined to assume Ghent prov- Walters Catalogue, 1949, p. 47, no. 126. Roman use, enance for the eight miniatures of ca. 1400 inserted Flemish Calendar. The inscription on the binding at the beginning of a somewhat later Book of Hours reads: “Omnes sancti angeli et archangeli dei orate in the Royal Library at The Hague, ms. 131 D 14 pro nobis. Joris de Gavere me ligavit in Gandavo.” (Byvanck, Les Principaux Manuscrits ... a la Haye, Joris was active at Ghent about 1525. p. 34 £., pl. XV; Kuhn, op. cit., p. 147, fig. 39); but 4. Paris, Bibliothéque Nationale, ms. lat. Nouv. this assumption must remain conjectural. My reasons Acqu. 3055, fols. 107 v., 130 v., 178 v. (Leroquais ed.,

are twofold. First, three of the eight miniatures are pls. VII, IX, XII, our fig. 183). This disregard for the enframed by a peculiar border, a scroll work of oak lateral frames appears to be a good old Flemish tradileaves coiled around a staff or pole, which in more tion. Cf. e.g., the “Sermon of St. Francis” in the thirschematized or more luxuriant form, with the pole teenth-century Psalter, Bruges, Grand Séminaire, vol. often omitted, recurs in manuscripts locatable at 55/171, fol. 95, a manuscript otherwise most intimately Ghent, viz., the remarkable “Hours of John the Fear- related to the Northeast French Psalter, Morgan Liless” in Paris, the “Hours of Daniel Rym” in the Wal- brary, ms. 72 (Morgan Catalogue, 1934, no. 55, pl. 51).

ters Art Gallery, two Books of Hours in the Morgan 5. Paris, Bibliothé¢que Nationale, ms. lat. Nouv. Library, and a Horae at Providence (cf. below, notes Acqu. 3055, fol. 89 v. (Leroquais ed., pl. VI).

11917, 1217), Second, the pairing of St. Chris- 6. Baltimore, Walters Art Gallery, ms. 166, fol. topher with St. Anthony on fol. 15 v. seems to be a 160 V. Ghent penchant since it recurs in the “Hours of 7. Paris, Bibliothéque Nationale, ms. lat. Nouv. Daniel Rym,” fol. 160 v. (our fig. 187); in the Horae, Acqu. 3055, fol. 197 v. (Leroquais ed., pl. XV). Walters Art Gallery, ms. 169 (see note 121%), fol. 8. Baltimore, Walters Art Gallery, ms. 166, fol.

132 v.; and in the Hermits’ and Pilgrims’ wings of the TI Ve ae ae

Ghent altarpiece. A later woodcut showing the two 9. Paris, Bibliotheque Nationale, ms. lat. Nouv. saints in combination (Schreiber 1379 A; see A. Hagel- Acqu. 3055s fol. 40 ¥. (Leroquais ed., pl. IV). For the

ary ; . corresponding miniature in the “Petites Heures,” see p.

stange, “Zwei unbeschriebene Holzschnitte aus der and fic. 26

Bibliothek des M agdeburger Domgymnasiums,” Jahr- Mo. Ibidem, fol. 204 v. (Leroquais ed., pl. XVI). buch der Kéniglich Preussischen Kunstsammlungen, 11. Ibidem, fol. 107 v. (Leroquais ed., pl. VII).

XXIX, 1908, p. 223 ff., pl. II) is difficult to locate but certainly copied from a Flemish original. Be that as it Page 120

may, at any rate the eight miniatures in ms. 131 D 1. Ibidem, fol. 28 v. (Leroquais ed., pl. IIT). 14 are Flemish in the strictest possible sense of the 2. Ibidem, fol. 178 v. (Leroquais ed., pl. XII).

405

NOTES ! 3. Ibidem, fol. 89 v. (Leroquais ed., pl. VI). of the fifteenth century). Morgan ms. 439 is an ap-

4. See pp. 95, 105. proximately contemporary Book of Hours for Roman 5. Baltimore, Walters Art Gallery, ms. 166, fol. use (with West Flemish Calendar) in which dragon-

168 v. and-lion rinceaux are fairly ubiquitous. The heavy 6. See note 120}, “oak leaf” border occurs on fol. 21 v. (“St. John the

7. Cf. the article by L. Mirot, quoted in Leroquais, Baptist”), while the frame of the St. Christopher

Supplément aux Livres d’Heures, p. 9. miniature, fol. 25 v., has overdeveloped corner quatre8. Paris, Bibliothéque Nationale, ms. lat. Nouv. foils not unlike those in the “Hours of John the FearAcqu. 3055, fol. 195 v. (Leroquais, ed., pl. XIV). For less,” fol. 89 v., and in the “Daniel Rym Hours,” fol.

the morphological background of the unorthodox 160 v., only that they are filled with tessellation in“Quaternity” — which must be interpreted in the stead of foliate ornament. Another manuscript forlight of the discussions centering around the concept merly in the Arenberg Collection (no. 78) is akin to of “Immaculate Conception” — see E. H. Kantoro- Morgan 46 also in that it was produced in Flanders, wicz, “The Quinity of Winchester,” Art Bulletin, presumably at Ghent, for English use. XXIX, 1947, p. 73 ff., where, however, the actual 7. Providence, John Carter Brown Library, ms. 3

presence of the Dove has been overlooked. (not foliated). Cf. de Ricci-Wilson, Census, II, p. 2144, no. 3, and Walters Catalogue, 1949, under no.

Page 121 125). Roman use, Flemish Calendar; as in the “Hours

1. Baltimore, Walters Art Gallery, ms. 166, fol. of John the Fearless,” ; SS. Bavo, _Amelberga and

113 v. Pharahildis are honored in the Litanies. >. Ibidem, fol. 106 v. 8. See p. 59; note 59 7. The influence of the Bouci-

3. Cf. van Marle, op. cit, IV, p. 227, fig. 113. caut Master is also evident in the “St. George” and a 4. Paris, Bibliothéque Nationale, ms. lat. Nouv. Madonna within an ecclesiastical interior. Acqu. 3055, fol. 195 v. (Leroquais ed., pl. XIV). As g. For the Master of Gilbert of Metz and his circle, an English parallel, cf., e.g., the “Psalter of Eleanor see Winkler, “Studien Zur Geschichte der niederland‘of Bohun” in the Advocates’ Library of Edinburgh ischen Miniaturmalerei, Pp. 311 fi; ———, Die (Burlington Fine Arts Club, Exhibition of Muminated — flamische Buchmalerei, p. 29 fi; F. Lyna, De

Manuscripts, 1908, pl. 102). Vlaamsche Mintatuur, p. 91 f.; Thieme-Becker,

5. Paris, Bibliothéque Nationale, ms. lat. Nouv. AXXVIL, p. 131. Of manuscripts in American collecAcqu. 3055, Calendar and fols. 28 v., 172 v., 204 Vv. tions which belong, more or less closely, to the Gilbert

(Leroquais ed., pls. I, III, XI, XVI). of Metz group the following may be mentioned: New 6. New York, Morgan Library, mss. 46 and 439 York Public Library, ms. 28 (de Ricci-Wilson, Census, (de Ricci-Wilson, Census, Il, p. 1374, no. 46 and p. II, p. 1319, no. 28); Morgan Library, ms. 82 (Census, 1449, no. 439). Ms. 46 (adduced by Meiss, “The Ma- II, p. 1381, no. 82, closely related to the former but donna of Humility,” p. 450 and fig. 20, as a member inferior in execution); Walters Art Gallery, mss. 263, of the “Gold Scroll” family) is a Horae for Sarum use, 270 and Suppl. 1 (Census, I, PP- 7925 795» 788, nos, datable about 1430-1435 and evidently produced for 220, 242, 193; respectively) . The little Horae, Walters export to England where ten miniatures and a great ms. 211 (see note 89") is one of the manuscripts 1n number of borders were added. The dragon-and-lion which the Gilbert of Metz style interbreeds with that rinceaux occur only on text pages, passim. Some of the of the “Gold Scroll” family, while the Hor ae, Walter s Flemish miniatures, e.g., fols. 15 v., 47 v., 85 v., show ms. 172 (Census, I, p. 788, no. 195) with its fanciful

the rare peculiarity that the border décor consists of corner quatrefoils and possibly the Horae, Walters ms. tessellation instead of vegetal ornament. The only par- 169 (Census, I, p. 788, no. 194) hold an intermediary

allels I know are, first, a Horae formerly in the Ed- position between the “Gold Scroll” family and the ouard Kann Collection at Paris, brought to my atten- Ghent group. tion by the late Miss Belle da Costa Greene (A. Boinet, La Collection de Miniatures de M. Edouard Page 122 Kann, Paris, 1926, no. XV, pl. X, here published as 1. Cf, Winkler, Die flimische Buchmalerei, p. 25, “French, end of the fourteenth century”); second, a and Lyna, De Vilaamsche Miniatuur, p. 90. The most Horae formerly in the collection of the Duke of Aren- exhaustive study on the “Gold Scroll” group is found berg (Illuminated Manuscripts from the Bibliothéque in Byvanck, “Aanteekeningen over Handschriften met

of Their Highnesses the Dukes d’ Arenberg, no. 68, Miniaturen, IX, and ———, “Kroniek der Noordthe donors’ figures and coats-of-arms on fol. 60 v. and nederlandsche Miniaturen, II.”” The only manuscript the Last Judgment page overpainted in the last quarter datable by external evidence is the “Duarte Hours”

406

NOTES 120°-123° in the National Archives at Lisbon; see Bulletin de la tions from One Hundred Manuscripts in the Library Société Francaise de Reproductions de Manuscrits a of Henry Yates Thompson, London, 1914, pl. LX VIII);

Peintures, XIV, 1930, p. 16, pls. XX, XXI. The others Cambridge, Fitzwilliam Museum, mss. 51, 53, 54 have to be dated on stylistic grounds. Among the (miniatures nos, 44, 48, 36 according to James, respecearliest examples (ca. 1415-1420) are: The Hague, tively); British Museum, ms. Harley 2784, fol. 84 v., Royal Library, ms. 131 D 14 (see note 118 ®); Morgan etc. Library, ms. 76 (see note 114°); and Morgan Library, 4. London, British Museum, ms. Add. 18213. Cf. ms. 374, a Missal executed, not for Trent but, as ascer- Kuhn, op. cit., p. 143, figs. 22, 23. In addition to this tained by Miss Meta Harrsen, for Genoa. The latest manuscript, Kuhn rightly ascribes to the post-English

phase (ca. 1435-1440) is represented by such manu- period of the Master of the Beaufort Saints a fine scripts as Brussels, Bibliothéque Royale, ms. 9798 or Missal in the Musée Plantin-Moretus at Antwerp (ms. The Hague, Museum Meermanno—Westreenianum, 192, Kuhn, figs. 27-29) and, with some reservation,

ms. 10 E 2. The Gold Scroll miniatures in the two Books of Hours preserved at Paris (Bibliothéque Horae, Krakow, Czartoryski Museum, ms. 2943 (see de l’Arsenal, ms. 565) and Arras (Bibliothéque Muninote 99* and Bulletin de la Société Francaise de Re- cipale, ms. 513). The Horae in the British Museum, ms.

productions de Manuscrits & Peintures, XVIII, 1934, Royal 2 A VIII (Kuhn, p. 142 f., fig. 30) is, in my p. 68, pl. XV) may be contemporary with the “Duarte opinion, less intimately related to the Master of the Hours” whereas such manuscripts as Aschaffenburg, Beaufort Saints. Indubitably executed in England, it Hofbibliothek, mss. 3 and 7, Walters Art Gallery, mss. would seem to be the work of another Continental 169 and 259, and The Hague, Royal Library, ms. 76 F artist who in most cases kept to the tradition exem25 would seem to hold an intermediary position be- plified by the “Rouen Hours” almost as closely as did tween the “Duarte Hours” and the early group. The the illuminator of the “Cambridge Hours.” number of manuscripts in the “Gold Scroll” style is 5. Bruges, Grand Séminaire, vol. 72/175 (kindly

legion, and of manuscripts in American collections not brought to my attention by Dr. Harry Bober). The | mentioned by Byvanck may be added: Morgan Li- St. George miniature on fol. 52 v. (fig. 195) surbrary, ms. 19 (de Ricci-Wilson, Census, II, p. 1368, rounded by an architectural frame and showing the no. 19); Walters Art Gallery, mss. 173 and 246 (Cen- hindquarters of the horse concealed by a rock, has sus, I, pp. 794 and 792, nos. 237 and 225); Chicago, equally much in common with the corresponding Newberry Library, part of the miniatures in ms. miniatures in the “Beaufort Hours” (Kuhn, op. cit.,

324348 (Census, I, p. 536, no. 324348). fig. 9) and in the Krakow manuscript referred to in

2. Cambridge, Fitzwilliam Museum, ms. 49, minia- note 1221 (our fig. 194). |

ture no. 19 according to James’ numeration.

3. London, British Museum, ms. Add. 16698, fol. |

44. Kuhn, op. cit., p. 143, discusses this type of repre- Page 123 sentation which, however, should not be referred to as 1. As direct borrowings from the Master of Flémalle the “Resurrection of the Dead” because it refers to the (Dijon “Nativity”) may be mentioned the Two MidPersonal rather than the Universal Judgment; the wives in the Nativity: Walters Art Gallery, ms. Suppl. Commendatio animarum Is a special service appended 1, fol. 41 v., and Brussels, Bibliothéque Royale, ms. to the Vigils of the Dead which consists of Psalms 9016 (Winkler, “Studien zur Geschichte der niederCXVIII and CXXXVIII, Antiphon and Collect. Of lindischen Miniaturmalerei,” p. 310 and p. 312, fig. specimens in “Gold Scroll” manuscripts may be men- 27); as indirect ones (through the Bedford workshop,

tioned: The Hague, Royal Library, ms. 131 D 14, fol. as represented by Walters, ms. 281, fol. 97) the 101; Morgan Library, ms. 19, fol. 140; Brussels, woman seen from the back in the Presentation of Bibliothéque Royale, ms. 10776, fol. 112 v.; Paris, Christ: Walters, ms. 263, fol. 62; ms. 270, fol. 59 v.; Bibliothéque Nationale, ms. lat. 13264, fol. 126 v.; and ms. 211, fol. 147 v. (cf. the Master of Flémalle’s Cambridge, Fitzwilliam Museum, ms. 81, miniature “Betrothal of the Virgin” in the Prado). no. 11 according to James. After the motif had been 2. Ch, eg. A. J. J. Delen, Histoire de la gravure introduced into English illumination by Herman dans les anciens Pays-Bas..., Paris, 1924-1935, I, Scheerre and his collaborator, the Master of the Beau- pl. XI, 2. For some early woodcuts the borders of fort Saints (British Museum, mss. Royal 2 A VIII, which imitate those of miniatures, and one of which fol. 101 v., and Add. 18213, fol. 125 v., both men- even boasts a tessellated background, see M. Weintioned by Kuhn, p. 143; the latter illustrated in fig. berger, Die Formschnitte des Katharinenklosters zu 23), it frequently recurred in English manuscripts, Nirnberg, Munich, 1925, pls. 2, 4, 5, 6. e.g., in the “Hours of Elizabeth ye Queene” (J/lustra- 3. Schreiber 1349; very frequently illustrated, e.g.,

407

NOTES Michel, Histoire de l’art, Ill, 1, fig. 179; Delen, op. cit. dominus, justum judicium”; and: “Surgite mortui,

pl. VIII. venite ad judicium, manifestabuntur secreta cordium”); a nearly identical representation in Walters,

Page 124 ms. Suppl. 1, fol. 143 v. In the English Horae, British 1. Cf. Martens, op. cit., p. 135 ff., pls. XLVIII-L; Museum, ms. Harley 2982, fol. 53, the Man of Sorrows

Stange, op. cit., III, fig. 12. in half-length is completed into a standing figure as in 2. Cf. von der Osten, op. cit., passim; Panofsky, the engraving Pass. 243 by Israel van Meckenem

“Imago Pietatis,” passim. (illustrated in Panofsky, “Imago Pietatis,” fig. 34). 3. Illustrated in Burlington Magazine, XLI, 1922, p. 156, and Panofsky, “Imago Pietatis,” fig. 38. Gerini’s Page 125

picture, formerly owned by the Earl of Crawford and 1. See p. 46; note 46°. Balcarres, has recently been acquired by the Metro- 2. Cf. Martens, op. cit. p. 151, pl. XXIV (illus-

politan Museum. trated also in many other works, e.g., Glaser, op. cit., 4. London, British Museum, Schreiber 864; Camp- fig. 47 and Stange, op. cit., III, fig. 5). Miss Martens, bell Dodgson, Woodcuts of the Fifteenth Century in p. 250, note 296, lists a few exceptional Nativities from

the British Museum, London, 1934, no. 109, pl. XXX. which the St. Joseph is absent, to which may be Cf. M. Weinberger, “An Early Woodcut of the Man added (apart from the miniatures in the “Codex of Sorrows at the Art Institute, Chicago,” Gazette des Gisle” and cod. Vind. 1774, mentioned in note 463): Beaux-Arts, ser. 6, XXXIX, 1946, p. 347 ff, fig. 5. a miniature in the Bohemian Missal, Zittau, Stadt5. Weinberger, ibidem, pp. 352, note 13, and 358. bibliothek, ms. A VII (Kletzl, loc. cit., fig. 27) which

Weinberger, denying that the type of the Man of is, however, a mere abridgment of the Pacino di Sorrows showing His wounds — whether exposing the Buonaguida type; Michael Pacher’s “Nativity” at St. palm of one hand and placing the other at the wound Wolfgang (Glaser, op. cit., fig. 175); and a miniature in His side, or raising both hands symmetrically with in the Horae, Walters Art Gallery, ms. 260, fol. 63 v. palms turned toward the beholder — is influenced by (our fig. 73) where the St. Joseph seems to have been the Last Judgment, assumes that “the identity of pos- omitted by sheer inadvertence. In the productions of

ture is caused by that of action—the showing of the Rohan workshop he is present in representations wounds.” However, this very action, ostentatio vul- of the Nativity proper but omitted where the idea of nerum, is originally an exclusive feature of the Last adoration rather than the historical event is. stressed, Judgment, documented as early as the fourth century e.g. in the marginal miniatures in the Horae, Bibliand persisting throughout the Middle Ages (though othéque de l’Arsenal, ms. 647, fol. 41 (Panofsky, artists often, but by no means typically, replaced it by “Reintegration of a Book of Hours,” fig. 2). the assymmetrical gestures of blessing and condemna- 3. As mentioned above, p. 46, the cave motif had tion). It is even characteristic of those representations been introduced to the North —not through Italian of Christ the Judge in which the Resurrected are but through Byzantine sources — before the advent of either reduced to insignificance (as in the Flemish the Gothic style (cf., e.g., the examples in H. SwarzenPsalter, Morgan Library, ms. 106, fol. 10 v., Morgan ski, Die lateinischen illuminierten Handschriften, Catalogue, 1934, no. 50, pl. 46) or entirely omitted (as figs. 159, 225, 251, 273, 483, 496, 532, 716, 747, 750,

in numerous book illuminations and, above all, in the 797, 1024, 1043); but this vogue had been entirely so-called “Paten of St. Bernward” of the second half eclipsed by the ensuing development. of the twelfth century, illustrated in O. von Falke, 4. Cf. Stange, op. cit., III, figs. 271 and 262. It should R. Schmidt, and G. Swarzenski, Der Welfenschatz, be noted that under similar conditions — viz., under Frankfort, 1930, pl. 71). It was from these isolated the impact of the Italianate “St. Bridget type” upon figures of the Judge — that in the “Paten of St. Bern- the indigenous tradition —the cave-and-shed combiward” unequivocally inscribed: “Huc spectate viri, sic nation also occurs in Netherlandish painting, though vos moriendo redemi” — that the motif of the osten- in considerably less fantastic form; see, e.g., the tatio vulnerum could be most easily transferred to “Nativity” and “Adoration of the Magi” in the altarrepresentations of the Man of Sorrows where it does piece from Roermond in Amsterdam (see p. 104) or

not occur until the fourteenth century. Petrus Christus’ Berlin “Nativity” of 1452 at Berlin 6. Martens, op. cit., fig. 95. Cf. Panofsky, “Imago (p. 311; fig. 409).

Pietatis,” fig. 32 and p. 305, note 97. 5. See p. 46.

7. New York, Morgan Library, ms. 46 (see note 6. Paris, Bibliothéque Nationale, ms. fr. 166, fol. 121 6), fol. 99 v. (the scrolls of the trumpeting angels 19 (de Laborde, Etude sur la Bible Moralisée, fig.

inscribed: “Unicuique juxta opera largitur. Justus 743).

408

NOTES 123°-127° 7. The Hague, Royal Library, ms. 131 D 14 (see 3. Protevangelium Jacobi, XIX, XX (only Salome

note 1221), fol. 42. named); Pseudo-Matthew, XIII (Salome and Zelomi);

Golden Legend, chapter De Nativitate (Salome and

Page 126 Zebel). In all these versions Salome is the name of 1. The following instances may be mentioned: the doubting midwife. But owing to a widespread The Hague, Royal Library, ms. 76 F 25, fol. 53 (for confusion with St. Mary Salome it was generally trans-

the manuscript itself, see Oudheidkundig Jaarboek, ferred to the believing one.

ser. 3, X, 1930, p. 104 ff. fig. 6); Baltimore, Walters 4. Cf. the collection of instances in M. Davies, Art Gallery, ms. 173 (see note 1221), fol. 44, and ms. National Gallery Catalogues, Early Netherlandish 172 (see note 121%), fol. 33; New York, Public School, London, 1945, p. 38. All of these, however, do Library, ms. 28 (see above, ibidem), not foliated; Lon- not really tell the story of the withered hand as does don, British Museum, ms. Harley 2846, fol. 77 (cave the Dijon “Nativity” and the miniatures referred to in very indistinct but definitely recognizable); Private note 1237, but show the midwives approaching the Collection (formerly Dr. Alfred Bum, Kottbus), Horae scene or quietly standing by, Salome often carrying, in

by the Arenberg Master, fol. 28 v. (Byvanck, Min. further amplification of the motif introduced by St.

Sept., pl. XLII, fig. 120, our fig. 127). Bridget, a lantern. There should be added, however, a 2. Baltimore, Walters Art Gallery, ms. 211 (see few instances in which Salome alone is shown in

note 89 *), fol. 139 v. adoration of the Infant Jesus: the “Nativity” of 1448 in

3. The supernatural radiance which filled the cave the Vieille Boucherie at Ghent, asscribed to Nabur of the Nativity is stressed in the Apocrypha (Pseudo- Martins (L. Maeterlinck, “Le “Maitre de Flémalle’ et Matthew, XIII; Arabic Infancy Gospels, IIT). But the l’école gantoise primitive,” Gazette des Beaux-Arts, specific motif of its obscuring a natural source of ser. 4, X, 1913, p. 53 ff.; ———, Une Ecole méconnue,; illumination seems to be derived, in a manner still to Nabur Martins ou le Maitre de Flémalle, Brussels and be explained, from Philostratus’ description of the Paris, 1913); Petrus Christus’ two “Nativities,” one in

Birth of Dionysus (Imagines, I, 143 cf. D. Panofsky, the Kaiser Friedrich Museum at Berlin, the other “Narcissus and Echo; Notes on Poussin’s Birth of formerly in the Henry Goldman Collection and now Bacchus in the Fogg Museum,” Art Bulletin, XXXI, in the possession of Mr. Georges Wildenstein at New 1949, p. 112 ff.). It would seem that there are direct York (our figs. 409, 411); a Rhenish picture in the representational connections between the Birth of Metropolitan Museum apparently derived from Bacchus and the Nativity of Christ, especially in Petrus Christus but reinterpreting the gesture of adoraByzantine art; both scenes are staged in or before a tion into one of wonderment (H. B. Wehle and M. cave, and the midwives attending to the Christ Child Salinger, The Metropolitan Museum of Art, A Catamay well be the descendants of the nymphs minister- logue of Early Flemish, Dutch and German Paint-

ing to the infant Dionysus. ings, New York, 1947, p. 166); a Swiss picture at

4. The first alternative —the candle on a shelf of Basel (Meisterwerke der Oeffentlichen Kunstrock in the interior of the cave—is exemplified by sammlung in Basel, P. Ganz, pref., Munich, 1924, Niccolo di Tommaso’s triptych in the Pennsylvania p. 31); and a miniature in a Rouen Horae of ca. 1450, Museum of Art (Johnson Collection), the second — preserved in the Newberry Library at Chicago (ms. candle held by St. Joseph — by the anonymous panel 23845, de Ricci-Wilson, Census, I, p. 527, not foliated),

in the Museo Civico at Pisa (our fig. 38). where Salome is shown kneeling in the center between 5. A symbolic interpretation of the candle in the the Virgin Mary and St. Joseph. Dijon “Nativity,” but without reference to St. Bridget, 5. An unusual French miniature (which I have was given by de Tolnay, Le Maitre de Flémalle, p. been unable to identify) showing Salome in adoration 14; the St. Bridget passage was duly stressed by of the Christ Child is, however, illustrated in H. Meiss, “Light as Form and Symbol,” p. 176, note 2. Ghéon, Noél, Noél, Paris, 1935, p. 18). It should be added that the rule (Male, L’ Art religieux de la fin du

Page 127 moyen age en France, 2nd ed., 1922, p. 34) according

1. Cambridge, Fitzwillian Museum, ms. 141; to which the midwives do not appear in Northern art Byvanck, Min. Sept., pl. XLIV, fig. 128. As one of the until the end of the fourteenth century, while gen- | rare French examples may be mentioned the “Annun- erally true, is not without exceptions. A midwife, asciation” in the “Hours of Charles VI,” Vienna, Na- sisting St. Joseph in bathing the Infant, already occurs tionalbibliothek, ms. 1855, fol. 25 (H. J. Hermann, in the Hohenfurth altarpiece of ca. 1350 (Stange, op. Beschreibendes Verzeichnis, VIII, VII, 3, pl. XLV). cit., I, fig. 179; Glaser, op. cit. fig. 7); and a midwife

2. Robb, op. cit., fig. 28. preparing the bath is found, at an even more surpris409

| NOTES ingly early date, in the “Psalter of Yolande de Sois- 12. Baltimore, Walters Art Gallery, ms. 170, fol. sons” in the Morgan Library, ms. 729, fol. 246 v., of 172 v. It is interesting to note that at the very end of 1270-1280, the same manuscript that also anticipates the fifteenth century, when Jan van Eyck’s “St. the motif of the eldest King kissing the Christ Child’s Barbara” was well known to Bruges illuminators (cf. foot in the Adoration of the Magi (see note 237). A the Horae owned by Mrs. William Emerson at Cammidwife testing the bath water—as later in Paris, bridge, Mass., Walters Catalogue, 1949, no. 204, pl. © Bibliothéque Nationale, ms. lat., 1156 A, fol. 48 LXXVII), the type of Walters, ms. 170, fol. 172 v., (Leroquais, Les Livres d’Heures, pl. XLIV) —is with the tower directly attached to the bench of the seen, we remember, in Giovanni Pisano’s Pisa pulpit Saint, survived in such manuscripts as the “Hours of and in the Hague Bible of 1371 by Jean Bondol (see Isabella of Spain,” British Museum, ms. Add. 18851,

p. 38). fol. 297 (good color print in the series British Museum

, 6. Berlin, Staatsbibliothek, cod. germ. oct. 109 of Process Reproductions in Colour, no. 42). ca. 1200. Cf. H. Degering, Des Priesters Wernher 13. Robb, op. cit., fig. 7. drei Lieder von der Magd, Berlin, 1925, p. 168-172.

7. Munich, Staatsbibliothek, clm. 14045. Cf. Stange, Page 129 op. cit., II, p. 175, fig. 232. The illuminator’s name 1. Van Marle, op. cit., II, p. 234, fig. 158.

was Paul Criiger, also called Polener de Silesia. 2. Ibidem, p. 519, fig. 333. 8. Sanpere i Miquel, op. cit., I, p. 273, fig. 99. 3. The nearest approach to an exception is in the

| Troyes Horae, Paris, Bibliothéque Nationale, ms. lat.

Page 128 924, fol. 115 where, however, the posture of the 1. Cf, again note 23 ”. Annunciate is halfway between the “humility pose”

2. That the Crucifixion with the Virgin and St. and normal sitting and her dignity is stressed by an John seated on the ground beneath the Cross instead enormous canopy. of standing beside it is also an innovation of the Italian 4. Robb, op. cit., fig. 27; Geisberg, Meister Konrad Trecento has been demonstrated by D. C. Shorr, “The von Soest, pls. 2 and 46; Steinbart, Konrad von Soest,

Mourning Virgin and St. John,” Art Bulletin, XXII, pls. 8 and 53.

1940, p. 61 ff., especially p. 68 f. 5. Paris, Bibliothéque Nationale, ms. 1364, fol. 25.

3. See Meiss, “The Madonna of Humility,” p. 449 6. Robb, op. cit., fig. 9. ff., fig. 18 (from Morgan Library, ms. 88, a Book of 7. Ibidem, fig. 10.

Hours for the use of Metz). 8. Ibidem, p. 490, note 41.

4. Cf., eg., London, British Museum ms. Add. 9. For the Brenken altarpiece and its relation to a

16998 (by Herman Scheerre), fol. 65, our fig. 172. composition transmitted by Bicci di Lorenzo’s panel 5. Cf., e.g., the dedication page of the “Rouen in the Boston Museum of Fine Arts, see W. G. Con-

Hours,” fol. 12 v., our fig. 154. stable, “A Florentine Annunciation,” Bulletin of the 6. For a Trecento Madonna of Humility in a Museum of Fine Arts, Boston, XLII, 1945, p. 72 ff; domestic setting, however rudimentary, see the Sienese in view of the general trend in fourteenth-century panel in the Pennsylvania Museum of Art illustrated art I incline to think that the German work depends

in Meiss, “The Madonna of Humility,” fig. 21. on an Italian model rather than vice versa. For the 7. Schreiber 1160; frequently illustrated, e.g., picture in the Reinhart Collection (also transmitted Michel, Histoire de Tart, Ul, 1, p. 337, fig. 180; Delen, through an engraving by the Master of the Nurem-

op. cit., I, pl. V. berg Passion, illustrated in M. Geisberg, Die Anfange 8. Frequently illustrated, e.g., Glaser, op. cit., fig. des deutschen Kupferstichs und der Meister E. S. 59 (with erroneous caption); Winkler, Altdeutsche [Meister der Graphik, II], 2nd ed. Leipzig, 1923, pl. Tafelmalerei, pp. 50-53; Hartlaub, op. cit. The type 33), see Robb, op. cit., fig. 36; and, more particularly, of Our Lady amidst Virgin Saints, all seated on the I. Futterer, “Zur Malerei des frihen XV. Jahrhunderts ground, persisted in Netherlandish and German art im Elsass,”’ Jahrbuch der Preussischen Kunstsammthroughout the fifteenth and early sixteenth centuries. lungen, XLIX, 1928, p. 187 ff., fig. 8. Since Miss g. Suffice it to mention Conrad Witz’s well-known Futterer — who rightly refuses to ascribe the Winterpicture of SS. Catherine and Magdalen at Strasbourg thur “Annunciation” to the same hand as the famous (frequently illustrated, e.g., Glaser, op. cit., fig. 68). “Garden of Paradise” at Frankfort — has succeeded in 10. See, e.g., Paris, Bibliothéque de l’Arsenal, ms. finding an Italian prototype for a closely related 660, fol. 395 (Leroquais, Les Bréviatres, p\. LIT). “Birth of the Virgin” at Strasbourg (op. cit., figs. 3 11. London, British Museum, ms. Egerton 859, and 4), Italian derivation may also be assumed for the

fol. 5. “Annunciation.” AIO

NOTES 127°-132* 10. Haarlem, Teyler Stichting, ms. 76, fol. 9 v. der Kunsthistorischen Sammlungen des Allerhéchsten (Byvanck and Hoogewerff, La Miniature hollandaise, Kaiserhauses, XXIII, 1902, p. 279 ff., especially p. 287. pl. 204); also in the little Utrecht Horae, The Hague, ff., pl. XVII) or in Simon Vostre’s “Hours for Lyons Bibliothéque Royale, ms. 74 G 34, fol. 14 v. (Byvanck Use,” fol. i 3: the Tree of Jesse, the Well of Living

and Hoogewerff, pl. 6, fig. 20), datable ca. 1425. Waters, the Tall Cedar, the Gate of Heaven, the 11. “Arenberg Hours,” quoted in Beissel, op. cit., p. Star of the Sea, the Sun, the City of God, the Moon, 442; New York, Morgan Library, ms. 87, fol. 345 v. the Tower of David, the Fountain of Gardens, the

(Byvanck, Min. Sept., pl. XLVI, fig. 135). Olive Tree and the Spotless Mirror. For Marian 12. This is the “Annunciation” in the Arthur Sachs symbolism in general, see A. Salzer, Die Sinnbilder | Collection at Santa Barbara (see p. 82; note 82°). und Beiworte Mariens in der deutschen Literatur und 13. A thorough discussion of the Annunciation with lateinischen Hymnenpoesie des Mittelalters, Linz, the parvulus puer formatus (with a useful collection 1893, supplemented by E. Lommatzsch, “Anatole of instances) is found in Robb, op. cit., p. 523 ff. France und Gautier de Coincy,” Zeitschrift fiir Romanische Philologie, LVIII, 1938, p. 670 ff.; and E. Auer-

Page 131 bach, “Dante’s Prayer to the Virgin (Paradiso, 1. Protevangelium Jacobi VIII—XI; Pseudo-Matthew XXXII) and Earlier Eulogies,” Romance Philology,

VIII, IX; Evangelium de Nativitate Mariae VII-X. ITT, 1949, p. 1 ff. According to the Protevangelium Jacobi and the Evan-

gelium de Nativitate Mariae, the Virgin Mary re- Page 132 turned to the house of her parents after her marriage; 1. The symbolical significance of these windows according to Pseudo-Matthew, she worked with her (though not with reference to their number and the

companions (five in number) in the house of St. important contrast between the fenestrated Gothic Joseph. This collective effort (though with only three gable and the Orientalizing tower) has been stressed companions present) is charmingly depicted in a by Meiss, “Light as Form and Symbol,” p. 178. For Cologne picture of ca. 1460 (Schaeffer Galleries Bulle- the specific symbolism of three windows, see Panof-

tin, No. 5, May 1948, fig. 1). In the Protevangelium sky, “The Friedsam Annunciation,” p. 450, note 30; Jacobi the number of the other virgins is given as six, also C. de Tolnay, “Flemish Paintings in the National in the Evangelium de Nativitate Mariae as seven. Gallery of Art,” Magazine of Art, XXXIV, 1941, p.

2. Cf. Robb, op. cit. p. 481; figs. 1, 5. 174 ff., especially p. 178, and p. 200, note 20. Cf. also 3. For an exception to this general rule — an other- above, p. 138.

wise regular “Annunciation” exhibiting several fea- 2. Cf. de Tolnay, ibidem, p. 176 and Pp. 200, note tures suggested by the Protevangelium Jacobi —see a 18. The simple phrase Templum Trinitatis is used in provincial ivory plaque of ca. 1460 in the Museum at a hymn ascribed to Theophilus:

gir). Fons dulcoris,

Orléans (Koechlin, op. cit., II, p. 337, pl. CLXII, no. “Wenustate vernans rosa... .

4. Paris, Bibliothéque Nationale, ms. lat. 10538, fol. Vas decoris, 31. Several other instances (which could be multiplied Templum Trinitatis.” ad infinitum) are listed in Robb, op. cit., p. 487, note

35. Where the Virgin at the Loom occurs as a full-page 3. See E. Panofsky, “Der gefesselte Eros; zur miniature (e.g., Paris, Bibliothéque Mazarine,. ms. Genealogie von Rembrandt’s Danaé,” Oud Holland, 491, fol. 234 v.) this miniature does not replace the L, 1933, p. 193 ff., especially p. 203 ff.

orthodox Annunciation at the beginning of Matins 4. For the Princeton panel, see F. J. Mather, Jr., but serves to illustrate a special prayer. In one of the “The Museum of Historic Art; Painting,” Art and famous tapestries presented to Reims Cathedral by Archaeology, XX, 1925, p. 145 f.; a free variation is Archbishop Robert de Lenoncourt in 1530 (The Art illustrated in van Marle, op. cit., I, pl. facing p. 378. Institute of Chicago, Masterpieces of French Tapestry, What looks like a towerlike structure in the “AnnunMarch 17 to May 5, 1948, no. 60, fig. 29), the repre- ciation” in Jean Pucelle’s “Belleville Breviary,” Paris,

sentation of the Virgin at the Loom precedes the Bibliothéque Nationale, ms. lat. 10483, fol. 163 v. Infancy scenes but is developed into a comprehensive (Robb, op. cit., fig. 16) may be due to the awkwardallegory in that the central figure, depicted within the ness of the illuminator who attempted to transform Garden Inclosed, is surrounded by a complete array of the scheme of the famous “Annunciation” in the Marian symbols as in the well-known panel in Schleis- “Hours of Jeanne d’Evreux” (our fig. 5) into a kind of sheim (J. von Schlosser, “Zur Kenntnis der kinstler- outdoor setting. But a very emphatic tower, with an ischen Ueberlieferung im spaten Mittelalter,” Jahrbuch iron-braced door and a barred window, is found in the

AII

NOTES Bible Moralisée, Paris, Bibliothéque Nationale, ms, fr. Gothic forms and deliberately used it to express the

9561, fol. 129. antithesis between Judaism and Christianity (see Pan-

5. Paris, Bibliothéque Nationale, ms. lat. 10538, ofsky, “The Friedsam Annunciation,” p. 449, note;

fol. 31. de Tolnay, Le Maitre de Flémalle, p. 49, note 55; 6. Paris, Bibliothéque Nationale, ms. lat. 1161, fol. ——, “Flemish Paintings in the National Gallery of 31. Art,” pp. 176, 200, note 11) has recently been questioned by E. S. de Beer, “Gothic: Origin and Diffusion

Page 133 of the Term; the Idea of Style in Archtiecture,” Jour1. See note 17518, For another survival of the nal of the Warburg and Courtauld Institutes, XI, Orientalizing tower, see the “Annunciation” in the 1948, p. 143 ff., notably on the grounds that “up to “De Buz Hours,” fol. 20 (Panofsky, “The De Buz about 1600 . . . men were more aware of continuity

Book of Hours,” pl. III). than of change,” and that “it was only the purification

2. Cf. H. Wendland, Konrad Witz, Basel, 1924, pl. of the classical style in their own lands that enabled 5: W. Ueberwasser, Konrad Witz, Basel, n.d. [1938], them to see Gothic as something different” (p. 157).

pl. 3. De Beer overlooks, however, the fact that the penetra-

3. See Panofsky, “The Friedsam Annunciation”; tion of the Italian Trecento style in the fourteenth cenRobb, op. cit., p. 505 f., fig. 30. For the special signifi- tury into the Northern countries had created a situacance of the monkey console, see H. W. Janson, Apes tion somewhat analogous to that produced by the and Ape Lore in the Middle Ages and the Renaissance invasion of the full-fledged Renaissance, and he under(Studies of the Warburg Institute, XX) London, 1952, estimates the awareness of stylistic differences even pp. 53, 116. Professor Janson kindly informs me that with regard to the period when Gothic asserted itself the console in the “Friedsam Annunciation” is an against Romanesque. He holds that Suger’s emphasis exact rendition of a Romanesque type that occurs in on the character of his opus modernum as opposed to Northern Spain from the end of the eleventh century, the opus antiquum of the Carolingian St.-Denis only

and in France shortly after. contrasts the old and the new without “any trace of

4. Engraving B. 42, frequently illustrated. For the the idea of style,” and dismisses the well-known docusignificance of the monkey, see Panofsky, Albrecht ment relating to the church at Wimpfen (“Praepositus Diirer, I, p. 67 and fig. 102; Janson, op. cit., p. 151. Ricardus . . . accito peritissimo in architectoria arte latomo, qui tunc noviter de villa Parisiensi e partibus

Page 134 venerat Franciae, opere francigeno basilicam ... 1. Cf. Janson, op. cit.. pp. 117 f., 141. For the construi jubet”) as a case “without parallel” (p. 158).

picture itself, see above, p. 307. He fails, however, to adduce the all-important passage 2. See Panofsky, “The Friedsam Annunciation,” wherein Gervase of Canterbury deliberately sets out fig. 20; also A. K. Coomaraswamy, “Eckstein,” Specu- to analyze the contrast between the old structure and

lum, XIV, 1939, p. 66 ff. the new chevet begun by William of Sens in 1174 3. Panofsky, “The Friedsam Annunciation,” fig. 21. (“operis utriusque differentiam”), and not only 4. Ibidem, fig. 25, and J. J. Rorimer, The Metro- brilliantly describes such differences as that between politan Museum of Art; Medieval Tapestries, fig. 2. groin vaults and rib vaults, or that between the old The weaver appears to have interpreted the keystone details “sculptured as though with an axe and not as a kind of pillow embroidered with a bend cotised with a chisel” and the sculptura idonea of the new (here made to appear as a bend cotised sinister) and chevet, but virtually anticipates Paul Frankl’s antia cross crosslet. While the general derivation of the thesis between an “additive” and a “divisive” intercompositon from Broederlam is obvious it is note- pretation of space when he writes: “There [in the old worthy that the motif of the skein of wool is omitted, structure] a wall set upon the piers divided the tranwhile that of the parvulus puer formatus (see p. 129) septs from the choir; here the transepts, not separated

has been interpolated. from the choir by any partition, seem to convene in one keystone placed in the center of the big vault

Page 135 which rests upon the four principal piers” (J. von 1. K. J. Conant, “Mediaeval Academy Excavations Schlosser, Quellenbuch zur Kunstgeschichte des at Cluny, VII,” Speculum, XVII, 1942, p. 563 ff., par- abendlindischen Mittelalters, Vienna, 1896, p. 252 ff.;

ticularly p. 565. now easily accessible, in a somewhat free translation,

, 2. The view that the Early Flemish masters, espe- in E. G. Holt, Literary Sources of Art History, Prince-

cially Jan van Eyck, were perfectly conscious of the ton, 1947, p. 56). stylistic contrast that exists between Romanesque and 3. Cambridge, Mass., Philip Hofer Collection, fol.

412

NOTES 132°-136° 1 v. Cf. E. G. Millar, The Library of A. Chester Page 137 Beatty, II, no. 68, pl. CL; Sotheby & Co., Catalogue of 1. For the style of the Romanesque murals in his the Renowned Collection of Western Manuscripts, the Washington “Annunciation,” cf. the frescoes in the Property of A. Chester Beatty, Esq., the Second Por- transepts of Tournai Cathedral (Rolland, La Peinture

tion, Sold on May 9, 1933, lot 51, pl. 24. | murale a Tourna, pls. XIV-XXXI). The Samson 4. Frequently illustrated, e.g., Michel, Histoire de niello in the pavement may be compared with the Part, Ill, 2, p. 617, fig. 356; van Marle, op. cit., VIII, early thirteenth-century mural at Limburg-on-the-Lahn

p. 30, fig. 21. (P. Clemen, Die romanische Monumentalmalerei in den Rheinlanden, Disseldorf, 1916, p. 514, fig. 365). For the fact that the “Romanesque revival” inaugu-

Page 136 rated by the van Eyck brothers exerted a basic influ1. For the Master of the Darmstadt Passion, see ence upon the iconography of the Ghent altarpiece,

p. 306 f. The idea of staging the Infancy scenes see p. 215 f. amidst ruins may have received an additional stimulus 2. Apart from the fairly accurate rendering of Old

by the apparently original assertion of Johannes St. Paul’s at London in the “Rothschild Madonna,” Hildesheimensis (cf. note 64%) that the Nativity which was, however, executed by Petrus Christus (see had taken place in the cellar of the ruined house of p. 187 £.), the only “architectural portrait” in Jan’s

David at Bethlehem. work is the tower of Utrecht Cathedral in the “Rolin

2. See p. 160 f. De Tolnay’s interpretation of the Madonna” (see note 1931) which is, however, treated scene as the Rejection of Joachim’s Offering (Le considerably more freely than that in the Ghent altarMaitre de Flémalle, p. 25) is difficult to understand. piece. For this, see note 225 °.

3. De Beer, “Gothic: Origin and Diffusion of the 3. The identification of the city prospect in the

Term,” p. 159. “Rolin Madonna” with Maastricht was vigorously 4. Thomas Aquinas, Summa Theologiae, |, 2, qu. championed by E. van Nispen tot Sevenaer (“Heeft CII, art. 4, reply 4. A subtle difference can also be Jan van Eyck te Maastricht gewoond?,” Oudheidobserved between the decoration of the circular sanc- kundig Jaarboek, ser. 4, 1, 1932, p. 91 ff.; ———, “De

tuary and that of the narthex. While the iconography topografische Bijzonderheden van de Stad in den as a whole keeps within the limits of the Old Testa- Achtergrond van de ‘Madonna Rolin,” Wetenschap ment, the decoration of the circular sanctuary is con- in Vlaanderen, 1, 1935-1936, p. 111 ff.); A. van fined to the two earliest of the five periods which St. Kessen, “De Madonna van Rollin en Maastricht,” De Augustine (De Civitate Det, XXII, 30) distinguishes Maasgouw, LXIII, 1943, p. 2 ff. The Liége hypothesis within the pre-Christian era, viz., the periods from was formed by K. Voll, Die Werke des Jan van Eyck, Adam to the Flood and from the Flood to Abraham Strasbourg, 1900, p. 36, and partially endorsed — with (the windows showing the events from the Creation of the correct reservation that the town is, on the whole, Eve to the Slaying of Abel, presumably followed by imaginary — by J. J. M. Timmers, “De Achtergrond the story of Noah; the capitals and the reliefs on the van de Madonna van Rolin door Jan van Eyck,” Oud

attica, the stories of Lot, Abraham and Isaac). The Holland, LXI, 1946, p. 5 ff. The Lyons theory was narthex, however, its typanum adorned with a statue proposed by Lieutenant Colonel Andrieu, “Le Payof the Lord between Moses and, presumably, another sage de la Vierge au Donateur, de van Eyck,” Revue Prophet, shows in its archevaults Samson Rending the Archéologique, ser. 5, XXX, 1929, p. 1 ff. For the Lion, the story of David and Goliath, the story of Prague hypothesis, see note 1937. Quite recently, as Absalom, Solomon and the Queen of Sheba, and the M. Frédéric Lyna was kind enough to inform me,

Temple of Jerusalem. it has been suggested that the city is Brussels prior to

5. R. Maere, “Over het Afbeelden van bestaande the canalization of the Senne! Gebouwen in het Schilderwerk van Vlaamsche Primi- 4. Cf., e.g., the interior of Amiens Cathedral in tieven,” Kunst der Nederlanden, I, 1930-31, p. 201 ff, the “Priesthood of the Virgin” (text ill. 61), now in identifies the narthex with the south transept of Notre- the Louvre (Sterling, Les Primitifs, fig. 174; Dupont, Dame-du-Sablon at Brussels but rightly stresses the Les Primitifs francais, p. 34; Evans, Art in Mediaeval

fact that the architectural data were used with con- France, fig. 231; Ring, A Century, Cat. no. 158, pl. siderable freedom. For the statuary — which is, of 97); or that of Basel Cathedral in the Naples “Holy course, entirely of the painter’s own invention — see Family” often ascribed to Conrad Witz (illustrated,

the preceding note. e.g., in Glaser op. cit., fig. 67).

6. De Tolnay, Le Maitre de Flémalle, p. 24 f. See 5. Frequently illustrated. See, e.g., H. Beenken,

above pp. 165, 222. Bildwerke des Bamberger Domes aus dem 13. Jahr413

NOTES hundert, Bonn, 1925, figs. 35-42; H. Jantzen, Deutsche however, be noted that the inscriptions on the Samson Bildhauer des dreizehnten Jahrhunderts, Leipzig, 1925, nielli are not quite accurately rendered in de Tolnay’s figs. 52-58, 76. See also E. Panofsky, “Renaissance and note 12. The letter before the abbreviated CONVIVIO

Renascences,’ Kenyon Review, VI, 1944, p. 201 ff., is not a “T” but an “I” with an abbreviation mark,

especially p. 226, fig. 22. standing for IN; and the inscription of the Samson

6. It is noteworthy that the washstand and towel and Delilah niello reads: . . . RA DALIDA VXORE in connection with the Annunciation scene already S ..., probably to be completed into “[Samson traoccur in the “De Buz Hours,” fol. 20 (Panofsky, “The ditu]Jr a Dalida uxore s[ua].” For the interpretation De Buz Book of Hours,” pl. III). That the basin-and- of this scene as a typus of the Entombment, see, e.g., towel combination was generally accepted as a symbol B. Rackham, The Ancient Glass of Canterbury Catheof Marian purity is evident from the fact that it occurs, aral, London, 1949, p. 76: “Ecclesie causa Christi caro

in conjunction with some books, as an independent marmore clausa, Ut Samson tipice causa dormivit still life on the back of a Madonna of ca. 1480, copied amice.” For the idea of writing the “Ecce ancilla” from Roger van der Weyden’s “Froimont Madonna” upside down, cf., e.g., Fra Angelico’s “Annunciaat Caen (p. 296; fig. 372), where it cannot possibly be tion” in the Chiesa del Gest at Cortona (Prampolini, explained as part of a naturalistically rendered interior; op. cit. pls. 44, 48). see Catalogue of the D. G. van Beuningen Collection, 2. This interpretation of the scene (a figure, apno. 35, pls. 26, 27; Orangerie des Tuileries, La Nature parently female, kneels before a military commander

morte de l’antiquité a nos jours, avril-juin 1952, A. followed by soldiers) seems to be preferable to the

Maiuri, pref., C. Sterling ed., no. 7, pl. II. assumption that it represents Esther before Ahasuerus (de Tolnay, Le Maitre de Flémalle, p. 50, note 67);

Page 139 Ahasuerus receiving the complaint of Esther is nor1. This may be illustrated by the following diagram. mally represented enthroned rather than standing and

m4 clad in regal robes rather than in armor. It should also __ 1 Vrain be noted that the big boat crosses the river, not from _-_--JQ,-__----- left to right (de Tolnay, p. 29) but from right to left.

Yt It is interesting that the text from which the inscriptf tion on the hem of the Virgin’s robe (“Quasi cedrus

7 7.

TWINS | | BALANCE | 1 CAPRICORN exaltata sum in Libano .. .”) is taken (Ecclesiastes

_____le _____ Gy ___- XXIV, 17, frequently occurring in Dutch and Flemish 1 | service books) contains two direct references to Zion

i and Jerusalem. It continues with the phrase: “Et tt RAM CRAB SCORPION | 'agvarivs quasi cupressus in monte Sion” (v. 18) and is pre-

--teh------ oe 777 T6L ~T ceded by: “Et sic in Sion formataSo, sum, et in civitate -jVj-—--—-~--4¥ tt it sanctificata similiter requievi,Con et in Jerusalem potestas

oa TIO T=TT ofPage 140 _| 1 [| | ||i 1. For the combination Romanesque and Gothic ' ' BVLL LION ARCHER __! FISHES

forms in the “Rothschild Madonna” (fig. 257) and the Arrangement of the Zodiacal Signs in the Pavement of Jan van altarpiece of Nicholas van Maelbeke (fig. 25 9), see

Eyck’s Washington “Annunciation”; Signs Represented by

Empty Circles Not Visible but Inferable from the Position of pp. 187, 191. ;

the Others 2. New York, Morgan Library, ms. 729, fol. 345 v., Morgan Catalogue, 1934, no. 57, pl. 52. Essentially my interpretation of Jan van Eyck’s Wash-

ington “Annunciation” (cf. also H. Kauffmann, “Jan Page 141 van Eycks ‘Arnolfinihochzeit,’” Geistige Welt, Viertel- 1. St. Bonaventure, Liber Sententiarum, Il, dist. 9, jahresschrift fiir Kultur- und Getisteswissenschaften, IV, art. I, qu. 2: religious imagery is acceptable “propter 1950, p. 45 ff.) agrees with de Tolnay’s (“Flemish simplicium ruditatem, propter affectuum tarditatem, Paintings in the National Gallery of Art,” p. 175 ff.), propter memoriae labilitatem.”

except for the identification of the figure in the 2. The Pelican group in the Dresden altarpiece has window as the Lord of the Old Testament rather than its counterpart in a Phoenix, and the back of the Christ (as I myself had erroneously assumed in “The throne is adorned with statuettes representing the Friedsam Annunciation,” p. 450, note 32). It should, Sacrifice of Isaac (corresponding to the Pelican group)

414

NOTES 137°-146° and David’s Victory over Goliath (corresponding to Gallery,” Gazette des Beaux-Arts, ser. 6, XXXII, 1947,

the Phoenix). p. 65 ff., especially p. 70.

3. Durer’s “Madonna with the Iris,” formerly in 2. Cf. Meiss, “Light as Form and Symbol,” p. 179 f.

the Cook Collection at Richmond, is now in the Na- |

tional Gallery at London. See Panofsky, Albrecht Page 145 Direr, 3rd ed., 1948, I, p. 94 f.; II, p. 169, with further 1. Cf. eg., de Tolnay, Le Maitre de Flémalle, p.

references. 24. For the unfounded hypothesis that the “Madonna

4. Frequently illustrated, e.g., van Marle, op. cit., in a Church” was based upon a lost composition by Ill, p. 141, fig. 84; Grotto, des Mersters Gemilde, the Master of Flémalle, see below, note 194 ?. C. H. Weigelt, ed. (Klassiker der Kunst, XXIX, Stutt- 2. Patrologia Latina, CLXXII, col. 494: “Omnia,

gart, Berlin and Leipzig, 1925), p. 126. quae de Ecclesia dicta sunt, possunt etiam de ipsa | 5. Frequently illustrated, e.g., van Marle, op. cit., Virgine, sponsa et matre sponsi, intelligi.” For the II, p. 32, fig. 18; C. H. Weigelt, Duccio di Buonin- conceptual and morphological connection between the segna, Leipzig, 1911, pl. 16. A near-identification of Coronation of the Virgin and the Sponsus and Sponsa Jewish and pagan infidelity (so that both could be group, see P. Wilhelm, Die Marienkrénung am Westsymbolized by classical “idols”) is not at all unusual. portal der Kathedrale von Senlis (Hamburg, doctoral Professor W. S. Heckscher calls my attention to an dissertation, 1937), Hamburg, 1941, p. 31 ff. For the eleventh century “Presentation of the Virgin” (Prague, medieval mind this connection was all the more natPiaristenkloster) where the two columns, Jachin and ural as the Vulgate translates the verse Song of Songs Boaz, are surmounted by clearly recognizable replicas IV, 8 as follows: “Veni de Libano sponsa mea, veni de

of the famous “Spinario.” Libano, veni: coronaberis de capite amana.” It should 6. For illustrations showing the details in question also be noted that one of the earliest instances showing

—unfortunately cut off both in van Marle, op. cit., Christ and the crowned Virgin Mary enthroned top. 387, fig. 254, and A. Venturi, Storia dell’arte italiana, gether, the well known mosaic in Santa Maria in Milan, 1901-1939, V, p. 698, fig. 566—see Rowley, Trastevere, shows inscriptions derived from Song of

Op. cit. Songs II, 13, V, 1 and VII, 11. The interesting article by G. Zarnecki, “The Coronation of the Virgin on a

Page 142 Capital from Reading Abbey,” Journal of the Warburg

1. De Tolnay, Le Maitre de Flémalle, p. 15. and Courtauld Institutes, XIII, 1950, p. 1 ff., publishing the earliest known instance of the Coronation

Dave t proper, fails,with curiously enough, to point out the con86 143 . nection the Song of Songs, and even quotes 1. Cf. W. Molsdorf, Christliche Symbolik der the verse “Veni de Libano ...” from the Golden mittelalterlichen Kunst, 2nd ed., Leipzig, 1926, p. 138 Legend rather than from its source.

ff.; H. Swarzenski, Die lateinischen illuminierten 3. For this particularly effective antiphrasis, cf.

Handschriften, p. 127, note 3. A. L. Mayer, “Mater et filia; Ein Versuch zur stilge-

2. Speculum Humanae Salvationis, ch. TO J . Lutz schichtlichen Entwicklung eines Gebetsausdrucks,” and P. Perdrizet, Speculum Humanae Salvationis, Mil- Jahrbuch fiir Liturgiewissenschaft, VU, 1927, p. 60 ff.

hausen, 1907-1909, I, p. 235 Il, pl. 20). For references 4. Herrad of Landsberg, Hortus deliciarum, A. to further passages in which the epithet “candelabrum” Straub and G. Keller, eds., Strasbourg, rgo1, pl. LIX,

is applied to the Virgin Mary, see the Index of the p. 45 f.

Patrologia Latina, vol. CCXIX, col. 504. See also be-

low, note 146 *. Page 146 3. See p. 126. , 1. Berlin, Staatsbibliothek, cod. theol. lat. fol. 323, 4. De Tolnay, Le Matire de Flémalle, p. 16, fig. fol. 2 v. Cf. V. Rose, Verzeichniss der laveinischen 24; The Woreesier” ladelpiia painbinon of lem- — Handschriften der Kéniglichen Bibliothek 2u Berlin

ish Painting, COPUATY 23-NAATEN 125 NE WATE 25~ (Handschriften-Verzeichnisse des K6niglichen Biblio-

April 26, 1939, NO. 5. thek zu Berlin, XXX), Berlin, II, 2, 1903, p. 323; W. Diekamp, “Die Miniaturen einer um das Jahr 1100

Page 144 im Kloster Werden geschriebenen Bilderhandschrift

1. See de Tolnay, Le Maitre de Flémalle, p. 33 and zur Vita Sancti Ludgert,’ Zeitschrift fir vaterp. 5, note 79. For the symbolism of fruit, cf. also H. landische Geschichte und Alterthumskunde (Verein Friedmann, “The Symbolism of Crivelli’s Madonna fiir Geschichte und Alterthumskunde Westfalens), and Child Enthroned with Donor in the National XXXVIII, 1880, p. 155 ff. This miniature is of great

415

NOTES interest in that its unusual composition is obviously deliers in the Marienkirche at Kolberg and the Town inspired by the well-known Consular Diptych of Hall at Goslar (Liter and Creutz, I, figs. 271, 273). Probianus, probably executed in 402 A.D. (R. Del- 5. It is interesting to note that the anonymous briick, Die Consulardiptychen und verwandte Denk- copyist who placed Jan van Eyck’s “Madonna at the miler, Berlin and Leipzig, 1929, no. 65, p. 250 ff.). Fountain” in an elaborate aedicula (Metropolitan The two plaques of this diptych still adorn the box in Museum, Wehle and Salinger, op. cit., p. 20 ff.) not which the manuscript is kept, and the latter’s extra- only decorated this aedicula with symbolical statuary — ordinarily tall format (24 by 9 cm.) can be accounted Moses and the victorious Church on the Virgin’s right,

for only by the assumption that its dimensions were a Prophet and the vanquished Synagogue on her left deliberately adapted to those of the diptych (30 by — but also provided inscriptions which can be related, 12.9 cm. and 31.6 by 12.9 cm.,, respectively). The with equal right, to Our Lady as well as the Church. diptych, then, must have been in the possession of the On the canopy we read: “DOMVS DEI EST ET Abbey before the Vita of its titular saint was written, PORTA CELI” (from Genesis XXVIII, 17, here reand it is not improbable that an ivory plaque of the ferring to the place where Jacob had the vision of the early eleventh century, whose place of origin is not Ladder), and on the front of the footpace: “IPSA precisely known but which also seems to reflect the EST QVAM PREPARAVIT DO[MI]N[V]S (not

scheme of the Probianus diptych (A. Goldschmidt, “DOM[U]S” as in Wehle and Salinger) FILIO Die Elfenbeinskulpturen aus der Zeit der karolin- D[OMI]NI MEI’ (from Genesis XXIV, 44, here gischen und sichsischen Kaiser, Il, p. 34, no. 73, pl. referring to Rebekah). XXIV), was likewise produced at St. Ludger’s in 6. For the identification of the columbine (aqui-

Werden. legia, hence the French ancolie and the German Aglei

2. Escorial, ms. Vitr. 17, fol. 3. Cf. A. Boeckler, or Akelei) with grief and sorrow, see, e.g., La Curne Das goldene Evangelienbuch Heinrichs Ill, Berlin, de Sainte-Palaye, Dictionnaire historique de lancien 1933, pl. 7; also E. Schramm, Die deutschen Kaiser langage francois, I, 1875, p. 434 f.; in fifteenth-cenund Konige in Bildern threr Zeit, Leipzig, 1928, p. tury poetry (as in Alain Chartier’s “Au cueur aveit 205, fig. 100 a. To what lengths the Middle Ages went trés-amére ancollye”) the name of the plant could in stressing the spiritual identity of an ecclesiastical actually be used as a synonym for the psychological community with the Virgin Mary (and the Sponsa state. The recent article by R. Fritz, “Die symbolische of the Song of Songs) is nicely illustrated by an in- Bedeutung der Akelei,” Wallraf-Richartz-Jahrbuch, stance brought to my attention by Professor Adolf XIV, 1952, p. 99 ff., suffers from the fact that the Katzenellenbogen. When, in 1176, the Chapter of author is not acquainted with this generally accepted Chartres Cathedral wrote to its Bishop Elect, John of significance of the columbine and even believes, with-

Salisbury, it had no hesitation in equating its church out any evidence, that its German name, Aglei, was with the Virgin and the future bishop with Christ: associated with the cabalistic name of God, AGLA; “Acclamantibus itaque omnium votis desideratum sibi it contains, however, a useful collection of instances postulat, et ad dilectum et ad electum sibi incunctanter from fourteenth- and fifteenth-century paintings and aspirat Carnotensis Ecclesia, sponsique desideria iam tapestries. For the Tecurrence of the columbine in the languescens: Osculetur me, inquit, osculo oris sui.” Ghent altarpiece, the Portinari triptych by Hugo van

3. P. Vitry, La Cathédrale de Reims, Paris, 1919, der Goes and ne Bevin Madonna by Veertgen tot II, pls. XIII, XIV. The derivation of the aedicula of Sint Jans, see Ngs. 200, 447, 492; Pp. 320, 333; the Reims Madonna from Chartres Cathedral was note 220°.

observed by H. Kunze, Das Fassadenproblem der P franzdsischen Frih- und Hochgotik, Strasbourg, 1912, 48¢ 147

p. 52 ff. I. The lines on the frame, fortunately transcribed 4. For a late thirteenth-century instance, see, e.g., before it was abstracted, read:

the shrine of Nivelles (H. Liier and M. Creutz, Ge- “Mater hec est filia, schichte der Metallkunst, Stuttgart, 1904-1909, II, Pater hic est natus. fig. 204); for a late fourteenth-century one, a reliquary Quis audivit talia? at Aix-la-Chapelle (Liter and Creutz, fig. 212). Of Deus homo natus. special interest in our context are those cases, brought For the identification of the hymn, see Meiss, “Light

to my attention by Mr. John B. Hills, in which a as Form and Symbol,” p. 179 f. statuette of the Virgin Mary, enframed by an aedicula, 2. For the unfavorable implications of the north, see is placed in the center of a chandelier as in the chan- J. Sauer, Symbolik des Kirchengebiudes, 2nd ed.,

416

NOTES 146*-150° Freiburg, 1924, pp. 88, go—92; also Abbot Suger on erine’s face, although she is standing with her back the Abbey Church of St.-Denis and its Art Treasures, to the window” (W. H. J. Weale with the co-opera-

pp. 210 ff., 244. It may be added that even today tion of M. W. Brockwell, The Van Eycks and Their suicides and criminals are buried on the north side of Art [hereafter quoted as “Weale-Brockwell”], Lonthe church in many places, especially in England, and don, New York and Toronto, 1912, p. 224). In the that evil spirits are commonly believed to use the north Ghent altarpiece, the light comes, exceptionally, from door. This disapprobation of the north conflicted with the right so as to conform to the actual illumination

the universally accepted symbolism of “right” and of the chapel — the first southern chapel of the lower “left” in the case of the Crucifixion. The dying Christ, ambulatory — for which it was destined (see p. 207). as the setting “Sun of Righteousness,” was naturally Here, then, the light may be presumed to come from supposed to face the west (see e.g., Johannes Molanus’ the south also within the pictures; but in the “AnDe picturis et imaginibus sacris, Louvain, 1570, IV, nunciation” (fig. 276) the sun, painting two pools of 4; col. 3rr in J. P. Migne’s Theologiae cursus com- light upon the right-hand wall of the Virgin’s chamber,

pletus, vol. XXVII) so that just those “on His right shines from the left, viz., given the special circumhand” (Matthew XXV, 33) are to the north of Him. stances, from the north. And here again I am inclined Needless to say, in this case the symbolism of “right” to believe that the painter — universally admitted to and “left” had to take precedence. The Good Thief be Jan van Eyck — acted with a symbolic intention and the Church are invariably on the right of the rather than by inadvertence. Cross, and the Bad Thief and the Synagogue on its 3. See note 178 3, left, as explicitly stated by Thomas Aquinas in De sacramento altaris, XXXI, and St. Augustine in In Page 150 septimum caput Johannis, XXXI (Molanus, op. cit., 1. For Guillaume Dufay and Gilles Binchois, see escol. 335). How seriously these questions were taken pecially C. van den Borren, Guillaume Dufay, son imby theologians is evidenced by the fact that Petrus portance dans Pévolution de la musique au XV® siécle. Damianus devotes a long discussion to explaining why (Académie Royale de Belgique, Classe des Beaux-Arts, St. Peter was often represented on the left of the Lord Mémoires, Il, 2, 1926), p. 315 ff. The pertinent passages

“cum juxta vulgarem sensum hoc rerum ordo de- from Johannes Tinctoris’ Proportionale musices and poscat, ut Petrus, qui senatus apostolici princeps est, Martin le Franc’s Champion des Dames are here redextrum Domini latus, Paulus vero, qui junior erat, printed for easy reference: “Quo fit ut hac tempestate sinistrum jure possideat” (Patrologia latina, CXLV, facultas nostrae musices tam mirabile susceperit incol. 589 ff., adduced in Molanus, op. cit., col. 236). crementum quod ars nova esse videatur, cuius, ut ita The situation is further complicated by the fact that dicam, novae artis fons et origo apud Anglicos, most symbols, including the typological examples from © quorum caput Dunstaple exstitit, fuisse perhibetur,

the Old Testament, are ambivalent or even multiva- et huic contemporanei fuerunt in Gallia Dufay et

lent. The Slaying of Abel, for instance, could be in- Binchois.” And: ,

terpreted in a negative as well as positive sense, as a | “Tapissier, Carmen, Cesaris manifestation of Original Sin as well as a prefigura- N’a pas long temps sy bien chantérent tion of Christ’s Sacrifice. In the Ghent altarpiece, a Quwilz esbahirent tout Paris group representing this scene could thus be coupled Et tous ceulx qui les fréquentérent. with the figure of Eve and appear on the left of the Mais onques jour ne deschantérent

Lord; in the “Madonna of the Canon van der Paele,” En mélodie de tel chois — ;

it could be coupled with the figure of Adam and ap- Ce mont dit ceulx qui les hanterent —

right Ladv. du Fay et Binchois. pearheon t 6ofyOur Car ilz Que ontG.nouvelle pratique De faire frisque concordance Page 148 En haulte et en basse musique,

1. Here the whole text is inscribed on the moldings En feinte, en pause et en muance;

of the throne of the Virgin. Et ont pris de la contenance

.. ;. Pour quoychant merveilleuse end leur joyeux etplaisance notable.

2. These are — assuming that the throne of Our Angloise et ensuy Dunstable,

Lady is placed in the eastern part, or sanctuary, of the Rend 1 hant 3 ble.” respective structures — the Dresden altarpiece and the

“Paele Madonna” where the whole text is inscribed 2. W. Apel, The Notation of Polyphonic Music, on the frames. In both cases the light comes from the goo—1600, Cambridge, Mass., 1942, p. 403 ff. Cf. his left, and it has been observed that, in the right-hand French Secular Music of the Late Fourteenth Century, wing of the Dresden altarpiece, “it falls on Saint Kath- Cambridge, Mass., 1950, passim, especially p. 17 ff.

4t7

NOTES |

Page 151 tori ed architetti napoletani (Naples, 1742, III, p. 63 f.)

1. C. Sachs, The Commonwealth of Art, New Bernardo de’ Dominici, quoting some notes by the

York, 1946, p. 348. painter Marco Stanzioni (1585-1656), alleges that the

2. Having little or no experience in technical mat- oil technique was practised at Naples as early as 1300 ters, I must refer the reader to the copious literature (witness an “Annunciation” of that time), and that upon the subject. In addition to the titles quoted in two local painters were able to restore Jan van Eyck’s note 1524 (see also Weale-Brockwell, pp. 300-302), “Adoration of the Magi” in oils when it had been the following contributions may be mentioned: E. shipped to Alphonso of Aragon and damaged in Berger, Quellen und Technik der Fresko-, Oel-, und transit. But de’ Dominici is noted for his unreliability, Temperamalerei des Mittelalters, 2nd ed., Munich, and that he can be trusted in this case is all the less 1912; A. Laurie, The Pigments and Mediums of the probable as Alphonso, so far as we know, did not Old Masters, London, 1914 (see his “The van Eyck own an “Adoration of the Magi” by Jan van Eyck. Medium,” Burlington Magazine, XXIII, 1913, p. 72 He did own, however, an Eyckian “Annunciation” ff.); A. Eibner, Entwicklung und Werkstoffe der (see note 27), and it would be a nice irony if this Tafelmalerei, Munich, 1928 (see his “Zur Frage der were the very picture mistakenly referred to by de’ van Eyck-Technik,” Repertorium fiir Kunstwissen- Dominici. schaft, XXIX, 1906, p. 425 ff.); M. Doerner, Malma- 4. Cf. Berger, op. cit., p. 223. terial und seine Verwendung im Bilde, 8th ed., Stutt- 5. Ibidem, p. 44. gart, 1944 (English translation, entitled The Materials 6. Ibidem, p. 223. of the Artist, New York, 1934 and 1949); G. L. Stout, 7. Ibidem, p. 56. “A Study of the Method in a Flemish Painting,” Har- 8. See above, p. 86. vard Technical Studies, 1, 1933, p. 181 ff.; ———, “One

aspect of the So-Called Mixed Technique,” Harvard Page 152 Technical Studies, VU, 1938, p. 59 ff.; D. V. Thomp- 1. Cf. Berger, op. cit., pp. 15 £., 49, 57-

son, Jr.. The Materials of Medieval Painting, New 2. Cf., e.g., Cennino Cennini, Thompson, trans., Haven, 1936; R. G. Gettens and G. L. Stout, Painting ch. CXLIV, p. 89. The suggestion of velvet by means Materials, New York, 1943; A. Ziloty, La Découverte of oil glazes applied to metal foil is beautifully exde Jean van Eyck, Paris, 1947; J. Maroger, The Secret emplified by the hats of St. Barbara’s wicked father Formulas and Techniques of the Old Masters, New in Master Francke’s Barbara altarpiece of ca. 1415 York, 1948; J..G. Lemoine, “Deux Secrets orientaux (Martens, op. cit., pls. X, XII, XIII, XV, XVII).

transmis a4 l’occident; La préparation du bleu d’ou- 3. Reductorii moralis Petri Berchorit Pictavensts tremer; Le vernis des Van Eyck,” Revue Belge dAr- ... Libri quattuordecim, Venice, 1585, XIII, 6, p. chéologie et d'Histoire de l Art, XTX, 1950, p. 175 ff.; 586: “Generaliter igitur pictura & imago primo qulP, Coremans, “Technische Inleiding tot de Studie van busdam lineis protrahitur, tandem coloribus depingide Vlaamse Primitieven,” Gentse Bijdragen tot de tur, colores vero, ut firmius adhaereant & maneant, Kunstgeschiedenis, XII, 1950, p. 111 ff. The impor- oleo temperantur, & sic talibus imaginibus res vere tant article by P. Coremans, R. J. Gettens and J. absentes & praeteritae repraesentantur, & de ipsis rem Thissen, “La Technique des ‘Primitifs Flamands’; I, [should read templum, as in other recensions] sancIntroduction; II, T. Bouts, “Le Retable du Saint Sac- torum superficialiter adornatur. Sic vere vir iustus rement, ” Studies in (Etudes de) Conservation, I, 1952, imago proprie potest dici, quia scil. primo solet per p. 1 ff., became available to me only after this book pictores, id est, per praelatos et praedicatores, bonis had been set in type. I am delighted to see that the documentis protrahi, & sic virtutibus colorari, necnon researches summarized therein have established the in compositione ipsius solet oleum misericordiae apfact that, while the binding medium of the under- poni, ut in statu virtutum possit melius & tenacius painting (préparation) was animal glue, that of the confirmari. Prover. 21 [v. 20]: Oleum in habitaculo visible layers of pigments (couches picturales) had as iusti.” This important passage, apparently unnoticed a base a drying oil (huile siccative), supplemented by in the literature of art, was kindly pointed out to me an unknown substance (x) in glazes; and that it by Professor William S. Heckscher. definitely was “not tempera as has so often been 4. This now discredited view had been defended

claimed.” by several Belgian scholars, notably J. van der Veken

3. Cennino d’Andrea Cennini da Colle di Val (“Experimenten met Betrekking tot de van Eyck-

@’Elsa, Il Libro dell Arte, vol. II, The Craftsman’s Techniek,” Gentsche Bijdragen tot de KunstgeschteHandbook, D. V. Thompson, Jr., trans., New Haven, denis, V, 1938, p. 5 ff.) and L. van Puyvelde: L’Ag1933, Ch. LXXXIX, p. 57. In his Vite de’ pittori, scul- neau Mystique (hereafter quoted as “van Puyvelde,

418

NOTES 151'-154? Agneau’), Paris and Brussels, 1946 (English transla- come down to us (see p. 232 ff.). By “known quantion, The Holy Lamb, New York, 1948), p. 78 ff.; tities transferred to the wrong side of the equation” ——, “Jan van Eyck’s Last Work,” Burlington I mean, specifically, the portraits by Jan van Eyck Magazine, LVI, 1930, p. 1 ff.;-—, “Die restau- which, according to de Tolnay, “unquestionably” rierte Madonna van der Paele des Jan van Eyck,” derive from those by the Master of Flémalle (Le

Pantheon, XIII, 1934, p. 175 ff. Maitre de Flémalle, p. 36) although they differ from

5. K. Lange and F. Fuhse, Déarers schriftlicher them in every respect; Jan’s “Albergati” which “may Nachlass, Halle, 1893, pp. 117, 11; 148, 26; 149, 2; be traced back to an earlier portrait by Campin which

152, 24; 161, 15, 16, 19, 21; 167, 5. For an inventory has not been preserved” (de Tolnay, p. 27); the entry mentioning a picture “sans huelle,” see Weale- donor’s portraits in the Ghent altarpiece supposedly Brockwell, p. 199. For the twelve copies after the anticipated by a portrait which passed from Colnaghi’s

“Notre-Dame de Gréces” ordered from Hayne de and the Harkness Collection into the Metropolitan Bruxelles in 1454 with the specification that they Museum and is, in my opinion and that of other should be executed in oils, see note 297 +. scholars, a work of Roger van der Weyden (de Tol6. Lange and Fuhse, Diirers schriftlicher Nachlass, nay, pp. 58, no. 11, and 4g, note 58, fig. 25; see above, P- 390, note 1. For the cost of ultramarine, see ibidem, p. 292, and our fig. 361); and, most important, the

Pp. 50, 150. “Madonna in a Church” at Berlin the architectural

7. With regard to the three following paragraphs, conception of which, according to de Tolnay, is

I wish to acknowledge my indebtedness to oral infor- based upon an archetype by the Master of Flémalle. mation generously supplied by Mr. H. Lester Cooke, For a more circumstantial critique of this last asser-

Jr., and, quite particularly, Professor Arthur Pope. tion (already doubted by Meiss, “Light as Form and 8. Certain pigments, e.g., azurite, will be less trans- Symbol,” p. 181, note 47), see note 194 7.

lucent when mixed with oil than with other media, 3. H. von Tschudi, “Der Meister von Flémalle,” in this case egg yolk. The distinction between “oil” Jahrbuch der Kéniglich Preussischen Kunstsammand “tempera” painting is therefore not always rel- lungen, XIX, 1898, pp. 8 ff., 89 ff. For further bibliogevant, and on no account can general conclusions as raphy, see de Tolnay, Le Maitre de Flémalle, p. 81 f., to the technique used in a certain picture, let alone to be supplemented by the Art Index, the Bibliographby a certain master or a whole school, be drawn from ical Appendices of the Zeitschrift fiir Kunstgeschichte

a few random samples. (from I, 1932); the Summaries in Oud Holland, LV, 1938, p. 276 f.; LVI, 1939, p. 287; LVII, 1940, p. 90;

Page 153 LXITI, 1948, pp. 128 ff., 213 ff.; LXIV, 1949, p. 156 ff; , 1. This analysis is largely based upon A. Pope, An and H. van Hall, Repertorium voor de Geschiedenis

Introduction to the Language of Drawing and Paint- der Nederlandsche Schilder- en Graveerkunst, The ing, II (The Painter's Modes of Expression), Cam- Hague, 1936-1949; and the Bibliography published, bridge, Mass., 1931, p. 73 ff. (3rd edition, 1949, p. from 1943, by the Rijksbureau voor Kunsthistorische

80 ff.). Documentatie (“Netherlandish Institute for Art His2. Giovanni Santi in his Chronicle of ca. 1485 tory”) at The Hague.

which I quote after H. Holtzinger’s edition (Giovanni 4. This identification was first proposed in Hulin Santi, Federico da Urbino, Stuttgart, 1893, XXII, 16, de Loo’s brilliant article “An Authentic Work by 120, p. 189). In Weale-Brockwell, p. 282, and else- Jaques Daret, Painted in 1434,” Burlington Magazine, where the triplet is reprinted in a slightly different XV, 1909, p. 202 ff.

version and with an obviously erroneous Jodato in- 5. The attribution of the oeuvre of the Master of

stead of lodati. Flémalle to the early phase of Roger van der Weyden, tentatively proposed by several earlier writers (cf. de

Page 154 Tolnay, Le Maitre de Flémalle, p. 41), was systemat-

1. De Tolnay, Le Maitre de Flémalle, p. 12; cf. his ically developed by E. Renders, especially in his two“Zur Herkunft des Stiles der van Eyck,” Ménchner volume publication La Solution du probleme van der Jahrbuch der Bildenden Kunst, new ser., IX, 1932, p. Weyden-Flémalle-Campin (hereafter quoted as “Ren-

| 320 ff. For the apparent preponderance of the Master ders”), Bruges, 1931. It was accepted by J. Lavalleye, of Flémalle’s general influence over that of Jan van “Le Probléme Maitre de Flémalle—Rogier van der

Eyck, see p. 303 ff. Weyden,” Revue Belge de Philologie et d’Historre,

_ 2, By “unknown quantities” I mean the early works XII, 1933, p. 791 ff., and in: S. Leurs, ed., Geschieof Hubert and Jan van Eyck the existence of which denis van de Vlaamsche Kunst, Antwerp and The cannot be denied even if none of them should have Hague, n.d. [1936-1939], I, p. 186 ff.; by M. J. Fried-

419

NOTES lander, Die altniederlindische Malerei (hereafter not overly virtuous Jacqueline has been adduced, quoted as “Friedlander”), Berlin (vols. X-—XIV, together with his own wie d’ordure, as an argument Leiden), 1924-1937, XIV, p. 81 ff. (also, though with against his identification with the Master of Flémalle greater reservation, in his Essays tiber die Landschafts- (Renders, I, p. 103). Needless to say, neither Campin’s

malerei und andere Bildgattungen, The Hague, 1947, nor Jacqueline’s morals disprove his talent; and cerp. 32 ff.); and, on the more than questionable assump- tain it is that the intervention of the reigning princess

tion that the repetition of motifs (“Wiederkehr des in Campin’s behalf bears witness to his reputation Gleichen”) implies the identity of authors, by T. as an artist. Musper, Untersuchungen zu Rogier van der Weyden 2. These well-known documents are reprinted in und Jan van Eyck, Stuttgart, 1948 (hereafter quoted Renders, I, p. 136; for facsimiles of those referring as “Musper”), p. 13 ff. For the opposite view, see to Roger, see zbidem, p. 56 f. especially Rolland, “La Double Ecole de Tournai,” 3. This is explicitly stated in the guild records of p. 296 ff.; A. Burroughs, “Campin and van der 1427 as well as 1432: “Rogelet de le Pasture, natif de Weyden Again,” Metropolitan Museum Studies, lV, Tournay” and “Maistre Rogier de le Pasture, natif de

1933, p. 131 ff. (disproving the identity of Roger Tournay.” and the Master of Flémalle on the basis of X-ray 4. Cf£. Renders, I, p. 116; Hulin de Loo, Biographie analysis); ———, Art Criticism from a Laboratory, Nationale, XXVII, col. 228. Boston, 1938, p. 204 ff. (“The Reality of Robert 5. Cf. Hulin de Loo, ibidem, col. 226. Campin”); L. Scheewe, “Die neueste Literatur uber 6. Renders, I, pp. 64, 171. Musper, p. 37, places so Roger van der Weyden,” Zeitschrift fur Kunst- much confidence in this entirely conjectural identifigeschichte, Ill, 1934, p. 208 ff.; M. Davies, “Na- cation (cf. the following note) that he declares the tional Gallery Notes, III; Netherlandish Primitives: Rogelet de le Pasture of 1427 as nachweisbar (‘“de“Rogier van der Weyden and Robert Campin,” Bur- monstrably present”) at Tournai in 1436-1437. lington Magazine, LXXI, 1937, p. 140 ff. (see also 7. According to Renders, I, pp. 64, 121 f., 133 ff., his National Gallery Catalogues, Early Flemish School, the “Maistre Rogier le paintre” of 1436-1437 must pp. 15 ff., 110 ff.); Hulin de Loo, in: Biographie Na- be identical with the Rogelet de la Pasture of 1427, and tionale de Belgique, Brussels, XXVII, 1938, col. 222 cannot be identical with Rogier de Wanebac, because ff.; W. Schone, Dieric Bouts und seine Schule, Berlin, the latter, though admitted to the guild as “franc 1938, p. 58 ff.; ———, Die grossen Meister der nieder- maistre” on May 15, 1427 (Renders, I, p. 134, under landischen Malerei des 15. Jahrhunderts (hereafter the heading of the “francs maistres paintres et voiriers quoted as “Schéne”’), Leipzig, 1939, p. 25 £.; de Tol- lesquelz ont esté receus en ceste dicte ville de Tournay, “Zur Herkunft des Stiles der van Eyck,” P. 335 nay”) did not bear, in addition, the “honorary” title ff.; ———, Le Maitre de Flémalle, particularly p. 4i of “Maistre” as did only Campin, Rogelet de le Pas-

ff.; W. Vogelsang, “Rogier van der Weyden,” in: ture, Daret, and three others. There is, however, no Niederlindische Maleret im XV. und XVI. Jahrhun- reason why a painter, once having attained the status dert, Amsterdam and Leipzig, 1941, p. 65 ff., espe- of free master, should not be occasionally referred to cially p. 73 ff.; F. Winkler in: Thieme-Becker, XXXV, as “maistre” in later life, no matter whether he pos1942, p. 468 ff., and ibidem, XXXVII, 1950, p. 98 ff; sessed the “titre honorifique” of “Maistre” in addition L. van Puyvelde, The Flemish Primitives (hereafter to the “simple titre patronal” of “franc maistre.” In quoted as “van Puyvelde, Primitives”), Brussels, 1948, fact two other painters demonstrably not possessed of p. 25 f.; Paul Rolland, “Les Impératifs historiques de the “titre honorifique” are occasionally mentioned as la biographie de Roger,” Revue Belge d’Archéologie “maistre” in the documents published by Renders _ et de lHistoire de UV Art, XVIII, 1949, Pp. 145 ff.; and, himself: Nicaise Barat is called “maistre” in the guild

most recently, H. Beenken, Rogier van der Weyden, roll on February 4, 1429 (Renders, I, p. 137) but Munich, 1951. This very interesting book (hereafter never afterwards; and Phelippe Voisin is invariably quoted as “Beenken, Rogier”) appeared too late for called “maistre” in records of payment from 1479 to critical consideration; I must limit myself to brief 1481 but neither from 1474 to 1478 nor from 1484 to

references in the notes. 1504 (Renders, I, pp. 164-167). Renders, p. 119 ff,,

dismisses these two cases as “clerical errors,” that of

Page 155 Barat because the master’s title occurs in the guild 1. Not of her mother, Margaret of Burgundy, as roll but only once; that of Voisin because it occurs

stated in de Tolnay, Le Maitre de Flémalle, p. 13. The quite frequently but only in records of payment inpoint is not without importance because the very fact stead of the guild roll. However, granting that clerical

that Robert Campin was in the good graces of the errors occur (though hardly five times in succession

420

NOTES 154°-160° as in the Voisin case): the “Maistre Rogier le paintre” Maitre de Flémalle, fig. 165. For the Berlin “Adoraof 1436-1437, too, bears his allegedly “honorary” title tion of the Magi” after the Master of Flémalle, see

only in records of payment, and nothing militates Friedlander, II, p. 117, no. 76, pl. LXIV; de Tolnay, against the assumption that it was bestowed upon Le Maitre de Flémalle, p. 59, no. 3; Musper, fig. 13; him in the same casual way as in the case of Phelippe O. Kerber, “Friihe Werke des Meisters von Flémalle Voisin. It is, therefore, by no means “impossible” to im Berliner Museum,” Jahrbuch der Preussischen identify him with the Rogier de Wanebac admitted Kunstsammlungen, LIX, 1938, p. 59 ff.

as “franc maistre” on May 15, 1427. 6. Friedlander, II, p. 118, no. 79, pl. LXVI and

8. See p. 83. XIV, p. 87 f.; de Tolnay, Le Maitre de Flémalle, fig. g. See p. 86. 164; van Puyvelde, Primitives, p\. 32 (erroneously cap-

ro. See pp. 178, 248. tioned as “Adoration of the Kings” and therefore, p. 26, listed as a picture distinct from the four that con-

Page 156 stituted the Arras altarpiece). Daret’s “Nativity” never 1. Renders, I, p. 123; Hulin de Loo, Biographie belonged to the Metropolitan Museum, as often stated,

Nationale, XXVII, col. 223. but passed from the Morgan Collection into the 2. Since Roger’s son Corneille was eight years old Thyssen Collection at Lugano. on October 20, 1435 (Hulin de Loo, Biographie Na- 7. Friedlander, II, p. 108, no. 53; Renders, II, pls. tionale, col. 224), the painter must have married in I-4, 12, 21, 40; de Tolnay, Le Maitre de Flémalle, p. 1426 at the latest. His birth date — 1399 or 1400 — 55, no. 1, figs. 1-3; Schéne, p. 53; van Puyvelde, can be inferred from the fact that he gives his age as Primitives, pl. 24; Beenken, Rogier, figs. 3, 4. For the thirty-five on October 20, 1435, and as forty-three iconography of the picture, see de Tolnay, p. 14 f. some time in 1442 (Hulin de Loo, ibidem). cf. also above, p. 126 f. A specific connection between 3. M. Houtart, “Jacques Daret, peintre tournaisien the Nativity and the concept of Sol zustitiae is stressed du XV® siécle,” Revue Tournaisienne, Ill, 1907, p. in a beautiful sequence ascribed to Herimannus Con34 f. In Renders, I, p. 66, the date of Daret’s entrance tractus:

in Campin’s workshop (1418) is misprinted into 1415. “ipsum solem iustitiae

4. Renders, I, p. 123. See also below, note 165 1. indutum carne

ducis in orbem.” |

Page 157

1. This is the opinion of Rolland, “La Double (Auerbach, op. cit., p. 14). According to G. van Camp, Ecole de Tournai,” p. 299, and Hulin de Loo, Bio- “Le Paysage de la Nativité du Maitre de Flémalle a

graphie Nationale, XXVII, col. 224. Dijon,” Revue Belge d Archéologie et d Histoire de 2. It is true that Martin Schongauer and a painter VArt, XX, 1951, p. 295 ff., the landscape is based on named Nikolaus Eisenberg were enrolled at the Uni- reminiscences of the city of Huy. versity of Leipzig in 1465. But since Schongauer was

about thirty-five years old at that time, and Eisenberg Page 159

even older (about forty-five), it has justly been as- 1. For the influence of this miniature upon the sumed that these two painters were enrolled, not in Dijon “Nativity,” see de Tolnay, Le Maitre de order to study but to do some work for the University Flémalle, p. 13, fig. 153; for the inclusion of the shepwithout being members of the local guild; cf. Thieme- herds, see above, p. 63; for the influence of the Lim-

Becker, X, 1914, p. 430, and XXX, 1936, p. 250. bourg brothers in general, Winkler, Der Meister von 3. See Thieme-Becker, XXXV, 1942, p. 468. Flémalle und Rogier van der Weyden (hereafter quoted as Winkler), p. 141 ff.

Page 158 2. De Tolnay, Le Maitre de Flémalle, p. 13, figs. 1. Hulin de Loo, “An Authentic Work by Jaques 157) 158; ——— “Zur Herkunit des Stiles der van Daret,” passim. Eyck,” passim. 2. Davies, “National Gallery Notes, III,” p. 143. 3. Winkler, p. 141 ff.

3. Friedlander, II, p. 118, no. 78, pl. LXV; de 4. Rolland, La Peinture murale 4 Tournai, p. 42 ff,

Tolnay, Le Maitre de Flémalle, fig. 163; van Puyvelde, pls. XXXV-XXXVIT. Primitives, pl. 31. For Roger van der Weyden’s “Visitation,” see p. 252. Page 160 4. Friedlander, II, p. 118, no. 80, pl. LXVII; de 1. The “Seilern Triptych” was published, as a work

| 421

Tolnay, Le Maitre de Flémalle, fig. 166. of Adriaen Isenbrant (!), in The Illustrated London 5. Friedlander, II, p. 118, no. 81; de Tolnay, Le News, CCI, 1942, August 22, p. 222. The obvious

NOTES , attribution to the Master of Flémalle was first made identity with Rogelet de le Pasture, the pupil of Robpublic by K. Bauch, “Ein Werk Robert Campins?,” ert Campin — cf. p. 254. Pantheon, XXXII, 1944, p. 30 ff., and justly endorsed 2. The interrelation between “Sluterian” sculpture by Beenken, Rogier, p. 20 f., fig. 1. Following Wink- and Early Flemish painting was first stressed by R. ler, Bauch emphasizes the painting’s connection with Josephson, “Die Froschperspektive des Genter Altars,”

the tradition of Malouel and Bellechose; and, follow- Monatshefte fiir Kunstwissenschaft, VII, 1915, p. ing de Tolnay, with the “Brussels Hours” which he, 198 ff.

woes 4s ge 103

however, describes and captions as the “Trés Belles

Heures de Jeanne de France” or “Stundenbuch der Pace 16

KG6nigin Johanna von Frankreich” (presumably be- Coan

cause the Duc de Berry is designated as “Jean de 1. Friedlander, Il, p. 110, no. 58, pl. L; Renders, Il,

France” in Fierens-Gevaert’s publication). pls. 9, 145 de Tolnay, Le Maitre de Flémalle, p. 56, 2. Friedlander, II, p. 108, no. 50, pl. XLII; Musper, no. 5, figs. 9, 10; Schéne, PP: 54 56; Musper, fig. 14.

fig. 1; Kerber, “Frithe Werke des Meisters von 2. Cf. p. 129. A tiny Piece of the footrest is visible

Flémalle.” beneath the left-hand principal of the Virgin S bench, 3. See p. 158. and its edge is marked by a short, horizontal break in

4. See also p. 136. For the picture itself, see Fried- her drapery. D avies (National Gallery Catalogues, lander, II, p. 108, no. sr, pl. XLIV; Renders, II, pls. Early Netherlandish School, p. 17) is thus technically 2, 3, 58; de Tolnay, Le Maitre de Flémalle, p. 55, no. 2, correct in stating that Our Lady “does not appear to

fos - Muspver. figs, 22-2 be sitting on the ground”; but this does not disprove BS: 4s 5 PEE, WES: 23° 25- the fact that she is a Madonna of Humility as main-

Page 161 tained ey Meiss uThs Madonna of Pam p. 1. De Tolnay, Le Maitre de Flémalle, p. 17. 45° A . 6, fig. 144). UDENG UD OTENCE ONE O10, 2. See also p. 106 ff.; our figs. 135-141. PP» 243) 1599 18: N44). , ,

3. Fierens-Gevaert, Histoire de la peinture fla- D 3 Ot de ony ley "Catalogues, Euly’ Me ; io

mande, Il, pl. IX (cf., however, Friedlander, II, p. lan dish School, p. 17 ° 118, no. 82). Maeterlinck, op. cit., ascribes this picture 4. CE. the Madonna in S. Zeno (F. Knapp, Andrea

to the school of Nabur Martins. Mantegna [Klassiker der Kunst XVI ] Stuttgart and 4. The monstrance is the attribute of two saints, Leipzig, 1910, p. 79) and the “Ma donna della Vittoria” St. Clare Assisi and St.of Juliana of mee Christi. the propo inThe the Louvr - (i bidem, 108) " nent ofofthe Feast Corpus latter, how-p. am

, ever, must be excluded because she was an Augustinian nun; she would, therefore, wear a leathern belt, and Page 164 not a cord as does the figure in the Prado panel. 1. The genuine portion of the “Salting Madonna,”

Musper’s designation of the figure as “Santa Fé” (p. with a strip of 3% inches along the right-hand side 58, fig. 25) is without foundation in hagiology. and a strip of 14 inches along the top removed, is illus-

5. Lange and Fuhse, op. cit., p. 48, 5. trated in Davies, “National Gallery Notes, III,” pl. fac6. De Tolnay, Le Maitre de Flémalle, p. 26. ing p. 143. The copy of the whole picture, then owned 7. Frequently illustrated, e.g., Glaser, op. cit., pp. by Mme. Reboux at Roubaix, was published by J. 95, 135, figs. 66, 90; Winkler, Altdeutsche Tafelma- Destrée, “Altered in the Nineteenth Century? A Prob-

lerel, pp. 72, 73. lem in the National Gallery, London,” Connoisseur,

8. See p. 78. LXXIV, 1926, p. 209 ff.

2. The Roubaix copy omits, for example, the tiles

Page 162 of the pavement, the stool, and the studs on the window

1. Cf. G. Ring, “Beitrage zur Plastik von Tournai,” shutters. The border of the Virgin’s robe and the app. 287 f.; P. Rolland, “Une Sculpture encore existante pearance of her prayer book are ruthlessly simplified, polychromée par Robert Campin,” Revue Belge d’Ar- and the city prospect visible through the window is chéologie et de Histoire de P Art, Il, 1932, p. 335 ff; replaced by stained glass.

M. Weinberger, “A Bronze Bust by Hans Multscher,” 3. Friedlander, II, p. 109, no. 54, pls. XLVI, Art Bulletin, XXII, 1940, p. 185 ff., especially p. 188. XLVII; Renders, II, pl. 5; de Tolnay, Le Maitre de For the connection between the “Annunciation” in Flémalle, p. 56, no. 4, figs. 6-8; Schéne, p. 52; Musper, Ste.Marie Madeleine and Roger van der Weyden’s figs. 31-33; van Puyvelde, Primitives, pl. 27; Beenken, “Annunciations” —a connection already observed by Rogier, p. 22 ff., fig. 5. For the furniture, especially Miss Ring and, incidentally, further corroborating his the laver, see G. Schénberger, “The Medieval Laver of

422

NOTES 160°-167’ | the Wetzlar Synagogue,” Historia Judaica, IX, 1947, Eyck; they differ from these only in that the point of p. 95 ff., and J. J. Rorimer, “A Treasury at the vision 1s shifted far to the right. Cloisters,” The Metropolitan Museum of Art, Bulletin, 3. See p. 278. new ser., VI, 1947-48, p. 237 ff., especially p. 254 ff.

Renders’ contention that the fairly literal copy of the Page 167

central panel in the Brussels Museum is based upon a FriedHinder. II | LI: Rend different, allegedly Brabantine model (Renders, II, I * MEAN, Ny P rho in . P’ L Ml o , Pp. 34) is without foundation. For the iconography of FI P iO” e 43> 45» 2. © 7° oe = aire , the central panel, see de Tolnay, p. 15 f., and above, Meer * Pa * 3” 5. O- 3 BBS: ia, Oi cmones i 55 , p. 143; for that of the St. Joseph’s wing, M. Schapiro, B ae fy MBS: 7» 93 Van Puyveide, Primitives, p " 26;

““Muscipula Diaboli,’ The Symbolism of the Mérode “nes Rogier, fg. 7. From the fact that the LiverAltarpiece,” Art Bulletin, XXVII, 1945, p. 182 ff pool copy (which also transmits the grisailles on the Professor Held entertains the interesting hypothesis heer th showing St. John the Baptist and St. J ulian)

that the bearded man conspicuously yet modestly ap- bears the coat-of-arms of Bruges and that a later variapearing behind the donors may be a self-portrait of tion was also produced in this city, it has been inferred

the Master of Flémalle. that the original was at Bruges during the fifteenth and early sixteenth centuries. A literal copy of the central panel is in the “Trés-Belles Heures de Notre

Page 165 Dame” (Durrieu, Heures de Turin, pl. XXI1); for an1. Cf. de Tolnay, Le Maitre de Flémalle, pp. 27 and other, found in the “Arenberg Hours,” see p. 176 f. A

49, note 59; also above, p. 156. The record referring to free variation of ca. 1515-1520, testifying to the Jan’s second stay at Tournai, apparently again con- archaistic movement that may be considered as a nected with a present of wine, was discovered by M. prelude to the Renaissance in the Southern NetherHoutart, Ouel est [état de nos connaissances relative- lands (see p. 350 ff.) and brought to my attention by ment a Campin, Jacques Daret et Roger van der Wey- Professor Jakob Rosenberg, is in the Sjéstrand Collecden? (Communication faite au XXIII® Congrés de la tion at Stockholm. For a drawing of the Good Thief Fédération Archéologique et Historique), Ghent, recently acquired by the Fogg Museum, see J. Rosen-

1914, p. 6. Houtart, unfortunately, does not give any berg, “A Silverpoint Drawing by the Master of details except that the record is found, like that of Flémalle acquired by the Fogg Art Museum,” Art October 18, 1427, in the municipal records and — Quarterly, XIII, 1950, p. 251. In my opinion the differtherefore — unceremoniously refers to Jan van Eyck ences between this drawing and the Liverpool copy

as “Johannes pointre.” are not sufficient to prove that it is an original study

2. For this distinction, see the important article for the picture rather than a very good copy, espeby O. Pacht, “Gestaltungsprinzipien der westlichen cially since its fine quality is marred by certain weakMalerei des 15. Jahrhunderts,” Kunstwissenschaftliche nesses. The rough-hewn stem of the cross overlapping

Forschungen, II, 1933, p. 75 ff. ‘ the left leg, for example, is not shaded whereas the foot and calf are almost overmodeled. As a result the

Page 166 calf seems to be in a plane before rather than behind cL « 55 the stem of the cross, and the three visible parts of the

tT For the P roblem of 9 oblique _ OF two pornt leg — foot, calf and knee—are difficult to connect ue normal a ae oint Perspective, sce Pa notsky, into an organic unit. This would not seem to agree Once More The Friedsam Annunciation, P. 419 with the character of an original study in which the ff., especially p. 421.ff.; O. Pacht, 09further, concept of“Jean theFouwhole

would precede that of the parts.

quet: A Study of His Style,” Journal of the Warburg Perhaps the most significant example of the use

and Courtauld Institutes, IV, 1940-41, p. 85 ff.; and, Pe eeriaps tle m 18 . 5 P Lt

. . . of gold ground as an “iconographic” device is En-

most recently, J. White, op. cit., especially Journal of ; , on of the Virein”

the Warburg and Courtauld Institutes, XII, 1949, p. 65. guerrand Quarton . famous Coronat ton of the Nirgin 2. De Tolnay, Le Maitre de Flémalle, p. 31, confuses in Villeneuve-lés-Avignon (C. Sterling, Le Couronneobliquity with ~ccentricity when he says that, after the ment de la Vierge p ar Enguer rand Q uarton, Paris, “Madonna in a Church” and the Washington “Annun- 1939). Here the main scene 1S set out against a pano- ciation,” the perspective of Jan van Eyck’s interiors, rama, inspired by St. Augustine s City of God, which, “qui était jusqu’ici oblique, devient maintenant fron- according to the very circumstantial contract of 1453,

tale.” The interiors of the “Madonna in a Church” comprises four zones: Hell and Purgatory, the earth, and the Washington “Annunciation” (cf. p. 193 f.) the sky (chiel), and Paradise. The “sky” is indicated by are just as frontal as in all the later pictures by Jan van a light blue expanse overhung with dark blue clouds;

423

NOTES the “Paradise,” surmounting this naturalistic sky, is bischéfliche Dom- und Diézesanmuseum in Wien,

indicated by gold. Vienna, 1939, fig. 1; Stange, op. cit., II, fig. 28.

Page 168 Page 171

1. In fact, Musper, p. 26, emphatically declares the 1. Cf. J. H. Lipman, “The Florentine Profile PorFrankfort Thief to be the Good Thief, and I should be trait in the Quattrocento,” Art Bulletin, XVIII, 1936,

most ready to agree were it not for the fact that the p. 54 ff. “Bad Thief” cannot possibly appear on the right of 2. Paris, Bibliothéque Nationale, ms. fr. 12420, fol. Christ and in conjunction with the donor. The tortured tor v.; Martin, La Miniature francaise, pl. 86, fig. pose of the Good Thief, his head upraised and his eye CXIII. This miniature is of particular interest in that lifted to Heaven (cf. Luke XXII, 43), may be ex- it shows that the idea of a self-portrait painted — not plained as an exaggeration of the attitude exemplified, merely drawn —with the aid of a mirror was not e.g., by the Crucifixion miniature in the “Boucicaut unheard-of at the very beginning of the fifteenth

Hours,” fol. 105 v. (Martens, op. cit., fig. 38). century.

2. Winkler, p. 141 ff. 3. Sterling, Les Primitifs, fig. 39; ———, Les Pein-

3. See note 167 *. tres, pl. 18; Lemoisne, op. cit., pl. 42; Evans, Art in

4. Vogelsang, “Rogier van der Weyden,” p. 75. Mediaeval France, fig. 180; Ring, A Century, Cat. no. 63, pl. 26. A copy after this portrait was painted into

Page 169 the Horae, Paris, ms. lat. 1156 A, fol. 61 (illustrated, 1. Friedlander, II, p. 111, no. 60, pls. LII-LIV; e.g., in Martin, Les Joyaux, fig. LXXXIX) when this Renders, II, pls. 3, 12-14, 44, 50, 53; de Tolnay, Le manuscript was reworked some time after 1434 (cf. Maitre de Flémalle, p. 57, no. 10, figs. 13-15; Schone, Heimann, op. cit., p. 13 f.). p. 60; Musper, figs. 9-12; van Puyvelde, Primitives, 4. See p. 82. An interesting problem is posed by two pl. 25; Beenken, Rogier, fig. 6 (detail of the Madonna). profile portraits of Wenceslas of Brabant (1337-1383),

Though Flémalle, situated between Liége and Huy, transmitted only through copies; cf. F. Lyna, “Uit en did not possess an abbey as stated in the earlier litera- over Handschriften, II, Portretten van Wenceslaus van

ture, it did possess a priory of the Order of the Knight Brabant,” Kunst der Nederlanden, 1, 1930-31, p. Templars which, after the dissolution of this Order in 321 ff. One of them shows the prince as a very young 1314, was turned over to the Order of St. John (van man, and its original can thus be dated in 1354-1355; Camp, op. cit). It should be noted, however, that the the other, at the age of about forty, which would date provenance of the three Frankfort panels from Flémalle the original close to the year of his death. In both

is not supported by documentary evidence. cases, however, the costume conforms to the fashion of

2. See p. 266. ca. 1400-1410 rather than to that of the fourteenth

3. Friedlander, II, p. 112, no. 66, pl. LX; Renders, century, and the later of the two portraits not only II, pls. 8, 10-13, 16, 28; de Tolnay, Le Maitre de includes the right hand (which in itself would be unFlémalle, p. 57, no. 8, fig. 18. Although the proportions —usual in a portrait of ca. 1380) but also shows this

of the panel are evidently ca. 5:3 rather than ca. 5:2, hand holding a pink, a motif which, according to its dimensions are invariably given as 48 cm. by 21 Lyna himself, can not be shown to occur until the cm., even in the catalogues of the Museum itself. I am fifteenth century. We must, therefore, consider the much indebted to M. Louis Malbos, Director of the possibility that the copies which have come down to Musée Granet, for kindly informing me that its real us were made, not from the actual originals but from

dimensions are 48 cm. by 31.6 cm. modernized replicas of ca. 1400-1410 — replicas which

! may have been made for one of those portrait collecPage 170 tions which, as we happen to know, were formed by 1. For the development of portraiture in Early princes of this time (cf. note 291 *).

Flemish painting, see G. Ring, Beitrige zur Geschichte 5. See Panofsky, Albrecht Diirer, I, p. 236 f.

niederlandischer Bildnismalereit im 15. und 16. Jahr- 6. See note 82°. hundert, Leipzig, 1913; cf. also H. Keller, “Die 7. Renders, II, p. 86, pl. 56; Cornette, op. cit., fig. 2; Entstehung des Bildnisses am Ende des Hochmittel- P. Wescher, “Das hofische Bildnis von Philipp dem alters,” Rdmisches Jahrbuch fiir Kunstgeschichte, Il, Guten bis zu Karl V, I,” Pantheon, XXVIII, 1941, 1939, p. 227 ff.; J. Lavalleye, Le Portrait au XV™é p. 195 ff.; ———-, “Fashion and Elegance at the Court siécle, Brussels, 1945; A. H. Cornette, De Portretten of Burgundy,” CIBA Review, LI, July 1946, p. 1841 ff.

van Jan van Eyck, Antwerp and Utrecht, 1947. (see also p. 291). H. Beenken, “Bildnisschopfungen 2. F. Dworschak et al.. Fuhrer durch das Erz- Hubert van Eycks,” Pantheon, XIX, 1937, p. 116 ff.

424

NOTES 168'-174° and Hubert und Jan van Eyck (hereafter quoted as Page 173 “Hubert und Jan”), Munich, 1941, p. 16, fig. 23, has 1. This idea may have been developed from the ascribed the Antwerp portrait of John the Fearless to familiar motif of testing the temperature of the bath Hubert van Eyck. So far as I know this attribution has water (see note 1275), which had occasionally been not been232“). | yecepre’of by any other scholar (seeBibliothéque below, transferred toNationale, the Virgin Maryms. herselflat. as in10538, the Books note Hours, Paris, 8. Indubitably original are the portraits of a Gentle- fol. 63, and Walters Art Gallery, ms. 260, fol. 6, V.

man and His Wife in the National Gallery at London: (our figs. 72 and 73). Friedlander, II, p. 109, no. 55; Renders, II, pl. 51; de 2. Friedlander, I, p. 112, no. 67, pls. LXVIII, Tolnay, Le Maitre de Flémalle, p. 58, no. 13, figs. 26, LXIX; Renders, II, pls. 17-23, 26-28, 45, 55, 56; de 27; Schone, pp. 58, 59; Musper, figs. 35, 36; van Puy- Tolnay, Le Maitre de Flémalle, p. 59, no. 16, figs. 22, velde, Primitives, pls. 28, 29; Davies, National Gallery 23; Schéne, p. 61; Musper, figs. 42, 43; Beenken, Catalogues, Early Netherlandish School, p. 18 £. (our Rogier, figs. 8, 9. figs. 217, 218). The Portrait of a Musician, formerly in 3. Friedlander, II, p. 114, no. 72; Renders, II, pl. 19 the Chillingworth Collection and now owned by Mrs. (middle section inserted between the two wings of the Nagomn at New York (Friedlander, II, p. 111, no. 63, “Werl altarpiece”); de Tolnay, Le Maitre de Flémalle,

pl. LVI, and XIV, p. 87 f.; Musper, p. 23; J.-A. Goris, p. 60, no. 7, fig. 28; Musper, fig. 22. } Portraits by Flemish Masters in American Collections, 4. See p. 255 f. New York, 1949, fig. 5; our fig. 219) also gives the 5. Gerda Boethius, Bréderna van Eyck, Stockholm, impression of authenticity. For the contested portraits 1946, fig. 47.

and copies, see notes 175 ®11, 6. See above, p. 144. g. See p. 92. Page 174

Page 172 1. See p. 33 see also the “Bathing Scene” referred 1. Friedlander, II, p. 112, no. 65; de Tolnay, Le to peiows n ooee . Maitre de Flémalle, p. 57, no. 7, fig. 17. See also th 2. see Pp. 202 i.

folle wing Coe en eB 3. Friedlinder, II, p. 109, no. 56, pl. XLVIII; 2. Friedlander, II, p. 111, no. 64, pl. LVII; Rend- Renders, II, p Pa de Tolnay, re Maire ae sama’ ,

ers, II, pls. 16, 28; de Tolnay, Le Maitre de Flémalle, p. 58, no. 125 1B 20. An intercessional diptych of the

p. 57, no. 6, fig. 16; Musper, fig. 29. While Fried- same tye 7 presented to Pope Clement vi by Eudes

lander gives identical measurements for the two Lenin- . use ’Michtl Hie ma Par Il. P whe grad pictures (36 cm. by 25 cm.), the Catalogues of ° ioe C ichel, f21stoire Ge fart, d , fs P hone A

the Hermitage state the dimensions of the “Trinity” as 59)+ ince ‘ ‘" painting 1s bh ceruen i fe dify ltte d 4 36 cm. by 25 cm. and those of the Madonna as 34 cm. miniature or the seventeent century, 11s Cinicult Co Ce-

ar gg 2 cide into whether diptychde was of Avignonese workman(misprinted “44the Tolnay) by 24 _ .fran.cm.” ship as in conjectured by L. Dimier, Lescm. Primitifs

The panels therefore ; we .;may ¢ais, Paris,have n.d.,been p. independent 28, or rather

a product of the Francocompositions rather than parts ofFlemish a diptych or polyp; . Lae school as suggested by Sterling, Les Primitifs, tych. At some later date, however, they were enlarged , ; ; ee adorned p. 26 ff.,with fig. an 12.identical For Roger van of derfairly Weyden’s transby strips pattern , . ; , ; formations of the Flémallesque rustic (Russian?) workmanship which have been 7 diptych scheme, see included our figs. 210 and the 211.Berlin For reminiscences « » 398) Leyin; ;peculiar 4. Apart from “Calvary” (fig. of. the Virgin’s gesture, cf., for instance, such ; yee er which willasbe discussed later (p. Flight 298 f.)into and; ;the disparate examples Patinir’s “Rest on the ; 3I Por%9 or ; , ; trait of a Gentleman mentioned in note 154°, Egypt” atunable Berlinto(illustrated, e.g.,“St. in George Winkler, Dre al, am «9 : oe . Q accept the little on Horseback altniederlindische Malerei, p. 215, fig. 131); a “Holy 6 d by the heirs of Lady Evelyn M

. . . p- 294; note 294 2.

, Family” by Garofalo adduced in Friedlander, II, p. iy g- 273) \(Friedlin len XIV. Nachtrag > 38. pl VL.

sa no. 178 as posh rein 2 eee Tank by Renders, II, pls. 6-8; de Tolnay, Le Maitre de Flémalle,

oger van der Weyden, and the birth of jupiter p. 57, no. 9, fig. 19; Musper, fig. 27; Beenken, Rogier, - ° alin g the edd onal infence of th ‘Birth pP. 29 f., 33 £., hg: 12). ine very disproportion ot the . john in the “lurin-Milan Flours’) in a Kecuer orse, as compared to the diminutive but perfectly des histoires de Troie illuminated by Pierre Gousset proportioned animals in the Dijon “Nativity,” the in 1495 (Paris, Bibliothéque Nationale, ms. fr. 22552, “Salting Madonna” and the “St. Barbara” (cf. Rend-

fol. 10). ers, IT, pls. 4, 9, 26), makes the now fashionable attri425

NOTES bution of the picture to the Master of Flémalle — or, fig. 19. This picture, formerly in the Weber Collection for that matter, to Roger van der Weyden, as assumed at Hamburg, passed through the Kling Collection at

by Friedlander, Beenken, and Hulin de Loo, Biog- Stockholm (Friedlander, XIV, p. 87 f.) into the Dr. raphie Nationale, XXVII, col. 233 — as hard to swallow E. Schwarz Collection at New York. After a recent

as its former ascription to one of the van Eycks cleaning, W. R. Valentiner, “Rogier van der Weyden; (Weale-Brockwell, p. 161). M. Devigne, “Notes sur the ‘Mass of Saint Gregory,” Art Quarterly, VIII, l’exposition d’art flamande et belge a Londres,” I, 1945, p. 240 ff., declared it to be an original and, since Oud Holland, XLIV, 1927, p. 65 ff., quite rightly felt he accepts the Master of Flémalle’s identity with that the picture belongs to the “entourage” of the Roger van der Weyden, ascribed it to the latter, dating Master of Flémalle rather than to the Master himself. it about 1430. An impressive Madonna with St. John the Baptist, St. 5. Friedlander, II, p. 116, no. 75; de Tolnay, Le Anthony, St. Catherine and St. Barbara, recently ac- Maitre de Flémalle, p. 60, no. 8; Musper, fig. 2.

quired by the Kress Foundation, is fairly close to the 6. De Tolnay, Le Maitre de Flémalle, p. 60, no. 9; : Master of Flémalle but evidently not executed by him- Musper, fig. 4. self; it is justly ascribed to his studio in: Paintings and 7. J. Maquet-Tombu, Colyn de Coter, peintre bruSculpture from the Kress Collection, Acquired by the xellois, Brussels, 1937, p. 18 ff., pl. I; cf. D. Klein, Sz. Samuel M. Kress Foundation, 1945-1951, Washington, Lukas als Maler der Marita, Berlin, 1933, p. 40 ff. 1951, no. 74. The “Dream of Pope Sergius and Conse- 8. Friedlander, II, p. 111, no. 61, pl. LV; Renders,

cration of St. Hubert,” formerly in the Mortimer L. II, pl. 49; Beenken, Rogier, fig. ii. The technique of Schiff (not Friedsam) Collection at New York and this excellent picture, revealed by X-ray photographs, now in the von Pannwitz Collection at Haartekamp is so different from that of other works by the Master

near Haarlem, is by a follower of Roger van der of Flémalle that I tend to agree with de Tolnay, Le

Weyden; cf. note 298 1. Maitre de Flémalle, p. 60, no. 10, in considering it as

a copy. It is, however, accepted as an original work

Page 175 of the Master of Flémalle, not only by Friedlander 1. De Tolnay, Le Mattre de Flémalle, p. 59, no. 17, and Renders but also by Schéne, p. 57; Musper, fig. fig. 24; The Worcester-Philadelphia Exhibition of 35 Cornette, op. cit., fig. 25; and van Puyvelde, PrimiFlemish Painting, no. 5. I have been informed that tives, pl. 30. Burroughs, Art Crincism from a LaboraDr. de Tolnay himself no longer considers the picture Lory, P. 226, fig. 99 ascribes it to Roger van der Weyden.

as an original. The curious idea of placing the moon Presupposing the Master of F lémalle s identity with

on the grass is anticipated, for example, in a Dutch Roger, W. R. Valentiner, “Mino da Fiesole, Art Horae variously dated about 1425 and about 1435: Quarterly, VII, 1944, p. 150 ff., also attributes the The Hague, Royal Library, ms. 131.G.3, fol. 14 (By- picture to the latter. But since he accepts the longvanck and Hoogewerff, La Miniature hollandaise, pl. 6; discarded identity of the sitter with the equally fat

cf. Byvanck, Min. Sept., p. 139). but considerably younger Niccolo Strozzi (died 1469) 2. Friedlander, II, p. 115, no. 74 C (with illustra- as portrayed in Mino da Fiesole’s bust of 1454, he is tion of an equally good replica, then in trade, on compelled to date it in 1450 when Roger was in Italy. pl. LXIII); de Tolnay, Le Mattre de Flémalle, p. 50, This, of course, would be impossible even if the atno. 1. The New York copy is illustrated in Winkler, tribution tO Roger were tenable. pl. III, and Wehle and Salinger, op. cit., p. 27 f. (with 9: Friedlander, II, p. 111, no. 62; de Tolnay, Le further references); it should be noted, however, that Maitre de Flémalle, p. 60, no. 11; Musper, fig. 20 the Lyons Madonna here referred to in this connection (here accepted as an original). It seems, however, to as a work of Quentin Massys is only a good copy after be a school picture reflecting the style of the Master an original now in the Collection of Count Seilern at of Flémalle and was, in fact, ascribed to Jacques Daret

London; see L. (von) Baldass, “Gotik und Renais- by Burroughs, Art Criticism from a Laboratory, p. sance im Werke des Quinten Metsys,” Jahrbuch der 215, fig. 93> Kunsthistorischen Sammlungen in Wien, new ser., 10. Friedlander, II, p. 113, no. 69; Renders, II, pl.

VII, 1933, p. 137 ff., pl. XI. For other copies of and 57: oo

variations on the “Madonna in an Apse,” see p. 352 f. TI. Friedlander, II, p- 109, no. 57, pl. XLIX (here

3. Friedlander, II, p. 113, no. 71, pl. LXI; de accepted as an original); de Tolnay, Le Maitre de | Tolnay, Le Maitre de Flémalle, p. 60, no. 6; Musper, Flémalle, p. 60, no. 12; The Worcester-Philadelphia

fig. 15. , Exhibition of Flemish Painting, no. 3 (here accepted

4. Friedlander, II, p. 114, no. 73 a, pl. LXII; de as an original), and Masterpieces of Art (Catalogue Tolnay, Le Maitre de Flémalle, p. 60, no. 5; Musper, of European Paintings and Sculpture from 1300-

426

NOTES 174*-178° 1800), New York World’s Fair, May to October, 1939, derives the miniature in the “Arenberg Hours” from no. 243, pl. 48 (here accepted as an original). There a Flémallesque model but fails to connect it with the

is no evidence for the assumption (see, e.g., Voge, David picture. op. cit., p. 134) that the picture is meant to represent P

a Sibyl. For the portrait of a gentleman now identified ag¢ 177 Soe poe

as Guillaume Fillastre, which was at times ascribed 1. In this respect Friedlander’s view, referred to in to the Master of Flémalle, see p. 292; note 292 °. the preceding note, is perfectly justifiable.

12. See p. 175. 2. L. (von) Baldass, Ein Frihwerk des Geertgen

13. Friedlinder, II, p. 108, no. 52, pl. XLV; de tot Sint Jans und die hollandische Malerei des XV.

Tolnay, Le Maltre de Flémalle, p. 59, no. 4 (as a Jahrhunderts, Jahrbuch der Kunsthistorischen Sammcopy after a lost original). For the pastiche character lungen in Wien, XXXV, 1920/21, p. 1 ff. of the composition, see Panofsky, “The Friedsam An- Page 178

nunciation,” p. 446, note 25; Robb, op. cit., p. 517; 1. As to literature, I must refer the reader to the

note 123. , bibliographies in Weale-Brockwell, p. 281 ff. (up to 1912) and de Tolnay, Le Maitre de Flémalle, p. 82 Page 176 ff. (up to 1937-1938), supplemented by L. Scheewe 1. Friedlander, II, p. 117, no. 77; de Tolnay, Le (not “Scheeve”), Hubert und Jan van Eyck, thre

Maitre de Flémalle, p. 59, no. 2 (as a copy after a lost literarische Wirdigung bis ins 18. Jahrhundert, The original). For the pastiche character of the composi- Hague, 1933; ———, “Die Eyck-Literatur (1932tion, see Davies, National Gallery Catalogues, Early 1934), Zettschrift fiir Kunstgeschichte, Il, 1934, p.

Netherlandish School, p. 19 ff. 139 ff.; and the Bibliographical Appendices and Sum-

2. Schéne, “Ueber einige niederlandische Bilder, maries referred to in note 154%. The most recent vor allem in Spanien,” Jahrbuch der Preussischen monograph, L. Baldass’ extremely conscientious and Kunstsammlungen, LVII, 1937, p. 153 ff., fig. ro. scholarly Jan van Eyck, London and Toronto, 1952 This picture is, I believe, no closer to the Master of (hereafter quoted as “Baldass, Eyck”), appeared when Flémalle than many other German compositions of my own manuscript was in the hands of the publishers. about the same period, for example — as pointed out I must limit myself to some brief references, particu-

to me by Dr. Guido Schonberger—a “Rest on the larly to the illustrations the captions of which will Flight into Egypt” by the Master B.M., illustrated in guide the reader to Mr. Baldass’ Catalogue and hence Lehrs, op. cit., VI, pl. 153, and M. Weinberger, “Zu to the relevant passages of his text. For literature con-

Diirers Lehr- und Wanderjahren,”’ Ménchner Jahr- cerning the Ghent altarpiece and works variously buch der Bildenden Kunst, new ser., VI, 1929, p. ascribed to Jan and Hubert, see the notes of the follow-

124 ff., especially p. 133, fig. 9. ing chapter (pp. 205-243).

3. See p. 298 ff. 2. This assumption would be in harmony with the 4. See p. 103 f. date, 1414, allegedly inscribed on the “Moorish King 5. Byvanck, Min. Sept. pl. XLVI, fig. 131; Hooge- or Prince” which was owned in 1682 by Diego Duarte

werff, I, fig. 236; de Wit, loc. cit., fig. 5. of Antwerp (see Weale-Brockwell, p. 199 f. and, more 6. De Wit, loc. cit., fig. 6; Hoogewerff, I, fig. 233. recently, J. Duverger, “Jan van Eyck voor 1422; In inserting the Thieves from the Master of Flémalle’s Nieuwe Gegevens en Hypothesen,” Handelingen van “Descent from the Cross” into an altogether different het 3° Congres voor Allgemeene Kunstgeschiedenis, composition, this miniature parallels an engraving by Ghent, 1936, p. 13 ff., especially p. 16 f.). However,

the Master of the Banderoles where the same figures since this picture has not come down to us, we are serve to supplement a composition derived from the unable to decide whether it was in fact a work of Jan great “Descent” by Roger van der Weyden (see note van Eyck and, if so, bore a date as stated. In a docu-

266%). For the motif of the iron bar to which the ment of 1436-1437, quoted by Duverger, p. 16, arms of one of the Thieves are fastened, see note 118 +. mention is made of “Jan en Margriete van Eycke, 7. Friedlander, VI, p. 86 (deriving the composi- Kinderen Willems van Eycke.” If this record could be tion from Jan van Eyck), pls. LXXXITII-LXXXV. presumed to refer to the great painter — which, howF. Winkler, “Neues von Hubert und Jan van Eyck,” ever, would be “precocious to assert” —it would bear Festschrift fiir Max J]. Friedlander zum 60. Geburts- witness both to the actual existence of his and Hubert’s tage, Leipzig, 1927, p. g1 ff., conjectures a derivation elusive sister Margaret (Weale-Brockwell, pp. 22, 286

from “either Hubert van Eyck or the Master of f.) and to the Christian name of their father. Flémalle” (p. 100) but does not arrive at a decision. 3. As Joseph (not Frédéric) Lyna, “Les Peintres Hoogewerff, I, p. 450, on the other hand, correctly van Eyck et Ecole de Maestricht,” Paginae Biblio-

427

NOTES graphicae, I, 1926, p. 114 ff. (cf. de Tolnay, Le Maitre Koninklijke Vlaamsche Akademie voor Taal- en de Flémalle, pp. 18 and 47, note 34), has shown, the Letterkunde, Verslagen en Mededeelingen, 1940, p. name “van Eyck” occurs about thirty times in 17 ff. Van Puyvelde believes, not without reason, that Maastricht documents prior to 1400. It should be the secret missions of 1426, too, were undertaken for

noted, however, that the Little Chapter Haec est matrimonial purposes. speciosior (see above, p. 148), which has been adduced 2. For the contention that this mission brought Jan as peculiar to the use of Maastricht, was read in the van Eyck to Prague, see note 193 ?.

same context (Feast of the Assumption, Lauds) in 3. Letter of March 12, 1435 (Weale-Brockwell, at least seven other localities: Bruges (Breviary of St. Document 24, p. xxxvi). The original text is reproDonatian, see Weale-Brockwell, p. 123, note 1), Treves, duced in W. H. J. Weale, Hubert and John van Eyck, Louvain (Breviary of St. Peter’s), Brussels, St-Omer, Their Life and Work, London and New York, 1908,

Liége, and Mons (Breviary of Ste.-Waudru). I am p. xlii f., a book still indispensable for documentary deeply grateful to Father Paul Grosjean, S.J., for his evidence and historical details. great kindness in verifying the statement in Weale- 4. See note 2/, Brockwell and, in addition, informing me of the six

other occurrences. Thus the hypothesis that the van Page 180 Eyck brothers were natives of Maastricht rather than 1. Vasari, Le opere di Giorgio Vasari, G. Milanesi, Maaseyck rests mainly on the fact that in the Brussels ed., vol. Il, p. 565 f.: “. . . he began to try out various accounts of Philip the Good, year 1435-1436, men- kinds of colors and, being fond of alchemy, to play tion is made of a “Johannes van Tricht, schilder mijns around with many oils in order to make varnishes genedigen heren” (Duverger, op. cit. p. 15 £5 de and other things according to the fancy of such inTolnay, Le Maitre de Flémalle, p. 18). It seems, how- | quiring minds as his was. Now, on one occasion, ever, not very probable that a world-renowned painter, when he had gone to very great trouble to paint a constantly referred to by the ducal clerks as Johannes, panel and completed it with the utmost diligence, he or Jehan, “van Eyck” (albeit in various spellings) varnished it and put it in the sun as is the custom. since 1425, should suddenly, and only once, appear But, whether the heat was too violent, or perhaps under a different name; it is as if the Chancery of because the wood was badly joined or not sufficiently Maximilian I would suddenly, and only once, refer to seasoned, said panel came badly apart at the joints.

, Albrecht Durer as “Albrecht von Nuremberg.” We Therefore, seeing what harm the heat of the sun had may well ask whether the painter Jan van Tricht done to him, Jan decided to fix it so that the sun

might not be an entirely different personality. As to would never again wreak such havoc with his works. the color notes on Jan’s drawing of Nicholas Cardinal And so, since he was no less disgusted with the varnish Albergati (see p. 200), their dialect agrees, according than with working in tempera, he began to think how

to all experts, with that of the Meuse region; but he might find a kind of medium that would dry in the there is, of course, no possibility of distinguishing be- shade without his placing his pictures in the sun. tween two places only about eighteen miles apart. On Finally he discovered that, among all the oils which the other hand, a special connection between Jan’s he had tried, linseed and nut oil dried better than all family and Maaseyck may be inferred from the fact others. These, then, boiled together with other mixthat his daughter, Livina, entered the Convent of St. tures of his, gave him the varnish which he — and, for Agnes in this town in 1450 (Weale-Brockwell, Docu- that matter, all the painters in the world — had long ment 36, p. xxxix ff.) and that he himself had donated wished for. After having experimented with many

, a chasuble to this convent (zbidem, Document 37, other things, he saw that the mixing of the pigments

p. xl). with these kinds of oil gave them a very strong co-

4. This is unequivocally stated in the obituary of hesion; and that, when dry, [this binding medium] St. Donatian at Bruges (Weale-Brockwell, Document was not only absolutely unafraid of water but also 35, Pp. xxxix); the burial took place — or, at least, was set the color afire to such an extent that it imparted paid for—on the very same day (Weale-Brockwell, to it a radiance by itself, without any varnish. And Document 30, p. xxxviii). On what grounds Schone, what appeared to him the most wonderful thing was p. 23, dates J an’s death at the end of June, I have been that it blended (si univa) infinitely better than tem-

unable to discover. pera.” It is amusing that Pliny, allegedly a source of

inspiration to Jan van Eyck (see again note 2°) heaps

Page 179 his most lavish praise upon an analogous invention 1. For Jan’s voyage to Portugal, see L. van Puy- of Apelles: a varnish so subtle that it “cum reper-

velde, “De Reis van Jan van Eyck naar Portugal,” cussum claritatis colorum omnium excitaret custodi-

428

NOTES 178*-185° retque a pulvere et sordibus, ad manum _ intuenti Musper, figs. 160, 161; van Puyvelde, Primitives, pls. , demum appareret, sed et luminum ratione magna, ne 12, 13 (in color); Baldass, Eyck, pls. 120-125, fig. 57. claritas colorum aciem offenderet veluti per lapidem For full documentation see A. Janssens de Bisthoven

specularem intuentibus et e longinquo eadem res and R. A. Parmentier, Le Musée Communal de Bruges nimis floridis coloribus austeritatem occulte daret” (Les Primitifs flamands, Corpus de la Peinture des

(Natural History, XXXV, 97). Anciens Pays-Bas Méridionaux au Quinziéme Siécle, 2. Cf. C. Wolters, Die Bedeutung der Gemiilde- I), Antwerp, 1951, p. 36 ff.; it must be added, how-

durchleuchtung mit Réntgenstrahlen, Frankfort, 1938, ever, that three American scholars, Messrs. David G. p. 25 f., fig. g—12. It is, however, difficult to see why Carter, Howard Davis and John McAndrew, have

Wolters speaks of the Eyckian method in somewhat recently made the independent and most interesting disparaging terms. That Jan van Eyck, in contrast to observation that the figure of the painter, clad in red Roger van der Weyden, systematized the previously hose, a long, dark coat and a red turban, is mirrored rather arbitrary use of lead white with an eye on lumi- in the buckler of St. George. A dermatologist, Dr. nosity rather than “design” does not imply a lack of J. Deneux, Rigueur de Jean van Eyck, Brussels, 1951

understanding for the latter. (see also E. Michel, Revue des Arts, I, 1951, p. 147 ff.) claims that the face of the Canon has lost certain

Page 181 details, indicative of senile degeneration, on the occa1. See note 62%. sion of the recent cleaning. For the iconography of the

Page 182 4. See note 1472. picture, see p. 140.

1. See Pope, op. cit., p. 100 ff., caption of pl. LI

(3rd edition, p. 97, caption of pl. LXIII). Page 184 2. For the contested early works, some of which can 1. Weale-Brockwell, p. 82 ff.; Friedlinder, I, p. 100, hardly be surpassed in dramatic expressiveness, see pp. pls. XLI, XLII; de Tolnay, Le Maitre de Flémalle, p.

235, 238, 245 f. ; , 65, no. 3, figs. 74-83; Beenken, Hubert und Jan, p.

3. De Tolnay, Le Maitre de Flémalle, p. 31 f. 20 ff, figs. 28-30, 32, 33; Musper, figs. 125-127; van

Page Puyvelde, Primitives, 17; Baldass, Eyck, 105183 107. For oe the iconography ofsee the pict .pl.picture, p. pls. 140. 1. Weale-Brockwell, p. 109 ff.; Friedlander, I, p. 2. Paris, Bibliothéque Nationale, ms. fr. 259, fol.

53, pl. XX; de Tolnay, Le Maitre de Flémalle, p. 66, 253; according to a kind communication of M. Jean no. 4, fig. 84; Beenken, Hubert und Jan, p. 58 f., fig. Porcher, the miniature, illustrating the First Book 83; Musper, fig. 1545 Baldass, Eyck, pl. 104, fig. 52. of the Second Decade, represents the Coronation of See also Masterpieces of Art . . . New York World's Hannibal as “Emperor of Carthage” as described in

Fair, 1939, no. 113, pl. 46. The unusual placement the Fifth Chapter of that Book. and somewhat faulty spelling of the inscription has 3. Weale-Brockwell, p. 145 ff.; Friedlander, I, p. been plausibly explained by the conjecture that it was 97, pl. XLII; de Tolnay, Le Maitre de Flémalle p. transferred from its normal place, the frame, into 68, no. 9, fig. 105; Beenken, Hubert und Jan, p. 72 the picture itself. For the iconography of the picture, ff., figs. 95, 98; Musper, fig. 158; Baldass, Eyck, pl.

see above, p. 144. . 126. The picture, which bears its name from the fact

2. Whether or not this substitution of red for blue that it belonged to the Duke of Lucca prior to being was prompted by symbolic in addition to “esthetic” acquired by King William II of Holland and hence reasons it is difficult to decide. In the works of Roger the Stadelsches Kunstinstitut, may well have been van der Weyden (as also in the beautiful “Pretas” commissioned by a member of the Lucchese colony in the Frick Collection and the Fogg Museum) the at Bruges of which Giovanni Arnolfini, the faithful red robe of the Virgin Mary has certainly a Passional client of Jan van Eyck, was the most prominent

significance; cf. p. 261. member. ° 3. Weale-Brockwell, p. 120 ff.; Friedlander, I, p.

58, pls. XXIII, XXIV; de Tolnay, Le Maitre de

Flémalle, p. 67, no. 7, figs. 94-100 (it should be noted, Page 185 ,

however, that the coats-of-arms of the Carlyns family, 1. Weale-Brockwell, p. 129 ff.; Friedlander, I, seen in the upper right-hand and lower left-hand p. 62; de Tolnay, Le Maitre de Flémalle, p. 67, no. 8, corners of the frame, refer, not to a “Canon Carlyns” figs. 102-104; Beenken, Hubert und Jan, p. 71 f., fig. but to George van der Paele’s mother); Schéne, pp. 97; Musper, fig. 167; Baldass, Eyck, pl. 127, fig. 59. 46-48; Beenken, Hubert und Jan, p. 66 ff., figs. 91-943 Cf. S. Sulzberger, “La Sainte Barbe de Jan van Eyck;

429

NOTES Détails concernant V’histoire du tableau,” Gazette des that the garbled inscription of the Berlin copy (“Johés

Beaux-Arts, ser. 6, XXXIV, 1948, p. 289 ff. de Eyck me fecit et cpleuit ... AME IXH XAN”) 2. Cf. also the judicious remarks of van Puyvelde, states the date as “1438. 31 Ianuarij” whereas the text

Agneau, p. 8o. of the Bruges copy reads: “Johés de eyck Inuentor. anno. 1440. 30. Januarij,” and a materially identical Page 186 inscription was on the frame of the Swinburne picture

| 1. See p. 128. (a note pasted on its back reads: “This head of our 2. For the legend of St. Barbara, see especially Saviour was pain[ted] by John van Eyc[k] 30 Janu-

Martens, op. cit., p. 44 ff. ary 1440 his name and date of the year was written 3. Weale-Brockwell, p. 131 ff.; Friedlander, I, by himself on the frame which was [originally: ‘my p. 63; de Tolnay, Le Maitre de Flémalle, p. 68 f., no. father’] sawed off. T. T. West 1784”). From this it 12, fig. 108; Beenken, Hubert und Jan, p. 74 ff., fig. has been concluded that there existed two archetypes, 96; Musper, fig. 168; van Puyvelde, Primitives, pl. 9; one of 1438, and one of 1440, and that the five pictures

Baldass, Eyck, pl. 128. which have come down to us constitute in fact two

4. In other instances Jan van Eyck wrote either families. The Bruges copy and the Swinburne picture , fecit (“St. Barbara” and “Man in a Red Turban”), agree with each other, not only in the inscription but or complevit (“Ince Hall Madonna” and portrait of also in every other respect, particularly in that the Margaret van Eyck), or actum (“Timotheos”). The light comes from the left. The three other replicas (of seemingly redundant phrase employed in the “Ma- which the one at Berlin is the best and the earliest) donna at the Fountain” recurs, in garbled form, only show slight variations in ornamental detail, especially in the Berlin replica of Jan’s “Holy Face” (see note the decoration of the neckband of Christ’s robe, and 1871) where it was obviously copied from the “Ma- are illuminated from the right. Yet the assumption of

donna at the Fountain.” two separate archetypes does not seem absolutely con5. O. Kerber, Hubert van Eyck, Frankfort, 1937, vincing. The author of the Bruges copy, exactly re-

p. 317 £. peating the inscription of the Swinburne picture and

6. Cf. p. 251. ascribing to Jan van Eyck only the “invention” but not the execution of his own product, is obviously an Page 187 honest copyist. The intention of the Berlin copy, how1. Four replicas of Jan van Eyck’s “Holy Face” — ever, can be described only as fraudulent. A painter one at Berlin (Musper, fig. 166), one at Munich, one who claims that his work was “made and completed” at Bruges, and one formerly in the E. von Oppolzer by Jan van Eyck himself, may well have changed the Collection at Innsbruck — are listed in Weale-Brock- date, and the direction of the light, for the express

well, p. 179 ff. and Friedlander, I, p. 116. The fifth purpose of creating what, he hoped, would be acpicture, then in English trade, was published by Sir cepted as a second original; and the authors of the Martin Conway, “A Head of Christ by John van Munich and von Oppolzer copies may have fallen Eyck,” Burlington Magazine, XXXIX, 1921, p. 253 prey to this deception. For the Bruges copy as well f.. and is reproduced in Illustrated London News, as the whole problem, see Janssens de Bisthoven and CLXVII, 1925, October 24, p. 805, as well as in Parmentier, op. cit., p. 27 ff. Friedlander, pl. XLVII; Musper, fig. 171; Baldass, 2. Weale-Brockwell, p. 76 ff.; Friedlander, I, p. Eyck, pl. 131. De Tolnay, Le Maitre de Flémalle, p. 98; de Tolnay, Le Maitre de Flémalle, p. 69, no. 13, 73, no. 2, though referring to Sir Martin Conway’s fig. 109; Beenken, Hubert und Jan, p. 76, note 2, fig. article. names only the Berlin replica (Baldass, pl. 99; Musper, fig. 170; Baldass, Eyck, pl. 132. The 130) and pronounces it to be the best. It cannot be documents concerning the picture were discovered questioned, however, that the picture published by and excellently interpreted by H. J. J. Scholtens, “Jan Sir Martin — formerly in the J. C. Swinburne Collec- van Eyck’s “H. Maagd met den Kartuizer’ en de tion at Durham, exhibited at the International Ex- Exeter-Madonna te Berlijn,” Oud Holland, LV, 1938, hibition at Antwerp (Exposition Internationale Co- p. 49 ff. The document of 1443 (Scholtens, P- 51) loniale, Maritime et d’Art Flamand, Antwerp, [uin- alone, explicitly identifying the saint on the Virgin's Septembre, 1930, Section d’Art Flamand Ancien, p. left as “Elyzabeth,” suffices to disprove the contention

51, no. 133) and last heard of in 1951 when it was that she is St. Ludmilla of Bohemia (E. Notebaert, shown at the Hatton Gallery, King’s College, New- “Contribution a Videntification du paysage architeccastle-upon-Tyne — is vastly superior to the four other tural dans les oeuvres des primitifs flamands,” Revue

) replicas and may well be a somewhat damaged orig- de Saint Luc, 1939, p. 2 ff.). In addition the attribute inal. The problem is further complicated by the fact of St. Ludmilla is the scarf with which she was

430

NOTES 185*—190° strangled, and not the three crowns which are peculiar overpainting; and I agree with Miss Miner in assum-

to St. Elizabeth of Thuringia; cf., for example, the ing that the miniature must have been executed on interesting woodcut pinned up on the wall in Petrus the basis of a faithful drawing retained in Jan van Christus’ Portrait of a Donatrix in the Kress Collection Eyck’s workshop after delivery of the painting rather at New York (M. J. Friedlander, “The Death of the than on the basis of the painting itself. For an illustra-

Virgin by Petrus Christus,’ Burlington Magazine, tion, see Panofsky, “A Letter to St. Jerome,” fig. 4. LXXXVIII, 1946, p. 158 ff.; illustration on p. 161 B). 3. See p. 1 f. The cityscape, including the portrait of Old St. Paul’s 4. Even before the date, “1442,” was discovered, which may be based upon an early sketch by Jan van the possibility of identifying the Detroit picture with Eyck, is repeated in the title page of the Cité de Dieu the “Medici St. Jerome” was envisaged in Paintings in the Bibliothéque Royale at Brussels, ms. gor5, in the Permanent Collection ... of the City of Dewhich was executed for Jean Chevrot, Bishop of Tour- troit. Afterwards, the hypothesis was finally formunai, in 1445 or 1446 (de Laborde, Les Manuscrits a lated, by Valentiner, in Masterpieces of Art, no. 114, peintures de la Cité de Dieu, pl. XXXII; Winkler, benevolently but noncommittally mentioned by FriedDie fldmische Buchmalerei, pl. 4; Musper, fig. 106). lander, XIV, p. 79, and repeated in The Worcester-

3. See p. 192 f. Philadelphia Exhibition of Flemish Painting, no. 2,

as well as in Flemish Primitives, An Exhibition Or-

Page 188 ganized by theNew Belgian 13-May , 9, 1942, YorkGovernment, (M. Knoedler April & Co.), p. 16. t. See also Panofsky, “The Friedsam Annuncia- Baldass, Eyck, pl. 9,.is inclined to accept the Detroit

tion, P- 434, note 4. picture as authentic but dates it early on account of 2. For Petrus Christus in general, see p. 308 ff. its compositional relationship with such products of the International Style as the well-known “St. Jerome”

Page 189 in the Limbourgesque Bible Moralisée, Paris, Biblio-

1. Friedlander, XIV, p. 79, Nachtrag, pl. IV. The théque Nationale, ms. fr. 166, fol. 1 (illustrated, e.g., picture, listed as a copy after Jan van Eyck in de in Sterling, Les Primitifs, fig. 68, Lemoisne, op. cit., Tolnay, Le Maitre de Flémalle, p. 76, no. 5, and so pl. 31, and Baldass, Eyck, fig. 24). While this relation- , reproduced in Musper, fig. 107, was discovered in ship is undeniable — an even closer similarity exists 1925. For the literature up to 1930, see Paintings in between the Detroit picture and the “St. Jerome” in the Permanent Collection of the Detroit Institute of the “Boucicaut Hours,” fol. 171 v., our fig. 61 — it Arts of the City of Detroit, Detroit, 1930, no. 33; for should be borne in mind that precisely such late works

the literature up to 1939, Masterpieces of Art .. . New of Jan van Eyck as the “Holy Face” and the “MaYork World’s Fair, 1939, no. 114, pl. 47. For some donna at the Fountain” evince a markedly archaistic

addenda and an attempt to prove the picture’s late tendency. date and partial authenticity, see E. Panofsky, “A

Letter to St. Jerome; A Note on the Relationship Pave 100

between Petrus Christus and Jan van Eyck,” Studies ge)

in Art and Literature for Belle da Costa Greene, Prince- I. see Pp. 200 t 52 ton, 1954, p. 102 ff. 2. See p. 3; note 305 *. 2. Durrieu, Heures de Turin, pl. XL. See F. Win- 3. Weale-Brockwell, P. 135 ft; Friedlander, I, p. kler, “Neues von Hubert und Jan van Eyck,” p. ot 105; de Tolnay, Le Maitre de Flémalle, p. 75, no. 3, ff., fig. 4; another Flemish miniature derived from fig. 145; Beenken, Hubert und Jan, p. 76, note 2; the “Medici St. Jerome” is illustrated ibidem, fig. 5. Musper, figs. 172, 1735 Baldass, Eyck, pl. 129: Cf. The most adequate rendering of the composition in ulin de Loo, “Le Sujet du retable des Freres van Flemish art, however, was recently discovered by Miss Eyck a Gand: La glorification du Sauveur, Annuaire Dorothy Miner in a Book of Hours of ca. 1455 (Balti- des Musées Royaux des Beaux-Arts de Belgique, III,

more, Walters Art Gallery, ms. 721, fol. 277 v.) 1940-42, p. I ff. Owing to legal difficulties the “Ypres

which, in spite of the customary adaptations and altarpiece” is at present in the custody of the U. S. : simplifications, retains all the significant features of Government and kept incommunicado in the Museum the original composition, including the delicate motif of Fine Arts at Boston. For the copy of the central of the fingers separating the pages of the big Bible. panel in the Albertina, see Beschreibender Katalog der It even surpasses it in the treatment of the drapery Handzeichnungen in der Graphischen Sammlung der which in the Detroit picture has greatly suffered from Albertina, 1, Die Zeichnungen der mederlindischen the shortcomings of Petrus Christus and subsequent Schulen (by O. Benesch), Vienna, 1928, no. 13.

431

| NOTES Page 192 the figure of the saint himself is so badly constructed 1. Weale-Brockwell, p. 93 ff.; Friedlander, I, p. ro, —a fact especially stressed by Professor Wilhelm pls. XLV, XLVI; de Tolnay, Le Maitre de Flémalle, Koehler in a conversation that went a long way to

p. 68, no. 11, fig. 106; Beenken, Hubert und Jan, confirm this writer’s misgivings—that it is unacp. 23 ff., fig. 27; Musper, fig. 124; van Puyvelde, ceptable even as an invention of Jan van Eyck: given Primitives, pls. 14, 15; Baldass, Eyck, pl. 13. For the the arrangement of the drapery, on the one hand, and much-debated relationship between this panel and the position of the feet, on the other, it is impossible to its nearly identical but very much larger replica in determine the location of the knee with any amount

the Galleria Sabauda at Turin (Weale-Brockwell, of probability. If, in spite of these objections, the p. 165 ff.; de Tolnay, fig. 107; Baldass, fig. 30; our -—S-Philadelphia “St. Francis” should be accepted as

fig. 269), which measures 29.5 cm. by 33.7 cm. as genuine it would have to be dated relatively late against 12.7 cm. by 14.6 cm., see C. Ari and E. de (Friedlander, loc. cit., and Essays ber die LandschaftsGeradon, La Galerie Sabauda de Turin (Les Primitifs mealeret, p. 29 ff.; de Tolnay, p. 34) rather than early Flamands, Corpus de la Peinture des Anciens Pays-Bas (Beenken, loc. cit.; Musper, p. 107; Baldass, p. 277).

Méridionaux au Quinziéme Siécle, II), Antwerp, 2. Friedlander, XIV, p. 78, Nachtrag, pls. I, I; 1952, p. 5 ff., pls. IX—XX, with excellent reproduc- —> “A New Painting by van Eyck,” Burlington tions and complete bibliography. The recent cleaning Magazine, LXV, 1934, p. 3 £.; de Tolnay, Le Maitre of the Turin panel has shown that it is not later than, de Flémalle, p. 68, no. 10, fig. 101; Beenken, Hubert and not appreciably inferior to, the Philadelphia ver- und Jan, p. 46, figs. 86, 87; Musper, figs. 162, 163; sion; specifically, that the alleged misunderstanding Baldass, Eyck, pl. ‘Ti2, A recent article by S. Sulzin the figure of Brother Leo (apparently possessed of berger, “L’Annonciation de Jean van Eyck dans la two right feet) is due to repainting. We have, there- collection Thyssen a Lugano,” Revue Belge d’Arfore, no other choice than either to accept or to reject chéologie et a’ FHistoir € de Art, XIX, 1950, p. 67 ff,

: both pictures — in other words, either to accept or to does not contribute anything new or remarkable. reject the document on which their attribution to Jan 3. Weale-Brockwell, p. 87 ff.; Friedlander, I, p. 95, van Eyck is based. This document is the will of Sir pl. XL; de Tolnay, Le Maitre de Flémalle, p. 66, no. Anselm Adornes (1424-1483, Mayor of Bruges from | 6, figs. 91-93; Beenken, Hubert und Jan, p. 62 ff,

1475) of February 10, 1470, transmitted through a figs. 88, 89; E. Michel, L’Ecole Flamande ... au copy of the sixteenth century (transcription and photo- Musée du Louvre, p. 39 f., pls. III, 1V; Musper, fig.

graph in Ard and de Geradon, p. 13, pl. XX): he 128; van Puyvelde, Primitives, figs. 20-23; Baldass, leaves to each of his daughters, Margaret and Louise, Eyck, pls. 116, 117, Frontispiece (color). For the both nuns, “a panel wherein there is a St. Francis | iconography of the picture, see de Tolnay, Pp. 29 f., depicted by the hand of Jan van Eyck” and orders his aNd above, p. 139. For the various attempts at identity-

and his wife’s portraits to be painted on the shutters ing the city prospect, cf. notes 1877 and 193?. protecting these two “little panels” (savereelkins). 4. Paris, Bibliothéque Nationale, ms. lat. 1161, fol. Even assuming that the two panels preserved at Phila- 290. delphia and Turin are identical with those referred to by Sir Anselm, we have to ask ourselves whether Page 193 or not his will has been correctly transmitted; and it 1. Notebaert, op. cit. His arguments are three in would seem that the impossible position of the artist’s number. He claims, first, that the general site of the name in the decisive passage (“van meester Jans handt city as well as its most prominent buildings, especially

van Heyck” instead of either “van meester Jan van the bridge with its tower and the cathedral, correHeycks handt” or “van handt van meester Jan van sponds to Prague; second, that the motif of the Infant Heyck”) strongly suggests an interpolation. And even Jesus carrying an orb derives from a famous cult assuming that this interpolation was made in good image which has been worshipped in the Carmelites’ faith, it seems impossible to me to accept it for in- Church from the seventeenth century and possibly ternal reasons. In execution, both pictures are dry and repeats an earlier archetype; third, that the “Rothpedestrian yet strangely imprecise and partly fuzzy. schild Madonna,” connected with the “Rolin MaThe landscape is a conglomeration of Eyckian motifs donna” by the recurrence of the orbed Christ Child rather than an integrated whole. There is no psycho- and the river landscape with its arched bridge and logical relationship between the praying St. Francis big rowboat, testifies to Jan’s stay in Bohemia by the and the apparition of the crucified Christ. The huddled inclusion of St. Ludmilla. The last of these arguments

figure of the faithful Brother Leo is a shapeless mass has already been dealt with (note 1877). As for the of drapery concealing an almost malformed body. And second, it must be said that the orbed Christ Child

432

NOTES 192'—194? occurs, not only in numerous pre-Eyckian renderings pl. ro, fig. 28. For the iconography of the picture, see of St. Christopher —e.g., in the Baerze-Broederlam Meiss, “Light as Form and Symbol,” p. 179 f., and altarpiece at Dijon, the “York Hours” (Kuhn, op. cit., above, p. 144 ff.

fig. 5) and the “Beaufort Hours” (Ibidem, fig. 7) — 4. Cf. de Tolnay, “Flemish Paintings in the Nabut also in several pre-Eyckian Madonnas, for in- tional Gallery of Art,” pp. 176 and 199, note 10. While stance in a Gradual in the Dyson Perrins Collection at it is true that, prior to the Washington “Annunciation,” Malvern (G. Warner, Descriptive Catalogue of Illum- the Angel Gabriel did not wear a brocaded pluvial and

inated Manuscripts in the Library of C. W. Dyson- much less a crown, it is going too far to say that Perrins, Oxford, 1920, pl. CXIV) and in the St. he was “always clothed in a simple blue or white robe.” Remaclus Reliquary at Stavelot (O. von Falke and H. Beginning with the “Brussels Hours” (fig. 42), he Frauberger, Deutsche Schmelzarbeiten des Mittelalters, often wears a dalmatic embellished with gold-emFrankfort, 1904, fig. 38). The third argument, finally, broidered and bejeweled borders as in the “Trés Riches

is invalidated by the fact that the Prague “Briicken- Heures” (fig. 80) and “Liége Hours” (fig. 131, here turm” with its double gallery bears no specific resem- completed by stole and cross-enhanced diadem) or even

blance to the simple structure in the “Rolin Ma- brocaded throughout (Paris, Bibliothéque Mazarine, donna” and that Jan’s cathedral bears a closer resem- ms. 469, fol. 13, illustrated in Martin, La Miniature blance to those of Tournai and Utrecht than to that of francaise, pl. 99, fig. CKXIX). A gold-bordered though Prague. The Netherlandish nature of the city prospect not brocaded pluvial is seen in the Boucicaut Master’s in the “Rolin Madonna” is further demonstrated by “Corsini Hours” (Panofsky, “The Friedsam Annuncithe presence of the Utrecht “Domtoren” which, emerg- ation,” fig. 17). ing from behind the brow of the Infant Jesus (good

illustration in van Puyvelde, Primitives, pl. 21), was Page 194 —

identified by Weale as early as 1908 (cf. Weale- 1. See p. 183. Brockwell, p. 92). This identification is all the more 2. See p. 5g. In order to prove that the architectural probable as the Utrecht tower (F. A. J. Vermeulen, conception of Jan van Eyck’s “Madonna in a Church” Handboek tot de Geschiedenis der Nederlandsche derives from the Master of Flémalle, de Tolnay (Le Bouwkunst, I, ‘The Hague, 1928, pl. 250) was com- Maitre de Flémalle, pp. 24; 48, note 52) adduces two pleted in 1382 while none of its replicas at Maastricht, compositions which, according to him, reflect a

| Rhenen and Amersfoort (Vermeulen, pp. 398, 412; Flémallesque archetype supposedly antedating the pls. 215, 218, 219) appears to antedate the middle of “Madonna in a Church”: a Burgundian “Presentation the fifteenth century. It should not be overlooked, how- of Christ” of ca. 1450-60 (text ill. 64) which passed

ever, that the tower in the “Rolin Madonna” differs from the Pelletier Collection at Paris to the Louvre from the original in that each of its faces shows two (S. Reinach, “Three Panels from the Ducal Residence tall windows separated by a mullion instead of two at Dijon,” Burlington Magazine, L, 1927, p. 234 ff;

wall strips adorned with blind tracery. . E. Michel, “Une Présentation au Temple d’Ecole 2. Weale-Brockwell, p. 98 ff.; Friedlander, AL P- -Franco-Flamande,” Bulletin des Musées de France, Ill,

104, pl. XLIV; de Tolnay, Le Maitre de Flémalle 1931, p. 2 ff.); and a “St. Andrew Baptizing the Wife (erroneously locating the picture in Boston), p. 66, of the Proconsul of Greece” by the Hanseatic Master

no. 5, figs. 71-73; Beenken, Hubert und Jan (errone- of Heiligenthal (text ill. 63), dated 1438, in the ously locating the picture in Boston), P. 69 ff., fig. 90; Nicolai-Kirche at Liineburg (C. G. Heise, NordMusper, fig. 165; van Puyvelde, Primitives, pl. 23; deutsche Malerei, Leipzig, 1918, fig. 90; Panofsky, Baldass, Eyck, pls. 113-115. For the iconography of the “Die Perspektive als symbolische Form,” fig. 30).

picture, see de Tolnay, “Flemish Paintings in the What these two pictures share with the “Madonna in National Gallery of Art,” p. 175 ff, and above, P- a Church” is, of course, the ecclesiastical interior 137 ff. The early date proposed by this writer has rendered in “eccentric perspective” — an arrangement recently been accepted by Held, Review of Wehle which, we remember, can be traced back to the Bouciand Salinger’s Metropolitan Museum Catalogue, Art caut Master (see fig. 70). If the Pelletier “PresentaBulletin, XXXI, 1949, p. 142, but was rejected by tion” and the Liineburg “St. Andrew Baptizing” were

| Kauffmann, “Jan van Eycks ‘Arnolfinihochzeit, ” p. derived from a Flémallesque archetype exploited also

48, note 9. in Jan van Eyck’s “Madonna in a Church” the influ3. Weale-Brockwell, p. 167 ff.; Friedlander, I, p. 78, ence of this archetype would manifest itself in specific

pl. XXXII; de Tolnay, Le Maitre de Flémalle, p. 61, features common to all the three interiors; and since no. 1, figs. 33, 34; Schone, p. 44; Beenken, Hubert und Jan van Eyck was a more self-dependent artist than Jan, p. 17 ff., fig. 26; Musper, fig. 117, Baldass, Eyck, the two others, we should expect the Pelletier “Presen-

433

NOTES

PAL K\

way, OLA, ane ‘ ADK oon Ss KC PSI

1. See note 2.

taken by the cartoonist of the tapestry, J. Maquet- Page 266

Tombu, “Les Tableaux de justice de Roger van der S 4

Weyden a |’Hotel de Se Ville , p. 188. The ee 2.de ForBruxelles,” the document,Phoebus, see Winkler, II, 1949, p. 178 ff. For the general historical implicadrawi dj rawing, preserved in the Boymans Museum at tion of the series, see H. (our van de Waal, Driepublished Eeuwen ;by M. J. aa Rotterdam fig. 384), was vaderlandsche Geschied-Uitbeelding (1500-1800); Een Friedliinder. “A Drawing by R de Wevden.” iconologische studie, The Hague, I 261 ff my ; gue, 1952, ty Pe ° Old Master 1952, Drawings, I, 1926, p. 29Ae ff.,ee pl. a38.eee _iconologisc figs. 100 ff. Cf. also U. Lederle-Grieger, Gerichtsdar. of Cf. , ; aa also C. de Tolnay, History and Technique Old stellungen inaster deutschen und niederlindischen Rat- M ,1943, pp. 58, 131, pl. . ; ; ; 4: Drawings, New York, hausern (Heidelberg doctoral dissertation), Philipps- ; , , be - here Rover’ I di d 154; De van Eyck &@ Rubens, Les Maitres Flamands nrE» ao f ore , Oger § panels f re lan ik on PP- du Dessin (Exhibition at the Bibliothéque Nationale,

4 ane 57 fs he on Ps FO Is fon fe nV oletis 8 Paris, 1949), no. 9, pl. II; L. van Puyvelde, Musée

reterence to the lost representations trom Valerius de lOrangerie, Paris: Les Primitifs flamands, 5 juin— Maximus, Plutarch and Aulus Gellius which7in 1378 “ill | 1947, no. 101, pl. LXXII. The juillet, Brussels, could be seen in the Town Hall at Nuremberg and ‘atines derived from Rocer’ ti he the earliest “Gerechtickeitsbilder” on numerous paintings derived from Roger’s composition

scem q toFriedlander, be g were assembled by Winkler, p. 76 f., figs. 41-43, and recone. loc. cit.; to be added: a much-repeated , Madonna (the posture of the Christ Child changed Page 265 in various ways) by the Master of the Embroidered 1. See Maquet-Tombu, “Les Tableaux de justice de Foliage (Friedlander, IV, p. 144 £., no. 84, pl. LXIII).

Roger van der Weyden”; cf., however, Panofsky, My reasons for connecting the Rotterdam drawing

“Facies illa Rogeri maximi pictoris.” with Roger’s lost Carmelite Madonna are, apart from 2. As pointed out by Panofsky, z:dem, an impor- the fact that its style agrees with the middle of the tant passage in Dubuisson-Aubenay’s Itinerarium Bel- forties: first, that the pose of the Virgin, reminiscent gicum (Paris, Bibliothéque Mazarine, ms. 4407) has of such compositions as the Louvre “Sacra Conversabeen mispunctuated and, in one point, misread in the zione” after the Master of Flémalle (fig. 231) or the otherwise excellent article by Madame Maquet-Tombu Rothschild Madonna by Jan van Eyck and Petrus who, in reading se instead of servo, has substituted Christus (fig. 257), implies a fairly formal “Andachtsa penitent Herkinbald for the lamenting servant ac- bild” with donors; second, that the earliest variation tually present in the tapestry. The correct text is as on the original, a picture of ca. 1480 in the Municipal

follows: “Tertia tabula in prima sectione continet Museum at Leipzig (Winkler, fig. 42; Friedlander, Archambaldum ducem Brabantiae nudum in lecto loc. cit., fig. 2), retains the characteristic motif — abaegrotum, qui ascersitum ad se juvenem cultro jugulat sent from the later replicas — of two angels crowning insurgens acriter; servo factum deplorante et muliere the Virgin with a “star-encircled crown” (corona stellis —

admirante in secunda sectione, cum pictore ipso 1m- insignita).

464

NOTES 264°—267° 3. For the two “Descents from the Cross” in half- “Descent” from the Escorial, as is assumed by Musper, length (one with, one without St. John the Evange- p. 29— was sketched by Roger for the benefit of a list), see Friedlander, I, p. 123 f., nos. 97, 98, pls. sculptor rather than executed as a painting (one of LXX, LXXI; Destrée, pl. 65; Musper, figs. 50, 51; the replicas, illustrated in Michel, fig. 8, is, in fact, S. Reinach, “A Lost Picture by Roger van der Wey- a wood-carved altarpiece). W. Houben, “Raphael and den,” Burlington Magazine, XLIII, 1923, p. 214 ff.; Rogier van der Weyden,” Burlington Magazine, XCI, E. Salin, “Copies ou variations anciennes d’une oeuvre 1949, p. 312 ff., is, however, inclined to identify the

perdue de Rogier van der Weyden,” Gazette des archetype with a painting originally stationed in Beaux-Arts, ser. 6, XIII, 1935, p. 15 ff. To be added: Italy because he believes it to have exerted some ina triptych by the Master of the Holy Blood in the Met- fluence on Raphael’s famous “Bearing of the Body”

ropolitan Museum, Wehle and Salinger, op. cit, in the Galleria Borghese; if this were true (which

p. 81 f. seems rather doubtful) it may be identical with the For a many-figured but somewhat stiff “Descent “e supplicio humanati Jovis pientissimum agalma”

from the Cross” in full length, best transmitted by a which was admired by Cyriacus of Ancona and Facius picture at Munich now ascribed to Vrancke van der at Ferrara (see notes 2**) and, contrary to Houben’s Stockt, see Winkler, p. 89 ff., figs. 49-51 (also Fried- view, cannot be identical with the “Farewell at the

lander, II, p. 123, no. 95, and XIV, p. 86; Destrée, Tomb” now preserved in the Uffizi (see p. 273 f.; pl. 63; Musper, fig. 58; our fig. 393); and for an- fig. 331). other, simpler one, M. J. Friedlander, “Der Meister 4. One of these fragmentary works (possibly exder Katharinen-Legende und Rogier van der Weij- ecuted by an assistant) is the Berlin panel showing den,” Oud Holland, LXIV, 1949, p. 156 ff. Both these SS. Apollonia and Margaret, apparently the rightcompositions may, however, have been devised by a hand shutter of a triptych the left wing of which follower rather than Roger himself. The model of showed St. John the Baptist and St. John the Evangethe engraving by the Master of the Banderoles re- list; it may be dated between 1445 and 1450 (Winkler, ferred to in note 176® (Renders, II, pl. 42; Musper, p. 160; Friedlander, II, p. 96 f., no. 17, pl. XV; Destrée,

p. 28, fig. 45), a picture at Douai published by J. pl. 121; Musper, fig. 72; Beenken, Rogier, p. 99). The

Maquet-Tombu (“Autour de la Descente de Croix other (not personally known to this writer who is de Roger,” Bulletin de la Société Royale d’ Archéologie therefore reluctant to pronounce about its date and

de Bruxelles, 1949, July, p. 1 ff., fig. 3), 1s even less authenticity) consists of two heads—that of St. likely to repeat an original composition by Roger Joseph and that of a female saint rather than the van der Weyden. And to make him responsible for Virgin Mary —last heard of in the Gulbenkian Colthe design of a “Descent from the Cross” in the lection at New York (Winkler, p. 175; Friedlander, village Church of Niederwaroldern not far from II, p. 103, no. 36, pls. XXXII, XXXIII; Destrée, pl.

Cassel in Central Germany (W. Medding, “Der 120). ,

Kreuzabnahmealtar zu Niederwaroldern und _ seine 5. Winkler, p. 176, fig. 54; Friedlander, I, p. 95, Beziehungen zu Rogier van der Weyden,” Zeztschrift no. 11, pl. X; Destrée, pl. 21 and text vol., pl. 9; fiir Kunstgeschichte, VI, 1938, p. 119 ff.; Musper, p. Renders, II, pls. 22, 30, 32, 37-39, 43, 44, 48; Schone, 26 f., fig. 30) seems almost sacrilegious to this writer. pp. 54, 66; Musper, figs. 62, 63; Beenken, Rogier, p.

For the “Bearing of the Body to the Sepulchre” 51 ff, figs. 45-50. (our fig. 392), finally (apparently the central panel

of a triptych the left-hand wing of which showed Page 267

a Bearing transmitted through a draw. ; after ; ; aof1.the Cf.,Cross e.g., the compositions by and copied ing formerly in; the Becker at Leipzig, JanF.van EyckCollection (p. 235; figs. 290-293, 301) and the our fig. 391), see Winkler, p. 81 ff, figs. 44-46; “Calvary” by the Master of Flémalle reconstructible Friedlander, II, p. 122 no. Destrée, f aver) Hours” oe arene esthe 6 , f., rom the94; miniature in pl. the61; “Arenberg and

Musper, figs.by49, 53; E. David Michel,in“Le de Franc;a. " picture Gerard theMaitre Thyssen Collection

fort,” Gazette des Beaux-Arts, ser. 6, XII, 1934, p. ( 6£. p. 176 f., 6 figs. 129, 229).

236 ff. The credit for having recognized the connec- 2. See Durrieu, Les Trés Riches Heures, pl. LV; tion between the Louvre and Leipzig drawings be- Martens, op. cit., figs. 38, 87. longs to F. Winkler, “Some Early Netherland Draw- 3. Cf, a sermon by George of Nicomedia quoted ings,” Burlington Magazine, XXIV, 1914, p. 224 ff, in F. E. Hyslop, Jr., “A Byzantine Reliquary of the pl. III. The frames, faithfully copied in both drawings, True Cross from the Sancta Sanctorum,” Art Bulletin, suggest the possibility that this composition — mani- XVI, 1934, p. 333 ff. (p. 339), or the Liber de Pas-

festly presupposing and not preceding the great stone Christi et doloribus et planctibus Mariae wrongly

465

NOTES ascribed to St. Bernard (Patrologia Latina, CLXXXII, Width of central panel: 108 cm. col. 1134 ff.). This text seems to be the source of the Width of St. Peter and St. Paul wings: 82.5 cm. inscription on the Berlin “Calvary” (see p. 298 £,, Width of “Paradise,” “Hell,” and top shutters: fig. 398) which reads (with abbreviations expanded): 54 cm.

“O Fili, dignare me attrahere et crucis in pedem 2. For Rolin, see Biographie Nationale de Belmanus figere. Bernhardus.” In the Liber de Passione gique, XIX, 1907, col. 828 ff.; the phrase of Jacques the Virgin addresses the crucified Christ with a ver- du Clercq (“un des plus sages hommes du royaume, sicle from the Song of Songs I, 3, significantly chang- a parler temporellement, car au regard de I’espirituel,

ing the words “Trahe me post te” to “Trahe me ad je men tais”) is quoted in col. 838. The monograph te” (col. 1135), and in the “Meditations” on John by A. Perrin, Nicolas Rolin, Paris, 1904, was not XIX, 25 (“Iuxta crucem stabat Maria”) her actions accessible to me. are described as follows: “Considerans vultu benigno 3. Brussels, Bibliothéque Royale, ms. 9242, fol. 1 Christum pendentem in crucis ligno, stipite saevo, (some of the heads repainted at an early date). Cf. pedibusque flexis iunctisque [this very phrase tends Destrée, pl. 144; Musper, fig. 76; Beenken, Rogier, to show that the text postdates the twelfth century] p. 54 £,, fig. 51. Durrieu, La Miniature flamande, pl. manibus [sese] levabat in altum, amplectens crucem XXXVI; Lyna, De Vlaamsche Miniatuur, fig. 25; P.

... In Western art I do not know of any such Post, “Die Darbringungsminiatur der Hennegaurepresentation prior to Roger’s; even in the East the chronik in der Bibliothek zu Briissel,” Jahrbuch fir reliquary discussed by Hyslop (better illustration in Kunstuissenschaft, 1, 1923, p. 171 ff. That Roger himW. F. Volbach, Biblioteca Apostolica Vaticana, Guida, self is responsible for the design of this beautiful page

I, L’arte bizantina nel Medioevo, Rome, 1935, pl. is highly probable, not only because the composition II), showing the Virgin standing instead of kneeling, was frequently imitated (see Winkler, “Studien zur seems to be a hapax legomenon. For the Magdalen Geschichte der niederlandischen Miniaturmalerei,” p.

embracing the Cross, see note 267. 307 f., fig. 22) but also because the heads closely re4. For a copy in the Gemaldegalerie at Dresden, semble Roger’s authentic portrayals of the same persee Friedlander, II, p. 121, no. go; Destrée, pl. 26; sonages in style and interpretation. The manual exfor another, preserved in the Prado, Destrée, pl. 24. ecution of the page may, however, have been left to

| 5. Cf. p. 298 £.; fig. 308. a professional illuminator. 4. Jacques du Clercq (quoted in Biographie NaPage 268 tionale de Bilgique, XIX, col. 834): “Nul si eust 1. Winkler, p. 157 £.; Friedlinder, p. 95, no. 14; voulu souffrir régner en son lieu pour luy retraire en Destrée, pls. 2-101; Renders, II, pls. 3, 11, 13, 22, 48; la paix, mais contendoit a monter tousjours et a Schine, fig. 71; Musper, figs. 67-69; van Puyvelde, multiplier jusqu’a son darrenier et de mourir l’espée

. . , age 269

Primitives, pl. 36; Beenken, Rogier, p. 62 ff., figs. 60— au poing, triomphant sur fortune.

72, 74, 76, 77. A photograph of the Paradise wing P prior to restoration is reproduced in Vogelsang, ; “Rogier van der Weyden,” p. 89. For the history of 1. See p. 101; also illustrated in Destrée, pl. gr. the altarpiece, see M. le Baron Verhaegen, “Le Po- 2. See p. 237 fi; fig. 301.

lyptyque de Beaune,” Congrés Archéologique de 3. See note 61°. ; France, XCI, 1928, p. 327 ff. The Uffizi drawing illus- 4. See note 242 *; also illustrated in Destrée, pl. go. strated in Destrée, pl. 149, is only remotely connected 5. Durrieu, Les Jres Riches Heures, pl. XLVII.

with Roger. Since the dimensions of the Beaune altar- 6. See note 167°. piece are given only in general terms or even faultily

in the literature (especially confusing the caption in Page 270 _ van Puyvelde, Flemish Primitives, pl. 36), it may be 1. See M. P. Perry, “On the Psychostasis in Chrisuseful to indicate them here after a kind communica- tian Art,” Burlington Magazine, XXII, 1912-13, pp.

tion from Mr. Robert A. Koch. 94 ff., 208 ff. Height of central panel: ca. 225 cm.

Height of lateral panels: ca. 135 cm. Page 271

Height of top shutters: ca. 80 cm. 1. This he does, e.g., in a Spanish altar frontal in Interior overall width (including inner frames): the Museo Arqueolégico at Vich (J. Gudiol i Cunill,

546 cm. Els Primitius (La Pintura Mig-Eval Catalana), Bar273 cm. attaches himself to the wrong scale from underneath.

Width of central triptych (including inner frames): celona, II, 1929, p. 215, fig. 98) while a smaller devil

466

NOTES 267°-273° 2. The outcome of the weighing process therefore almost literally repeating the upper section of the varies more or less at random, frequently according to “Last Judgment” at Beaune, the Psychostasia 1s the exigencies of the composition (Cf. Perry, op. cit.), omitted while a great number of devils has been added

and often remains, quite literally, “in the balance” as (Friedlander, II, p. 125, no. 102, and XIV, p. 86; in the altar frontal just quoted or, to mention another illustrated in Kénigliche Museen zu Berlin; Die Geexample distinguished by the fact that St. Michael mildegalerie des Kaiser Friedrich Museums [by H. weighs the two souls in his bare hands instead of in Posse], Berlin, rg11, p. 111). a pair of scales, in the well-known mural (school of 2. The Latin text is reprinted in Winkler, p. 189. Bartolo di Fredi) in San Michele at Paganico (van 3. E. H. Kantorowicz, “The Este Portrait by Roger

Marle, op. cit., II, p. 507, fig. 328). van der Weyden,” Journal of the Warburg and Cour3. This transitional form is also found, e.g., in tauld Institutes, III, 1939-1940, p. 165 ff. another Spanish altar frontal at Vich (Gudiol i Cunill, Els Primitius, Il, p. 199, fig. 90) where the Page 273

ne puman figure emphatically “outweighs” the 1. Ibidem, p. 180. |

2. Kantorowicz (p. 179 f.) calls attention to an 4. The earliest occurrence of the Chalice (trium- entry in the accounts of the Ferrarese Court, dated phantly outweighing the symbols of sin) known to August 15th, 1450, according to which twenty ducats me is in the Wolfenbitttel Gospels of 1194 referred were paid to Roger through Paolo Pozio, merchant to in note 220 ‘ The figure in Chartres is too much of Bruges, a payment later referred to in the Registro mutilated to permit the identification of the symbol dei Memoriali dell anno 1450 of December 31st. Asof good (evil 1S here expressed by frogs). How com- suming that it took four weeks for the ducal order plex the situation may become in certain cases 1s to reach Pozio and another four weeks for Pozio’s demonstrated by representations of the legend of report to reach Ferrara, Kantorowicz correctly conEmperor Henry If (see the recent article by J. Roosval, cludes that Roger must have been in the Netherlands “D ie Seclenwagung Kaiser Heinrichs I. in der Got- around June 15. There is, however, no reason to sup-

landischen Malerei, Zeitschrift fur Kunstwissenschaft, pose that he was not in Italy in August and that he IV, 1950, Pp. 125 ff.). According to this legend, the could have spent there “only a few weeks, at most a Emperor’s sins, especially his unfounded suspicions few months” in the spring. He may have left very of his saintly wife, threatened to outweigh his virtues soon after the receipt of his twenty ducats and stayed when St. Lawrence placed a Chalice (referring to abroad up to the end of the year; in fact, he may have Henry’s gift to the Church of Einstetten) in the op- requested this payment for the very purpose of fi-

posite scale and thereby turned the balance in his nancing his journey. Even if we were to assume, favor . On the Emperor's tomb by Tilmann Riemen- against all probability, that the entry of December 31, schneider (see Perry, op. cit. p. 209, pl. 1D ) his sins 1450, instead of merely repeating the earlier record in are very properly expressed by an ugly little demon. the final account for the calendar year, refers to anIn Orcagna’s famous altarpiece of 1357, however, the other twenty ducats, Roger would have had two-andchalice is balanced against the crowned figure of the a-half clear months (from the middle of July to the

Emperor himself (O. Siren, Giotto and Some of His end of September) in Italy. I agree, however, with Followers, Cambridge, Mass., 1917; pl. 185) so that Kantorowicz in feeling that a stay at Ferrara is neither the helpful action of the saint results, strictly speaking, demonstrable nor probable.

in his protégé’s perdition. 3. Kantorowicz, p. 180.

4. Winkler, p. 165; Friedlander, I, p. 99, no. 22,

Page 272 pl. XIX; Destrée, pl. 89; Musper, fig. 83; Beenken, 1. As it does in all the more “logical” representa- Rogier, p. 60 ff., figs. 55, 56. The fact that the Uffizi tions of the Psychostasia, e.g., in the Niederrotweil panel is not identical with the lost “Deposition” at altarpiece by the German sculptor, Master H. L., or, Ferrara (see note 266) but with the tavola showing to quote two “out-of-the-way” instances, a Swedish “el sepolcro del nostro Signore schonfitto di crocie e painting of ca. 1275 in the Museum (“Gotlands cinque altre figure” listed in the inventory of Villa Fornsal”) at Visby, no. 108, or another, of ca. 1520, Careggi, was demonstrated by Warburg, op. cit., I, pp. in the Statens Historisk Museum at Stockholm. For 215 ff., 381 ff.; cf. also Hulin de Loo, Biographie NaMemlinc’s “Last Judgment” and its connection with tionale, XXVII, col. 237. the Tani and Portinari families, see Warburg, op. 5. See K. W. Jahnig, “Die Beweinung Christi vor cit. I, p. 190 ff. It should also be noted that in a dem Grabe von Rogier van der Weyden,” Zeitschrift picture now ascribed to Vrancke van der Stockt and fiir Bildende Kunst, LUI, 1918, p. 171 ff.

467

NOTES 6. Cf. eg., Schottmiiller, op. cit., pp. 22, 44, 69, Burlington Magazine, XXII, 1913, p. 230 ff. Wauters 112. This detail was pointed out to me by Messrs. believes the Frankfort picture to have been executed

Albert Bush-Brown and Robert A. Koch. about 1426-1427 (!) for the newly founded University 7. Illustrated in W. L. Hildburgh, “A Mediaeval of Louvain; that Roger was then a citizen of Louvain Pectoral Cross,” Art Bulletin, XIV, 1932, p. 79 ff. (of which St. Peter is indeed the patron); that the St. fig. 19. The miniature in Turin, University Library, John refers to one Jan van Rode who had placed a ms. E IV 14, fol. 1 v., has not been published and was house at the disposal of the University; and that the

pointed out to me by Dr. Hanns Swarzenski. coat-of-arms belongs to the Gheylensone family of which, however, no such academic connection is

Page 274 known. By juxtaposing the fleur de lys seen in the 1. Cf, eg., G. de Francovich, Scultura medioevale Frankfort Madonna with an arbitrarily modernized

in legno, Rome, 1943, pl. 37. form of the Florentine Lily, Wauters creates the erro2. The group in S. Antonio at Pescia was published neous impression that the former is less similar to the in Burlington Magazine, LXXXIX, 1947, p. 54; for latter than to the Gheylensone arms; the fleur de lys that in S. Miniato al Tedesco, see de Francovich, op. in Roger’s picture is, however, perfectly identical with

cit, pl. 40. the authentic Florentine Lily as illustrated, e.g.) in the 3. See F. Antal, Florentine Painting and Its Social famous Biadaiolo of 1330 (P. d’Ancona, La Miniature Background, London, 1947, pl. 27 A. The gradual italienne du X® au XVI siécle, Paris and Brussels, dissociation of the Body from the Cross is further 1925, pl. XXXII, fig. 47). It should also be noted illustrated by a picture in the Museum of Historic that not only the Medici Madonna itself but also a Art at Princeton (here tentatively ascribed to Lorenzo free replica of i formerly in the Cook Collection at Monaco) and Masaccio’s famous “Pieta” at Empoli Richmond (Friedlander, II, p. 136, no. 122; Destrée,

(van Marle, op. cit., IX, p. 267, fig. 170). : pl. 32), was acquired in Italy. ; 4. Acertain influence of Roger’s composition, mani- 7. See Wauters, op. cit. and Destrée, p. 110 ff. festing itself in the conformation of the Body and in the presence of two supporting figures instead of one, Page 275

can be observed, I think, in a vaguely Castagnesque 1. See Kantorowicz, op. cit., p. 179, and W. Stein, picture in the Museo Andrea Castagno (van Marle, “Die Bildnisse von Roger van der Weyden,” Jahrbuch op. cit., X, p. 377, fig. 236) and in a panel from the der Preussischen Kunstsammlungen, XLVII, 1926, p. circle of Jacopo del Sellaio in the Accademia (van 1 ff., especially p. 19. The features of Jean le Févre Marle, XII, p. 410; U. Procacci, La Regia Galleria dell’ de St. Remy are transmitted by his portrait (after Accademia di Firenze, Rome, 1936, p. 44, no. 5069). Roger) in the Antwerp Museum (Winkler, p. 179 f.; The “Entombment” formerly ascribed to Michel- Friedlander, II, p. 105, no. 44; Destrée, pl. 129; Stein, angelo in the National Gallery at London is reminis- fig. 5 b). Those of Pierre de Beffremont are known cent of Roger’s in a more general way (cf. Warburg, to us from a drawing in the “Recueil d’Arras” (Winkop. cit. I, p. 215), and the motif of the cloth sup- ler, fig. 27; Stein, fig. 5). porting the Body from underneath seems to derive 2. For the personality of Jean le Févre de St. Remy, from a Predella by Bartolommeo di Giovanni pre- see Biographie Nationale de Belgique, XI, 1890/91, served in the Accademia (van Marle, XIII, p. 256; col. 666 ff. (his missions to Italy mentioned in col. 669). Procacci, p. 44, no. 8627). According to V. C. Habicht, 3. For the principle of triangulation vs. isocephaly, “Giovanni Bellini und Rogier v. d. Weyden,” Belve- see D. Roggen, “Roger van der Weyden en Italie,” dere, X, 1931, p. 54 ff., the Magdalen in Bellini’s “Cru- Revue Archéologique, ser. 5, XIX, 1924, p. 88 ff. It is

cifixion” at Pesaro is patterned after that in Roger’s significant that in the replica of the “Medici Madonna” Uffizi “Entombment.” This theory, based upon the referred to in note 274 ® the head of the Virgin is per-

erroneous assumption that Roger’s picture was in ceptibly lowered and, more important, that the bare Ferrara, is not convincing; rather it would seem that polygonal base has been replaced by the conventional both figures derive from a common Italian source. But Flemish dais covered with an oriental rug. For Dotheir resemblance cannot be questioned and contrib- menico Veneziano’s “Sacra Conversazione,” very freutes to the Italianate character of Roger’s composi- quently reproduced, see van Marle, op. cit., X, p. 311,

tion. fig. 192. ,

5. Winkler, p. 165 f.; Friedlander, II, p. 98, no. 21, 4. Winkler, pp. 49 f., 168; figs. 19-21; Friedlander, pl. XVIII; Destrée, pl. 31; Renders, II, pls. 14, 53; II, p. roo f., no. 26, pls. XXI-XXIII; Destrée, pls. 102Musper, fig. 82; Beenken, Rogier, p. 59 ff., figs 52-54. 104; E. Michel, L’Ecole Flamande ... au Musée du 6. A. J. Wauters, “Roger van der Weyden, II,” Louvre, p. 43 £., pls. VII-IX (with illustration of the

468

NOTES 273°-277° backs); Musper, fig. 85; van Puyvelde, Primitives, pls. piece and, even more emphatically, the wings of the 34, 35; Beenken, Rogier, p. 67 ff., figs. 78, 80, 81. Three “Annunciation” in Ste.-Madeleine at Aix-en-Provence

drawings of the Magdalen, all in the British Museum, (see p. 307). But even more remarkable is the fact are illustrated in Destrée, pl. 105 B—D. For the best that the drapery style and the facial types do not agree

of these (Destrée, pl. 105 D, often and perhaps cor- at all with those of Roger and his entourage. The rectly considered as an original, our fig. 384), see draperies are arranged in deeply scooped-out, angular Popham, Drawings of the Early Flemish School, pl. masses again reminiscent of the Aix altarpiece, and 12, and ———,, Catalogue of Drawings by Dutch and the faces are equally un-Rogerian, especially that of

Flemish Artists ...in the British Museum, V, Lon- the Angel Gabriel with its bulbous forehead, large, don, 1932, p. 55; Beenken, Rogier, p. 69, fig. 79. liquid eyes, wide, somewhat prognathous mouth, and thin, button-tipped nose. The closest contemporary

Page 276 parallel I know is the Angel Gabriel in the famous 1. Hulin de Loo, Biographie Nationale, XXVII, window of Jacques Coeur in Bourges Cathedral, becol. 236. gun in 1447 (see L. Grodecki, “The Jacques Coeur 2. St. John the Baptist: “Ecce agnus Dei qui tollit Window at Bourges,” Magazine of Art, XLII, 1949, peccata mun[di]” (John I, 29). The Virgin Mary: p. 64 ff.); and the inference is that the assistant re-

“Magnificat anima mea dominum et exultavit spiritus sponsible for the exterior of the Bladelin altarpiece meus in Deo sal[utari meo]” (Luke I, 46, 47). Christ: had received his preliminary training in France and “Ego sum panis vivus qui de coelo descendit” (John may even have been a Frenchman by extraction (cf. VI, 51). John the Evangelist: “Et verbum caro factum also note 344 *). est” (John I, 14). The Magdalen: “Maria ergo accepit 2. Jacobi a Voragine Legenda Aurea vulgo Historia libram unguenti nardi pistici pretiose [should read Lombardica dicta, T. Graesse, ed., Breslau, 1890, VI, pretiosi| et unxit pedes Ihesu” (John XII, 3). For a p. 43 £. The suggestion that the program of the Bladedescription of the back and a transliteration of its in- lin altarpiece is based upon the Speculum humanae scription, see Winkler, p. 168. For the pseudo-Kufic salvationis, originally made by Emile Male, was acinscription on the headdress of the Magdalen (visible cepted by Winkler, p. 159 f. However, while the only in a raking light and allegedly containing the Speculum does recount both the Vision of Augustus signature “Wijden’”), see F. de Mély, “Signatures de and the Vision of the Three Wise Men in much the

primitifs; Le retable de Roger van der Weyden au same way as does the Golden Legend (Chapters IX Louvre et l’inscription du turban de la Madeleine,” and X, Lutz and Perdrizet, op. cit., pls. 15, 16 and Revue Archéologique, ser. 5, VII, 1918, p. 50 ff. pls. 17, 18), it connects only the first of these events 3. Friedlander, Von Eyck bis Bruegel, p. 31. with the Nativity whereas the second is linked to the 4. Hulin de Loo, Biographie Nationale, XXVII, Adoration of the Magi. Moreover, in the description

col. 236. of the Vision of Augustus no mention is made of either

5. Winkler, p. 159 f., Friedlander, II, p. 103, no. 38; the fact that Augustus offers incense or of the altar Destrée, pls. 111, 112; Renders, II, pls. 2, 8, 21, 31, 33, which so prominently figures in Roget's painting and, 38; Schéne, fig. 74; Musper, figs. 90, 91; van Puyvelde, so far as I know, does not appear in other representaPrimitives, pl. 40; Beenken, Rogier, p. 78 ff., figs. 85— tions of the incident (cf. Lutz and Perdrizet, p. 194 ff.

87. A drawing after the left wing is illustrated in Cornell, The Iconography of the N ativity of Christ,

Destrée, pl. 149. p. 83 ff.), except for such direct copies as that in the

6. For Peter Bladelin, see Biographie Nationale de altarpiece at The Cloisters referred to in note 26371. Belgique, Il, 1868, col. 445 ff.; for the history of Mid- 3- The Virgin Mary supporting herself on a column delburg, H. Brugmans and C. H. Peters, Oud Neder- prior to giving birth is described in a passage of the landsche Steden, Leiden, I, 1909, p. 198 ff., and J. J. Meditationes by Pseudo-Bonaventure, already adduced de Smet, “Notice sur Middelbourg en Flandre,” Mes- by Male, L’Art religieux de la fin du moyen age en sager des Sciences et des Arts de la Belgique, IV, 1836, Fr ance, and ed., 1922, p. 47 f., which I quote from p. 333 ff. (with a line engraving after the Bladelin Sancti Bonaventurae ... opera, XH, P- 390: Cumque altarpiece). An illustrated monograph on Middelburg venisset hora partus, sc. in media nocte Dominicae by Karel Verschelde, 1867, was not accessible to me. diei, surgens virgo appodiavit ad quandam columnam, quae ibi erat, Joseph vero sedebat moestus . . .” The

| 469

Page 277 column of the Flagellation is mentioned, in direct con-

1. This “Annunciation” —so far as I know, not nection with the Nativity, in the speech of the Virgin | reproduced before —contains a number of still-life addressed to St. Bridget and describing how she forefeatures which recall the exterior of the Ghent altar- saw the Passion as soon as she had given birth to the

NOTES Lord: “Ductus ad columnam personaliter se vestibus of the Magi,” Art Bulletin, xxxv, 1953, p. 145 f,, fig. exuit” and “personaliter ad columnam manus applicuit” 3. The Infant Jesus in turn may give the ox a friendly (Revelationes, 1, 10; Roman edition of 1628, vol. 2, tap on the nose whereas the ass is not equally favored p. 23). Since the Gospels say only that Christ was (Paris, Bib. Nat., ms. lat. 10538, fol. 63, and Baltimore, scourged but do not mention the column, this passage Walters Art Gallery, ms. 260, fol. 63 v., our figs. 72

once more corroborates the fact that St. Bridget’s and 73). visions, like those of many other visionaries, were In other contexts, too, the “stubborn,” “benighted” strongly influenced by pictorial representations; they Jews were likened to the headstrong and stupid ass, combine, as Bertrand Russell would say, “imagination- and the Synagogue herself is seen riding a donkey in images” with “memory-images.” See also the follow- Herrad of Landsberg’s Hortus deliciarum (op. cit.,

ing note. pl. XXXVIII) as well as in several mystery plays (see P. Weber, Geistliches Schauspiel und kirchliche Kunst Page 278 in ihrem Verhdltnis erléutert an einer Ikonographie 1. On the strength of Isaiah I, 3 (“The ox knoweth der Kirche und Sy nagoge, Stuttgart, 1894, p. 90 f.). his owner and the ass his master’s crib”) and Habak- The symbolical equation “Ass = Ignorance = Synakuk III, 2 (where, according to the Itala, the work gogue” even survived into the Renaissance; see Tomof the Lord will be made known “inter duo animalia” maso Garzoni, La Sinagoga degl’ Ignoranti, Pavia, rather than “in medio annorum” as the Vulgate has 1589, briefly discussed in E. Mandowsky, Unter suchun-

it) the two animals attending the Nativity were al- gen zur Iconologie des Cesare Ripa (Hamburg disways presumed to have been aware of Christ’s divinity. sertation, 1934), Pp. 21; 89. In the Golden Legend, But since a subtle difference is made between the ox, on the other hand, both animals are described as adorwho knows his master, and the more materialistic ass, ing the new-born Saviour on their knees (in Pseudo-

who knows only his master’s crib, the two animals Bonaventure’s Meditationes they even warm Him were not always thought of as being equally worship- with their breath), and this idea, too, was perpetuated

ful. Originally, the ass, always representing the in- wn such representations as Geertgen tot Sint Jans ferior principle, was distinguished from the ox as Nativity” in the National Gallery at London (fig. symbolic of the Gentiles as opposed to the Jews (as in 448) or Gerard David's Nativity” in the Metropolithe majority of patristic sources). But after this dis- tan Museum (Wehle and Salinger, op. cit. p. 95 £.). tinction had lost much of its interest, the ass came to The whole subject — reflecting, in a small way, the be identified with the Old Testament as opposed to ambivalent attitude of the Christian Middle Ages tothe New (as already in St. Jerome and, later on, in ward Judaism — will be treated, it is to be hoped, such medieval authors as Walafrid Strabo or Rupert in an essay by Mr. Thomas J. McCormick, Jr ; of Deutz). Accordingly, we find, in addition to the The motifs discussed in this and the preceding note many representations in which both animals show are dramatized, as iC AVETes 1D the somewhat crude but their affection for the Christ Child, a number of others interesting Nativity” by the south German Master

in which the behavior of the ass differs unfavorably of the Vita Fr ederict in the Art Institute of Chicago from that of the ox: the ox may kneel down while the (F. A. Sweet, The Nativity Attributed to Albrecht ass remains standing (as in Daret’s “Nativity” in the Altdorfer,” Bulletin of the Art Institute of Chicago, Thyssen Collection, our fig. 233, or Schongauer’s en- XXXIV, 1940, p. 2 f£.). Here the significance of the graving B. 4) or concentrates his attention on the fod- enormous column is explained, so to speak, by the der in “his master’s crib” instead of on the Infant group scen in the background, the Virgin Mary bendJesus. The ass may register contempt and dismay by ing with fatigue and pain and St. Joseph pointing in loudly braying or even attempt to devour or tear off the direction from which he hopes to summon help the Infant’s swaddling clothes with his teeth while (for a similar motif in Hugo van der Goes’ Portinari St. Joseph tries to ward him off with a stick (see, for altarpiece, cf. p. 333). The ox, munching nutritious | example, the amazing Psalter of Yolande de Soissons, hay, turns toward the Infant Jesus whereas the ass, Morgan Library, ms. 729, fol. 246 v., and the material turning away from Flim, attempts to devour his own collected by M. Harrsen, “A Book of Hours for Paris tail, thereby expressing the self-destructive sterility of Use,” Die Graphischen Kiinste, new ser., III, 1938, p. Judaism. A sword lily, prophetic of the Passion, comgt ff.). Occasionally, the ox and the ass engage in an pletes the complicated symbolism of the picture.

actual tug-of-war about the swaddling clothes as in a 2. Winkler, p. 174; Friedlander, II, p. 99 f., no. 24; wood-carved roof boss at Nantwich (England) pub- Destrée, pl. 109; Beenken, Rogier, p. 100. Whether lished but insufficiently interpreted by R. Berliner, “A the picture was executed by Roger himself or an assistRelief of the Nativity and a Group from an Adoration ant I dare not decide for want of personal acquaint-

470

NOTES 278'—281° ance with it but am inclined in favor of the first alter- in Bourges Cathedral (A. Martin and C. Cahier, native. For the interpretation of the subject, see Hulin Monographie de la Cathédrale de Bourges, I, Vitraux de Loo, Biographie Nationale, XXVII, col. 239; for du XIII° siécle, Paris, 1841-1844, pl. XVI) or Andrea identifiable portraits of Jean le Févre de St. Remy and Pisano’s south door of the Baptistry at Florence (I.

Pierre de Beffremont, note 275 1}. Falk, Studien zu Andrea Pisano, Hamburg, 1940, figs. 3. For an illustration of Castagno’s “Farinata,” see, 26, 28). N. B. Rodney, “Salome,” The Metropolitan e.g., van Marle, op. cit., X, p. 354, fig. 216; for the St. Museum of Art, Bulletin, new ser., XI, 1953, p. 190 ff.

Mammas in Pesellino’s London altarpiece, e.g., P. curiously omits Roger’s “Martyrdom of St. John” in Hendy, “Pesellino,” Burlington Magazine, LIII, 1928, favor of its weak imitation by Memlinc (Bruges, pl. facing p. 67 (a drawing for, or after, the figure is Hopital Saint-Jean) and erroneously states that it was reproduced in van Marle, op. cit., p. 502, fig. 302). Heinrich Heine who in his Azta Troll “conceived the 4. Winkler, p. 158; Friedlander, II, p. 91 f., no. 2; idea of Salome’s fatal passion for John the Baptist.” Destrée, pl. 19; Renders, II, pls. 7, 8, 23; Schone, p. 70; The lady whom Heine credits with this passion is Musper, figs. 78-81; van Puyvelde, Primitives, pl. 41. Herodias; to substitute the daughter for the mother The Berlin triptych doubtless precedes that at Frank- was left to the fin de siécle (Oscar Wilde, Aubrey fort (see the convincing juxtaposition in Musper, figs. Beardsley and Richard Strauss). 80 and 81, text, p. 54); but here, as in the case of the 2. Wan Marle, op. cit., X, p. 489, fig. 293; cf. also “Granada-Miraflores” altarpiece, the Frankfort “rep- Fra Angelico’s representation of the same subject in lica””— each panel measuring 45 cm. by 28 cm. as the Louvre (Schottmiiller, op cit., p. 134). against 77 cm. by 46 cm.— would seem to have been 3. See the woman with the bundle in the sixth reproduced in Roger’s own workshop. Either the one or lief (Joseph story) of Ghiberti’s “Gates of Paradise” the other of the two triptychs would seem to be iden- (J. von Schlosser, Leben und Meinungen des Florentical with the “retable représentant la Vie de Saint tinischen Bildners Lorenzo Ghiberti, Basel, 1941, pl. Jean-Baptiste, peint par Roger van der Weyden, et 55) or the groom feeding a horse in Giovanni del donné 4 Véglise [St.-James at Bruges], en 1476, par Ponte’s Brussels “Adoration of the Magi” (van Marle, Baptiste del Agnelli [not “Aquelli” as stated in van op cit., IX, p. 69, fig. 40). Cf. also one of the Nine Puyvelde, Primitives, p. 26] négociant de Pise” (Wink- Heroines in a mural in the Castello della Manta in ler, p. 183, after Weale who, however, does not give Piedmont, now tentatively ascribed to the Italo-French

any source). For a detailed description of the scenes painter Jacques Iverny of Avignon (van Marle, VII,

in the archevaults, see Kénigl. Museen zu Berlin; p. rg, fig. 123; Lemoisne, op. cit. pl. 44; Ring, A Beschreibendes Verzeichnis der Gemilde im Kaiser- Century, Cat. no. 84, pls. 33, 34).

Friedrich Museum, p. 480 f. A drawing for —or 4. For the iconography of the Birth and Naming after? —the “Baptism,” showing the head, shoulders of St. John the Baptist, see Falk, op. cit., p. 98 ff. ——— and right arm of the Baptist as well as two legs, is in and J. Lanyi, “The Genesis of Andrea Pisano’s Bronze the Robert Lehman Collection at New York (Sotheby Doors,” Art Bulletin, XXV, 1943, p. 132 ff.; U. Middel& Co., Catalogue of Important Old Master Drawings, dorf, “A Note on Two Pictures by Tintoretto,” Gazette

Fine Paintings, . . . Sold on June 30, 1948, no. 153, des Beaux-Arts, ser. 6, XXVI, 1944, p. 247 ff. I do not

frontispiece; also The Illustrated London News, know of any other representations of the Birth of St.

CCXIITI, 1948, July 10, p. 48). John in which the Virgin Mary, even if present, carries the infant to Zacharias so that he may name him. In

Page 279 pre-Rogerian renderings she either stands or sits near 1. Hulin de Loo, Biographie Nationale, XXVII, the bed of St. Elizabeth, holding the child in her arms col. 236. (an early instance is the Italo-Byzantine retable in the 2. Friedlander, XIV, p. 85; Wehle and Salinger, Accademia at Siena illustrated in van Marle, op. cit.,

Op. cit. p. 32; Musper, p. 52 f. I, p. 386, fig. 215), while Zacharias, if participating in the action at all, receives him from or converses with

Page 280 a handmaiden (cf., e.g., the well-known Urbino murals 1. Hulin de Loo, Biographie Nationale, XXVII, by the Salimbeni brothers, illustrated in van Marle, col. 236. VII, p. 219, fig. 127, and Bollettino d’ Arte, IV, 1910,

p. 414; a Lorenzettesque picture in the Louvre men-

Page 281 | tioned by van Marle, II, p. 370, note; a Ravennate 1. Matthew XIV, ro, 11; Mark VI, 27, 28. For panel reproduced in Jahrbuch der Kéniglich Preusearlier representations of these two scenes, see, e.g., the sischen Kunstsammlungen, XXXVII, 1916, pl. facing

second window in the Chapelle de Ste. Jeanne d’Arc p. 88; two panels of a polyptych, dated 1369, in the

471

NOTES Pinacoteca at Fermo; a Spanish painting in the Rusi- to assist at the dedication of a chronicle of the Hainaut,

fol Collection at Sitges, published by Post, 4 History and that he is paired off with Nicholas Rolin in the of Spanish Painting, IJ, p. 305, fig. 185). Or, less fre- same way as in the Memoirs of Jacques du Clercq: quently, she calmly looks on as in a mural in the “Lequel evesque estoit lung des principaux, avecq le Chapel of Innocent VI at Villeneuve-lés-Avignon (J. chancellier de Bourgogne, counseiller et gouverneur Guiffrey and P. Marcel, La Peinture francaise; Les de Philippe, Duc de Bourgogne” (Mémoires de Jacques primitifs, Paris, n.d., I, pl. 8) or talks to St. Elizabeth du Clercq, IV, 13, year 1460 [J.-A. Buchon, Collections as in the “Pericope of Henry IT” in the Munich Staats- des Chroniques Nationales Frangaises, XV. siécle, vol. bibliothek, olm. 4452, Cim. 57 (G. Leidinger, Mini- XIV, Paris, 1826, p. 52]).

aturen aus Handschriften der Kgl. Hof- und Staats- 4. For earlier renderings, cf. E. P. Baker, “The bibliothek in Minchen, Munich, V, n.d., pl. 29). All Sacraments and the Passion in Mediaeval Art,” Burthese examples are either Italian or Italianate except lington Magazine, LXXXIX, 1947, p. 81 ff. The drawfor the miniature in the “Pericope of Henry II,” and ing in the Musée Condé at Chantilly, illustrated as a this represents, as correctly pointed out by Leidinger, sketch by Roger in Destrée, text vol., pl. 10, belongs, p. 41, a fusion between the Birth of St. John and the like its companion pieces in the same collection (DesVisitation; the illuminator — reversing, as it were, the trée, pl. 146) and in the Kunsthalle at Hamburg (G. roles of the principal characters—has simply com- Pauli, Zeichnungen alter Meister in der Kunsthalle zu

bined the Virgin and Child of an ordinary Nativity Hamburg, Niederlinder, new ser., Frankfort, 1926, with the Elizabeth of the Visitation so that in his nos. 1, 2), to a “Symbolum Apostolicum” series probminiature Our Lady looks much older than her cousin. ably produced by a North-Netherlandish artist about

In Jean Fouquet’s “Hours of Etienne Chevalier,” 1470-1480. nearly contemporary with Roger’s St. John altarpiece,

the idea of showing the Virgin Mary sitting on the Page 283 ground and holding the infant St. John on her lap is 1. The angel of the Eucharist is clad in green, that evidently one of the Italianisms in which this manu- of Baptism in white, that of Confirmation in yellow, script abounds (cf. Pacht, “Jean Fouquet: A Study that of Penance in red, that of Holy Orders in violet,

of His Style,” pl. 22 b). that of Matrimony in blue, and that of Extreme Unction in dark purple.

Page 282 2. See note 260 '. With abbreviations expanded and 1. Winkler, pp. 54 f., 113 ff.; Friedlander, II, p. 96, punctuation modernized, the seven inscriptions, juxtano. 16; Destrée, pls. 75, 76, and text vol., pl. 11; Ren- posed with their sources, read as follows.

ders, II, pls. 35, 36, 40; Musper, pp- 52, 59, figs. 64, Eucharist: 65; van Puyvelde, Primitives, pls. 38, 39; Beenken, on a

Rogier, pp. 92 £. 99, figs. 119-121. Cf. P. Rolland, “Hic panis, manu sancti spiritus formatus in virgine, “Het drieluik der Zeven Sacramenten van Rogier van a Passions S.. decoctus in cruce. der Weyden,” Annuaire du Musée Royal des Beaux- MOFOSHIS I Sacraments.

Arts d’Anvers, 1942-47, p. 99 ft. . “Quomodo potest qui panis est, corpus esse Christi? ... 2. Central panel: 200 cm. by 97 cm. as against ca. Accipe ergo quemadmodum sermo Christi creaturam 225 cm. by 108 cm.; lateral panels: 120 cm. by 79 cm. omnem mutare consueverit, et mutet, cum vult, instituta

as against ca. 135 cm. by 82.5 cm. The repaintings naturae ... quia voluit Dominus, de Spiritu sancto et already noticed by Winkler and Friedlander are, spe- Virgine natus est Christus” (St. Ambrose, De sacramentis,

cifically: the heads of the Priest, the Father and the IV, 4, 14-17).

Male Witness in the Baptism; the heads of the men Baptism:

behind the Canon on the right of Jean Chevrot; the oe heads of the Bridegroom and the Witness in the Wed- “Omunes in aqua et pneumate baptizats

ding Scene; the head of the Priest in the Extreme Unc- In morte Christi vere lo” renat. tion. That the figure emerging from behind the sec- Ad Romanos VI capitulo.

ond pier in the central panel has been painted in was eas i, .o. , , An ignoratis, quia quicumque daptizati sumus in Christo

first observed by Mr. Koch. Jesu, in morte ipsius baptizati sumus”? (Romans VI, 3) 3. See note 268%. Here Jean Chevrot, clad in an ° , re episcopal cassock of pink-violet color, is seen on the Confirmation: right of Chancellor Nicholas Rolin. His identity is “Per crisma, quo a praesule inunguntur, established by the fact that the Bishop of Tournai and Vi passionis Christi in bono confirmantur. close adviser of Philip the Good was the logical person In quarto Sententiarum.”

472

NOTES 282'—285° Cf. the discussion of the Sacrament of Confirmation in pl. 83; K. T. Parker, op. cit., p. 40 £., nos. 94-97) which

Peter Lombard’s Liber sententiarum, IV, dist. VII. were employed for the embroideries on a chasuble in

Penance: the Historisches Museum at Berne (Winkler, p. 48 ff.,

, _ i, figs. 15, 16; Destrée, pls. 81, 82; cf., however, P. Dain bent haar shits oe atignie Wescher, “The Drawings of Vrancke van der Stoct,” Ad Hebraeos IX capitulo.” : Old Master Drawings, XIII, 1938-39, p. 1 ff.).

4. That Jan van Eyck’s “Madonna in a Church”

“Quanto magis sanguis Christi, qui per Spiritum sanctum was well known in Roger’s circle is demonstrated by

semetipsum obtulit immaculatum Deo, emundabit con- the fact that its architecture, with the characteristic

scientiam nostram. .. ”? (Hebrews IX, 14). feature of the raised choir triforium, was imitated in

Ordination: the central panel of the pseudo-Cambrai altarpiece in

the Prado (cf. preceding note) as well as in the “His-

“Dum summus pontifex Jesus in sancta intrauit, tory of St. Joseph” (see note 194). Both these works Tune sacramentum ordinis vere instaurauit [?]. presuppose, however, the Chevrot triptych as well.

Ad Hebraeos IX capitulo. | 5. Cf. Maere, loc. cit. ‘“Neque ut saepe offerat semetipsum, quemadmodum

, fig. 30.

Pontifex intrat in Sancta per singulos annos in sanguine Page 284

alieno” (Hebrews IX, 25). 1. Illustrated, e.g., in van Marle, op. cit., VIII, p. 41, Matrimony: 2. E. Panofsky, “T'wo Roger Problems: The Donor “Matrimonium a Christo commendatur, of the Hague Lamentation and the Date of the Altar-

Dum sponsa sanguimum in carne [con }copulatur. piece of the Seven Sacraments,” Art Bulletin, XXXIII,

Exodi IIIT capitulo. 1951, p. 33 ff. The bishop administering Holy Orders “Tulit illico Sephora acutissimam petram, et circumcidit 18 here tentatively identified with Jean Avantage, praeputium filii sui, tetigitque pedes eius, et ait: Sponsus Bishop of Amiens.

sanguinum tu mihi es” (Exodus IV, 25). 3. Musée Royal de Tableaux, Mauritshuts a la Haye,

Extreme Unction: Catalogue Raisonné des Tableaux et Sculptures, The Hague, 3rd ed., 1935, p. 397 ff.; Winkler, p. 131 f.;

“Oleo sancto in anima et corpore infirmati Friedlander, II, p. 106, no. 46, pl. XXXIX; Destrée,

Sanantur merito passionis Christi. pl. 60; Musper, p. 51 f., fig. 59; Beenken, Rogier, p. |

Jacobi ultimo.” 99, fig. 128. Cf. also Voll, Die altniederlindische

“Infirmatur quis in vobis? inducat presbyteros Ecclesiae, ats 1. - 773 ein ee on Bi 08rap me Neonde

et orent super eum, ungentes eum o/eo in nomine Domini” _ » COM 239% cen en, Nogier van eer weyeen

(James V, 14). und Jan van Eyck,” note 4; Winkler, Thieme-Becker,

XXXV, pp. 471, 474. The picture has been published 3. The individual Sacraments were unimaginatively in seven color reproductions by W. Vogelsang, Rogier imitated in the simulated sculptures on the buttresses van der Weyden, Pieta; Form and Color, New York,

enframing the central panel of the much-debated n.d. (1949). The identity of the donor with the Canon triptych in the Prado formerly identified with that in the Chevrot triptych was also observed by Professor Cambrai altarpiece the dimensions of which Roger Julius S. Held; for his conjectural identification with increased “pour l'amour de l’oeure” (see p. 248 and Pierre de Ranchicourt, see Panofsky, “Iwo Roger note 285 *). Accepted, against Karl Voll’s well-founded Problems.” A “Lamentation” recently discovered in

objections, by Winkler, pp. 46, 170, figs. 17, 18, it is the Hopital St.-Nicolas at Enghien and vaguely renow unanimously considered as the work of a medi- lated to that in The Hague (Landelin-Hoffmans, op. ocre imitator (Friedlander, II, p. 106, no. 47, pl. XL, cit.) is supposed to come from the Charterhouse of and XIV, p. 86; Destrée, pls. 77-80; ———, “Le Re- Hérinnes (see note 2481) but dates from the last table de Cambrai de Roger de la Pasture”; Duverger quarter of the fifteenth century. in Thieme-Becker, XXXII, p. 69; Winkler in Thieme- 4. M. W. Brockwell, “A Document Concerning Becker, XXXVII, p. 93). This imitator, according to Memling,” The Connoisseur, CIV, 1939, p. 186 f. Hulin de Loo identical with Vrancke van der Stockt

473

(while Hoogewerff, II, p. 230 ff., ascribes it to the Page 285 workshop of Dirc Bouts), may also be considered re- 1. Hulin de Loo, Biographie Nationale, XXVII, sponsible for a series of drawings of the Seven Sacra- col. 235. ments in the Ashmolean Museum at Oxford (Destrée, 2. Winkler, p. 175, figs. 22, 23; Friedlander, II,

NOTES p. 96, no. 15, pls. XII, XII; Destrée, pl. 29; van ing to which it is identical with the altarpiece in the Puyvelde, Primitives, pl. 42; The Worcester-Philadel- Prado referred to in note 283%. But here again the

phia Exhibition of Early Flemish Painting, no 6; measurements do not agree with the document, the Beenken, Rogier, p. 100, figs. 124, 125 (“designed but Prado triptych measuring 1.95 m. by 1.72 m. whereas

hardly executed by Roger”). All illustrations save — equating 1.95 m. with six feet and one half — its those in Beenken show the diptych before the cleaning width should only amount to 1.50 m. Apart from this,

which disclosed the original gold ground. Winkler, the Prado altarpiece has long been eliminated from p. 120, dates it “shortly before 1450”; Friedlander, Roger’s work. “about 1445”; Destrée, text vol., p. 108, “close to the 4. Haarlem, Teyler Stichting, Ms. 77 (a Pontifical Vienna triptych,” viz., about 1440; Hulin de Loo, for Térouanne use produced between 1451 and 1456), Biographie Nationale, XXVII, col. 238, “not far from fol. LVI, illustrated in A. W. Byvanck, “Les Princi1435. That the two panels cannot have formed the paux Manuscrits a4 peintures conservés dans les collecexterior shutters of a folding retable is proved by their tions publiques du Royaume des Pays-Bas,” Bulletin admirably careful execution, the sophisticated coloring de la Société Frangaise de Reproductions de Manuand the presence of gold ground; in all other instances, scrits @ Peintures, XV, 1915, p. 25 ff., pl. VIII. This the exterior wings of Roger’s altarpieces are treated as miniature and its importance for the explanation of second-class work and were normally entrusted to as- Roger’s Philadelphia “Calvary” (as well as of his later sistants. The original presence of a left-hand panel “Crucifixion” in the Escorial, our fig. 357) was called (presumably showing the donor), on the other hand, to my attention by Professor Wilhelm Koehler who is precluded by the perfect balance of the composition. generously permitted me to make use of his ingenious

As pointed out to me by Mr. Henri Marceau, the observation. cloths of honor are. placed in such a way that the wall

strips on the extreme right and left are wider than

those in the center, which makes the layout of the Page 286

present diptych perfectly symmetrical. 1. Winkler, p. 172 ff.; Friedlander, II, p. 107, no. 3. E. P. Richardson, “Rogier van der Weyden’s 49, pl. XLII; Destrée, pls. 106-108; Schéne, pp. 75-77; Cambrai Altar,” Art Quarterly, II, 1939, p. 57 ff. Ac- Musper, figs. 94-97; Beenken, Rogier, p. 82 ff., figs. cording to the document referred to in note 248 ® 100-102 and color plates facing pp. 32, 64, 80.

(Lille, Archives du Département du Nord, no. 36 H 2. Kantorowicz, “The Este Portrait by Roger van 431, fol. 221), the dimensions of the Cambrai altar- der Weyden,” p. 178, seems to refer to this figure piece, originally stipulated as “V piez en quarrure,” when he speaks of the youngest King in an “Adorawere voluntarily increased by Roger to “VI piez et tion of the Magi now in Frankfort” whom he tentademi de hault” and “V piez de large”; it was thus tively identifies with Francesco d’Este as represented pronouncedly vertical in format (proportion of width in the New York portrait. This similarity I am unable to height exactly 1:1.3) whereas the Philadelphia pan- to see. els, each measuring 5 feet 11 inches by 3 feet 5/16 3. See Hulin de Loo, Biographie Nationale, XXVII, inch, very nearly constitute a square. Moreover, Rich- col. 230; Winkler, p. 184. ardson himself has rightly pointed out that the Phila- 4. Winkler, p. 160 f.; Friedlander, II, p. 105, no. 42, delphia panels cannot possibly have formed the exterior pl. XXXVII; Destrée, pl. 127; Renders, II, pl. 57; wings of a folding triptych (see preceding note). Musper, fig. 77; Beenken, Rogier, p. 72, fig. 111; The Cambrai altarpiece, however, was a triptych with Wescher, “Das héfische Bildnis.” Winkler’s and Fried-

, movable shutters. As discovered by the late Paul Rol- lander’s tentative identification of the Berlin portrait land (“Madone Italo-Byzantine de Frasnes-lez-Buis- with the “chief du duc Charles” listed in Margaret of senal,” Revue Belge d’Archéologie et d’Histoire de Austria’s inventory of 1516, as opposed to the “tableau l’Art, XVII, 1948, p. 97 ff.), the Lille document does de la portraiture de M. S. le duc Charles de Bournot speak of a “tabliau a II huystoires” (“a retable gogne” listed in her inventory of 1524, is not convincshowing two subjects”) but of a “tabliau a II Auys- ing. As can be inferred from the identity of the other series’ (“a retable with two shutters”); the photo- items, both inventories (reprinted in Winkler, p. 184)

graph kindly placed at my disposal by M. Paul de describe one and the same picture, and that of 1524 St.-Aubin, Archiviste en Chef du Département du explicitly states that the Duke had “un rolet en sa Nord, leaves not the slightest doubt as to the correct- main dextre.” Apart from this difference in attributes, ness of Rolland’s reading. The fact that the Cambrai the similarity between the Berlin portrait and that altarpiece was a folding triptych, and not a diptych, once owned by Margaret of Austria extends even to may seem to lend support to the old hypothesis accord- the fact that the Golden Fleece is not worn on the

474

NOTES 285°-291* , formal collar composed of “Flint and Steel” but on a 89 ff., figs. 104, 105, 107. Cf. A. Alvarez Cabanas, “La

simple chayne. Crucifixién, tabla de Roger van der Weyden,” Religidn

5. While Friedlander’s dating (“after rather than y Cultura, XXIV, 1933, p. 56 ff.; F. J. Sanchez Canbefore 1460”) appears too late the date proposed by ton, “Un gran cuadro de Van der Weyden resuciMusper, p. 59 (between 1446 and 1450), is evidently tado,” Miscellanea Leo van Puyvelde, Brussels, 1949, too early since Charles the Bold was born in 1433. In p- 59 ff. So far as I know, Schone, p. 26, is the only 1446 he was a small boy of thirteen and is portrayed scholar to date the Escorial “Crucifixion” as late as as such in the dedication miniature of the Chroniques I am inclined to do; according to Winkler, p. 195 (un-

du Hainaut. fortunately without indication of the source) Roger advanced some money to the Charterhouse of Scheut Page 287 in 1462. I am indebted to Dr. J. M. Pita Andrade for 1. For the “Offering of the Water from the Well of the photograph showing the picture in its present Bethlehem,” see p. 278; for the interpretation of the condition.

scene as a typus of the Adoration of the Magi, see, e.g., | Speculum humanae salvationis, YX (Lutz and Perdri- Page 289 zet, op. cit., pl. 17). Concerning the Jewish connota- 1. Frey, op. cit., no. 130; Brinckmann, op. cit., pl. 73. tion of the yellow color, see, apart from the proverbial 2. The medievalistic tendencies of Michelangelo’s “yellow badge,” the stage directions of two mystery last phase have often been commented upon. For a plays which prescribe this color for the costume of the brief summary, see Panofsky, Studies in Iconology, Synagogue (Weber, op. cit., pp. 86 ff., 92). The blue p- 229, note 190.

object in the yellow-clad man’s right hand is his hat; 3. Destrée, text vol., p. 175. Professor L. H. Heydenreich kindly informs me that 4. Vogelsang, “Rogier van der Weyden,” p. 114. the figure was originally bare-headed and that the turban was added as an afterthought, perhaps in order Page 290

to stress its “oriental” character. 1. Cf, E. Kris and E. Gombrich, “The Principles 2. That a tapestry in the Historisches Museum at of Caricature,” Journal of Medical Psychology, XVII, Berne, illustrated in H. Gobel, Wandteppiche, Leipzig, 1938, p. 319 ff., especially p. 324 ff. 1923-1934, I, 2, pl. 211, reflects a design of Roger van

der Weyden as conjectured by Voll, Die altnieder- Page 291 lindische Malerei, p. 58, and endorsed by Winkler, p. 1. Winkler, p. 169 f.; Friedlander, II, p. 99, no. 23, 178, seems rather doubtful to this writer (cf. also pl. XX; Destrée, pl. 132; Schéne, p. 69; van Puyvelde, Friedlander, II, p. 84: “Eine Tapisserie, deren Karton Primitives, pl. 43 (still as “Lionello d’Este”); Beenken, von dem Meister herzurithren schiene, ist mir nie zu Rogier, p. 72 ff., fig. 113 (inclining to ascribe the ex-

Gesicht gekommen”). ecution to an Italian pupil, possibly Zanetto Bugatto); 3. This poignant condensation of the old antithesis Wehle and Salinger, op. Cit., Pp. 35 ff. For the identifica-

between the Adoration of the Magi and the Cruci- tion of the sitter, see Kantorowicz, “The Este Portrait fixion (cf., e.g., the Bargello Diptych discussed above, by Roger van der Weyden.” p. 82 f., or the ivories, Koechlin, op. cit., nos. 295, 320, 2. Winkler, p. 162; Friedlander, II, p. 103, no. 37; 470, 478, 481, 488 bis, 824) is prefigured in a minia- Destrée, pl. 141; Musper, fig. 87; Wescher, “Das ture in the “de Buz Hours,” fol. 57, where the scene hofische Bildnis.” Since the “Grand Batard” (Anthony is staged, in the interior of a church, before an altar of Burgundy, son of Philip the Good and Jeanne de surmounted by a retable that shows the Crucifixion Prelles) was born in 1421 and does not look older (Panofsky, “The de Buz Book or Hours,” pl. V a). than ca. thirty-five, the portrait—identifiable by a drawing in the “Recueil d’Arras’”— may be dated

Page 288 about 1455.

1. See D. Shorr, “The Iconographic Development 3. See p. 171. of the Presentation in the Temple,” Art Bulletin, 4. For this drawing, see Catalogue of the D. G. van

XXVIII, 1946, p. 17 ff., especially p. 30 f. Beuningen Collection, no. 164, pl. 200; Friedlander, 2. Cf, e.g., the fresco illustrated in Labande, Le XIV, p. 78; de Tolnay, Le Maitre de Flémalle, p. 72 £.,

Palais des Papes, Il, p. 55. fig. 120; De van Eyck &@ Rubens, no. 1; van Puyvelde, 3. Good illustrations in M. Pittaluga, Filippo Lippi, Musée de l’Orangerie, no. 40, pl. XXXII. One of the

Florence, 1949, figs. 18 and 22. three others, representing John IV, Duke of Brabant

4. Winkler, p. 164; Friedlander, II, p. 100, no. 25; (1403-1426) is also in the van Beuningen Collection Destrée, pl. 27; Musper, fig. 84; Beenken, Rogier, p. (illustrated in the Catalogue, no. 165, pl. 201; de

475

NOTES Tolnay, fig. 119; De van Eyck &@ Rubens, no. 2, pl. I; spite of the fact that three of the four princes are clad

van Puyvelde, Musée de l’Orangerie, no. 41, pl. in early fifteenth-century garb, the drawings look XXXIII). The two remaining ones, representing Rogerian rather than Eyckian, and it has been shown Philip, Duke of Brabant (died 1430) and Philip, that a mutilated drawing in the Berlin KupferstichCount of Nevers (killed at Agincourt in 1415), were kabinett, always ascribed to Roger’s school and even in the Mannheimer Collection at Amsterdam and were thought to be a portrait of him (Destrée, pl. 147; destroyed during the war (illustrated in de Tolnay, Stein, op. cit., fig. 6), belongs to the same series (P. figs. 121 and 122, respectively). These four drawings Wescher, “Beitrage zu einigen Werken des Kupfer— all illustrated again in Baldass, Eyck, pls. 147-150 — stichkabinetts,” Berliner Museum, LIX, 1938, p. 51).

are almost generally supposed to be early works by In fact, Roger’s name is explicitly mentioned in conJan van Eyck, presumably executed in preparation nection with the second of the three tombs, viz., that for four of the brass statuettes — “plorants” — on the of Joan of Brabant, and there is every reason to suplost tomb of Louis de Male (died 1384) in St. Peter’s pose that he also took part in the preparation of its at Lille. This tomb, erected by Philip the Good in 1455, model, the tomb of Louis de Male. Of the latter, we

is known to us only from old engravings and draw- know that it was ordered by Philip the Good and ings from which we learn that it was repeated, with produced “en sa ville de Bruxelles (where Roger was the efligies changed but most of the “plorants” sub- facile princeps in all artistic activities) par Jacques de

stantially unaltered, first, in the tomb of Joan of Gerines bourgeois dicelle” (M. Devigne, “Een nieuw Brabant formerly in the Carmelites’ Church at Brus- Document voor de Geschiedenis der Beeldjes van sels (completed in 1458-1459 and also known to us Gérines,” Onze Kunst, XXXIX, 1922, p. 49 ff., espeonly through later reproductions); and, second, in the cially p. 55 f.). As to the former, we have an elaborate tomb of Isabella of Bourbon formerly in the Abbey of record of payments which shows that the statues, again St. Michael at Antwerp (completed 1476, the effigy supplied by the aforementioned “coppersmith” (coopof Isabella preserved in Antwerp Cathedral and ten erslagere) Jacques de Gérines, had been “cut” (gesne-

of the “plorants” in the Rijksmuseum at Amsterdam). den) and were “done over” (gerepareert), by the Cf. C.M.M.A. Lindeman, “De Dateering, Herkomst “sculptor” (beeldesnyder) Jean Delemer — apparently en Identificatie der “Gravenbeeldjes’ van Jacques de the same who in 1428 had carved the beautiful “AnGérines,” Oud Holland, LVIII, 1941, pp. 49 ff. 97 ff., nunciation” in Ste.-Marie Madeleine at Tournai (see

| 161 ff., 193 ff., and H. Gerson’s summary of previous pp. 162, 254). Since the statuary is so nearly identical discussions in Oud Holland, LXIII, 1948, p. 135 ff. It in both monuments, and since Jacques de Gérines cannot be denied that the drawings are related to the seems to have been responsible only for the casting, we

“plorants” appearing on these three tombs, though are entitled to assume that Delemer had played the none of the figures recurs quite literally. But their at- same role in the execution of the tomb of Louis de tribution to Jan van Eyck is open to several objections. Male as he did in that of Joan of Brabant, and that the First of all, we have no evidence for the assumption same is true of Roger van der Weyden who, in 1459, that the tomb of Louis de Male was planned and pre- received 100 crowns (equivalent of 2400 shillings or pared more than a quarter-century before its erection. 120 pounds Flemish) “voir zynen loon van te hebben Second, the drawing of Philip of Brabant (de Tolnay, die voirscreve beelde by den voirscreven Jacoppe ende fig. 121) shows him with a falcon on his left hand, a Janne de la Mer gelevert, gestoffert van schilderien be-

motif hardly compatible with the idea of a “plorant.” voirwaert ende gecomentschapt als voere,” that is to Third, Louis I of Savoy — first cousin of Philip the say, “as his remuneration for having polychromed the , Good, 1402-1465 — looks like a man of at least forty aforesaid statues, supplied by the aforesaid Jacques [de in the van Beuningen drawing and wears, accordingly, Gérines] and Jean Delemer, I rom paintings bespoken

pare, eg. his headgear . , . . , chroming was donethis, on theneedless basiswi of paintings already nephew in the Berne tapestries); to say, _s .; , ; commissioned for this purpose on an earlier occasion

an unmistakably mid-fifteenth-century costume (com- and agreed upon as be} ore” (Devigne, p. 61; also

cc. his headeear with that of Herkinbald’s Winkler, p. 183). This can only mean that the poly-

a . phrase “van schilderien,” cf.

establishes a terminus post quem for the whole series. (“als voere”). For the ph & hilderien”” cf F ourth, the style of the drawings has nothing in Come the document quoted in note 39 7; and that it was not

mon with that of Jan’s portrait of Cardinal Albergati unusual to order paintings or colored drawings pre(fig. 264) although the interval of time, were they by paratory to the polychroming of sculptures is demonJan, would not amount to more than five or six years, strated by the fact that, in 1442, the painter Dieric the terminus ante quem non for Jan’s supposed partici- Aelbrechts — possibly identical with Dirc Bouts — pation in the tomb of Louis de Male being, of course, was paid for a design (patroen) on the basis of which his appointment to the Burgundian court in 1425. In a new Madonna statue was to be polychromed: “Dieric

476

NOTES 291°—292° Aelbrechts, schildere, die een patroen gemaect hadde, British Museum, reflecting a somewhat similar porom daer op d’nieuwe beelt van Onser Vrouwe te trait, see Winkler, p. 54, fig. 25; ———, “Rogier van stofferen” (E. van Even, “Monographie de |’ancienne der Weyden’s Early Portraits,” Art Quarterly, XIII, Ecole de peinture de Louvain,” Messager des Sciences 1950, p. 211 ff.; Destrée, pl. 148; Popham, Drawings Historiques, XXXIV, 1866, p. 1 ff., p. 30; referred to of the Early Flemish School, pl. 11; ———, Catalogue

in H. Huth, Kiinstler und Werkstatt der Spiatgottk, of Drawings ...in the British Museum, v, p. 54;

Augsburg, 1923, p. 95). Beenken, Rogier, p. 37, fig. 27.

In connection with the Burgundian tombs, then, 2. Winkler, p. 176, fig. 24; Friedlander, II, p. ror, Roger’s workshop must have been commissioned with no, 29 A, pl. XXVIII; Destrée, pl. 137; Musper, fig. fairly numerous paintings portraying all the members 66; van Puyvelde, Primitives, pl. 45.

of the family who were to figure as “plorants” — 3. Winkler, p. 161; Friedlander, II, p. 102, no. 32, paintings, of course, the great majority of which had pl. XXX; Destrée, pl. 133; Beenken, Rogier, p. 71 £., to be copied from originals thirty or forty years old; fig. 109. it should be remembered that the Duc de Berry al- 4. Friedlander, XIV, p. 88, Nachtrag, pl. X; de ready owned a regular portrait gallery housed in his Tolnay, Le Maitre de Flémalle, p. 58, no. 11, fig. 25; Castle of Bicétre (Michel, Histoire de Tart, Ill, 1, pp. Destrée, pl. 128; Renders, II, pl. 51; Beenken, Rogier, 138, 145). This hypothesis accounts for the fact that p. 70, fig. 35 (under “London, Colnaghi’’); see also

Roger received the very substantial sum of one hun- notes 1547, 29414,

dred crowns while Jacques de Gérines, having sup- 5. Friedlander, XIV, p. 88, Nachtrag, pl. XII; plied the entire statuary, received only sixty, and Jean Hulin de Loo, Biographie Nationale, XXVII, col. 239; Delemer, remunerated for work but not for materials, Musper, fig. 34; F. Winkler, “Rogier van der Wey-

only fifteen. And it also explains, I think, the de- den’s Early Portraits”; A. Scharf, 4 Catalogue of ceptively archaic appearance of the pseudo-Eyckian Paintings and Drawings from the Collection of Sir drawings as well as the existence of the Antwerp por- Thomas Merton, F.R.S., at Stubbingshouse, Maiden-

trait of John the Fearless. head, London, 1950, p. 74 f., no. XXXI; Beenken, The foregoing account was written before the pub- Rogier, p. 35 f., figs. 16, 17. Scharf’s identification of lication of J. Leeuwenberg, “De tien bronzen ‘Ploran- the sitter as Guillaume Fillastre appears to be well

nen’ in het Rijksmuseum te Amsterdam; Hun Her- founded and can be corroborated, I think, by his komst en de Voorbeelden waaraan zij zijn ontleend,” appearance about 25 years later in Simon Marmion’s Gentse Bijdragen tot de Kunstgeschiedenis, XIII, 1951, altarpiece from St.Omer in the Kaiser Friedrich p. 13 ff. While I am not convinced of Leeuwenberg’s Museum (Ring, 4 Century, Cat. no. 170, pl. 104). conclusion that the four or five “Eyckian” drawings The only objection seems to be that Fillastre, born were copied after the little statues formerly on the about 1400, entered the Benedictine order at an early Lille tomb rather than executed in preparation thereof age and was already an abbot in his early thirties. We (the little pieces of terrain on which the figures stand know, however, that he concurrently pursued his are very different, I feel, from the abstract, polygonal studies at the University of Louvain and received his plinths that served to support the actual statuettes) I doctoral degree there in 1436 (Biographie Nationale am delighted to see that he dates them, as I do, in de Belgique, VII, col. 61 ff.). He may, therefore, have the sixth decade of the fifteenth century and vigor- had dispensation to wear secular dress in those years,

ously denies their attribution to Jan van Eyck. and it may have been precisely in 1436 that he sat 5. Cf., in addition to the portraits of Charles the to Roger in his new doctor’s habit. The curious Bold, the “Grand Batard” and Francesco d’Este, the headgear which he wears is a doctor’s hood identical portrait of Philip the Good in the Chroniques du with that worn by the two doctors attending a sermon Hainaut as well as the panels showing him “en ung of Jean Gerson in the Miroir d’Humilité, Valenciennes,

chapperon bourellé’ and the portrait of Jean le Bibliothéque Municipale, ms. 240 (231), fol. 117 Févre de St. Remy (see note 275 !). For the significance (319), illustrated in V. Leroquais, Le Bréviaire de

age 292 « ye

of the hammer as an attribute of high office or as Philippe le Bon, Bréviatre parisien du XV® stécle, a symbol of victory in a tournament, see Kantorowicz, Brussels, 1929, pl. 40 (kindly brought to my atten-

op. cit., p. 176 f. tion by Canon A. L. Gabriel). The back of the picture

P shows a beautifully designed holly plant with the 1. Winkler, p. 160; Friedlander, II, p. 93, no. 4, difficult motto: “Je he ce que mord which has been pl. VII; Renders, II, pls. 51, 57; Destrée, pl. 140; variously rendered as I hate that which stings Schone, p. 68; Musper, fig. 6; Beenken, Rogier, pp. 36, (Winkler) and “J'ai ce qui mord, I have that f., 73 f., frontispiece in color. For a drawing in the which stings” (Scharf). Both translations are, how-

477

NOTES ever, unconvincing: the first, because an emblem Portuguese master which has recently passed from represents a thing with which the bearer symbolically the Harkness Collection to the Metropolitan Museum identifies himself, and not a thing which he dislikes (no. 50.115.15) is a free copy of the Rockefeller panel

(nobody would assume the device of a snail or minus the inscription. turtle accompanied by the motto “I hate sloth”); the 5. For the tradition of the Sibyls, see the literature second, because Je he can only be the first person pres- referred to in note 2407. For the Memlinc portrait ent of hair, and not of avoir which never has an of 1480, preserved in the St. John’s Hospital at Bruges, aspirate “h” and, consequently, requires the elision of see, e.g., van Puyvelde, Primitives, pl. gt.

| the preceding “e” in Je. The correct translation, for 6. The inscription has always puzzled observers which I am indebted to Professors Leo Spitzer and (cf., e.g., Friedlander, II, p. 95); when Stein, op. cit., Ernst Robert Curtius, would seem to be: “I hate that p. 10, attempts to explain it by the contention that it

which I sting,” meaning that the bearer will use his was natural for the “Nordmensch” to identify a weapons only against those of whom he morally princess of “semi-African origin” (!) with an oriental

‘disapproves. Sibyl it must be objected that this explanation does

A Portrait of a Young Man which, if authentic, not account for the numeral and that the “semi-

would be approximately contemporaneous with that African” origin of Isabella of Portugal would have of Guillaume Fillastre was recently sold at Christie’s suggested, if anything, the Lydica, and not the Persica. (The Illustrated London News, CCXVII, 1950, November 18th, p. 826; Beenken, Rogier, p. 106, fig.

114); but to judge from the reproduction it is not Page 294

equally convincing. 1. For a lost cycle of Flemish panels of ca. 14506. E. Renders and F. Lyna, “Deux Découvertes 1455, representing the Sibyls and pagan Philosophers relatives 4 Van der Weyden,” Gazette des Beaux- in half-length, which are transmitted through nearly Arts, ser. 6, IX, 1933, p. 129 ff.; van Puyvelde, “Die contemporary woodcuts and engravings and were Flamische Kunst auf der Ausstellung zu Briissel,” revived from these prints by Ludger and Herman tom

Pantheon, XVI, 1935, p. 321 ff. Ring, see Voge, op. cit., p. 132 ff., figs. 59, 61, 63-65, 7, Stein, op. cit. figs. 1 and 1 a. For the supposed 67, 70, 71, 73-76. “Demoiselle de Villa,’ allegedly dating from 1430- 2. Cf. Winkler, p. 178; Friedlander, II, p. 137 f£,

1435, see p. 300 f. nos, 125 f and g. No. 125 g, preserved in the Musée

Communal at Bruges, is illustrated in Destrée, pl. 130

Page 293 (see Janssens de Bisthoven and Parmentier, op. cit.,

1. Cf. Winkler, p. 52 ff. p. 63 ff.).

2. Winkler, p. 174; Friedlander, II, p. 95, no. 13, 3. See above, p. 275. pl. XIV; Destrée, pl. 139; Renders, II, pl. 57; Musper, 4. These doubtful or unacceptable pictures are:

fig. 89; Beenken, Rogier, p. 74 f., fig. 93. See also (a) Portrait of a Young Man, formerly in the Masterpieces of Art... New York World’s Fair, Cardon Collection at Brussels (Winkler, p. 162; Fried1939, no. 410, pl. 48; Flemish Primitives, An Exhibi- lander, II, p. 102, no. 33; Destrée, pl. 134; Renders,

tion Organized by the Belgian Government, p. 26; II, pl. 57). Very doubtful.

Wescher, “Das hofische Bildnis.” (b) Portrait of a Man in a Turban, in the Metro3. Most scholars, including Beenken, date the politan Museum (Friedlander, XIV, p. 89; Destrée, picture in the “fifties (cf., e.g., Friedlander, II, p. 42; pl. 142; Musper, fig. 88; Beenken, Rogier, p. 99, fig. Musper, pp. 25, 59). I accept the dating of Hulin de 122; Wehle and Salinger, op. cit., p. 35). In my — Loo, Biographie Nationale, XXVII, col. 240 f., which and, as I see now, Beenken’s — opinion not acceptable

agrees with the apparent age of the sitter as well as in view of the indifferent design and the un-Rogerian her costume (cf. especially the Bride in Petrus Christus’ vacancy of the glance; Hulin de Loo, Biographie

famous “St. Eloy” of 1449 in the Robert Lehman Nationale, XXVII, does not mention the picture. Collection at New York [fig. 407] and the donor’s (c) Portrait supposedly of M. Broers in the posportrait of Isabella herself in the “Nativity” of 1448 session of Mesdemoiselles Le Maire-Broers, Brussels ascribed to Nabur Martins [see note 127 *]). (Dr. C. Le Maire, “Vers Videntification d’un portrait 4. For the identification of the sitter, see Stein, executé par Roger van der Weyden,” Bulletin de la op. cit., figs. 4 and 4 a; Devigne, “Notes sur |’exposi- Société Royale d’Archéologie de Bruxelles, VIII, 1935,

tion d’art flamand et belge,” p. 72; van Puyvelde, p. 107 ff.; The Worcester-Philadelphia Exhibition of “De Reis van Jan van Eyck naar Portugal.” It may Flemish Painting, no. 8). The unusually small picture be mentioned that the “Portrait of a Lady” by a (only 11.2 cm. by 10.2 cm.) is unacceptable and seems

478

NOTES 292°—-294* to be a forgery after the portrait of the donor in the about half the usual size) that it may be worth while

Berlin “Pieta” (see note 261 *). to investigate whether it is a donor’s portrait cut out

(d) Portrait supposedly of a “Demoiselle de Villa” from a larger composition rather than the wing of in the de Rothschild Collection at Paris (fig. 401); a devotional diptych. The same would seem to be

see below, p. 300 f. true of the Metropolitan Museum’s “Man in Prayer” For the assumption that the portrait of Robert de (see p. 292; fig. 361) which has the right size but Masmines (allegedly of Niccolo Strozzi) was executed gives an uncomfortably crowded, fragmentary im-

on Roger’s journey to Italy in 1450, see note 175°, pression. The “Man in Prayer” owned by Abbé de For two alleged copies after early Rogerian portraits Lescluse at Berchem near Antwerp (Beenken, Rogier, — the drawing of a Falconer in the Stadelsches Kunst- p. 71, fig. 111), on the other hand, unquestionably

institut at Frankfort (our fig. 424) and a portrait belonged to a devotional diptych but is known to me held to represent Roger, Count Blitterswyk-Geldern, only from Beenken’s reproduction. It strikes me as a in the Fogg Museum at Cambridge, see notes 3107 heavily damaged but possibly authentic picture.

and 354%. 15. These “intercessional diptychs,” ushered in by 5. See p. 292. Stein’s identification of the sitter the Master of Flémalle’s Philadelphia picture (see with Pierre de Beffremont (op. cit., plate) does not p. 174; fig. 216), became so popular that the studio

appear convincing to this writer. and school of Dirc Bouts produced them en masse

6. See p. 286. and partly for export (see Friedlander, III, p. 68): 7. See p. 291. at least nine specimens are known (Friedlander, III, 8. Ibidem. p. 118 ff.; Schone, Dieric Bouts und seine Schule, p.

g. See p. 292. 129 ff.). Whether or not they all derive from an

10. Winkler, p. 169; Friedlander, II, p. 102, no. original by Roger (Destrée, p. 173 f., pl. 123) is a 34, pl. XXIX; Renders, II, pl. 57; Destrée, pl. 138; matter of surmise. Beenken, Rogier, pp. 74, 99. Cf. Davies, National 16. In contrast to altarpieces and book illuminaGallery Catalogues, Early Netherlandish School, p. tions, where greater freedom prevailed, Early Netherrrr ff. The undeniable similarity that exists between landish portraiture is governed by the laws of heraldry. this portrait and the two charming, even more Java- In ordinary double portraits of man and wife the nese-looking little girls in a “Presentation” in the husband occupies the dexter panel, facing to the right, Czernin Collection at Vienna, originally the right- while the wife occupies the sinister panel, facing to hand wing of a triptych now mostly ascribed to the left. Conversely, in devotional diptychs where a Memlinc (Friedlander, II, p. 119, no. 85; idem, VI, gentleman is represented praying to the Madonna, p. 18 ff., and XIV, p. 102; Destrée, pl. 110), has his portrait is relegated to the sinister side so that he caused Hulin de Loo to conjecture that these two prays to the left. Wherever a Netherlandish porheads may have been painted in by Roger himself trait of a gentleman shows the sitter praying in the (“Hans Memlinc in Rogier van der Weyden’s Studio,” opposite direction, viz., to the right, we are confronted

Burlington Magazine, LII, 1928, p. 160 ff.). The in- either with the wing of a triptych showing the Maclusion of the Czernin “Presentation” and its com- donna between the two spouses, in which case the panion pieces in the oeuvre now assigned to Vrancke husband naturally reasserts his right of precedence; van der Stockt (de Tolnay, “Flemish Paintings in the or, with a fragment of a larger composition. The National Gallery of Art,” p. 200, note 39) is difficult former possibility is represented, e.g., by Memlinc’s

to understand. portraits of Tommaso and Maria Portinari in the

11. Winkler, p. 171 f£.; Friedlander, II, p. 137, nos. Metropolitan Museum (Wehle and Salinger, op. cit., 125 a-c. No. 125 c, preserved at Antwerp, is illustrated p. 65 ff.), the same master’s Moreel portraits in the

in Destrée, pl. 131. Brussels Museum (see p. 349) and the Frankfort

12. Hulin de Loo, “Diptychs by Rogier van der triptych constructed around an early Madonna by Weyden,” Burlington Magazine, XLII, 1923, p. 53 Hugo van der Goes (see p. 338; fig. 455). The latter ff., and XLIV, 1924, p. 179 ff., with all available data possibility is exemplified, not only by the Metropolitan

concerning the sitters. Museum’s “Portrait of a Young Man” by Hugo van 13. Friedlander, II, p. 138, no. 126; Destrée, pl. der Goes (see note 332°) but also by the same mu-

126. seum’s beautiful “Portrait of a Man” by Dirc Bouts 14. Friedlander, II, p. 106, no. 45, pl. XXXVIII; (see note 318%), Memlinc’s “Portrait of a Young Destrée, pl. 1353 Beenken, Rogier, p. 71; fig. 36 (see Man at Prayer” in the National Gallery at London also Burlington Magazine, LXVIII, 1936, p. 94). The may also be a fragment rather than the wing of a picture is, however, so small (19 cm. by 14 cm., only triptych since it appears to have been cut down at the

479

NOTES | margin (Davies, National Gallery Catalogues, Early employed it only until 1461 when he inherited the Netherlandish School, p. 82). 1 am inclined to be- Seigneurie de Quiévrain. lieve that these rules also apply to French fifteenth- 6. Winkler, p. 174; Friedlander, I, p. 104, no. 40, century painting although two portraits by Fouquet pl. XXXIV; Destrée, pl. 39; Schéne, p. 72; Musper, show gentlemen praying to the right: the portrait of fig. 92; Beenken, Rogier, p. 89, fig. 98. Guillaume Jouvenel des Ursins in the Louvre (see, 7. Winkler, p. 175; Friedlander, II, p. 102, no. 30, eg., Ring, 4 Century, Cat. no. 126, pl. 72) and the pl. XXVII; Destrée, pl. 36; Musper, fig. 71; van Puyportrait of Etienne Chevalier, protected by St. Stephen, velde, Primitives, pl. 44 (hands only); Beenken, in the Kaiser Friedrich Museum (see, e.g., Ring, Cat. Rogier, p. 71 ff., figs. 89-91. The date (about 1460, no. 122, pl. 73). Nothing is known of the original in contrast to Musper’s dating in the "forties, p. 59) context of the “Jouvenal des Ursins” which may have follows from the similarity which exists between the belonged to a triptych or have been painted so as to Caen Madonna and the Virgin Mary in the central face a sculptured image. And the documented fact panel of the Columba altarpiece. that the “Etienne Chevalier” formed a diptych with 8. Friedlander, II, p. 102, no. 31, pl. XXVI; the Antwerp Madonna, said to immortalize the fea- Destrée, pl. 35; Musper, fig. 70; Beenken, Rogier, tures of Agnés Sorel (see, e.g., Ring, Cat. no. 123, p. 75 ff., fig. 88. Cf. E. Lambert, “La Vierge a l’Enfant pl. 74), for at least three centuries does not entirely de la Collection Mancel 4 Caen,” Bulletin des Musées dispose of Bouchot’s old theory — based upon artistic Francais, VIII, 1946, p. 27 ff. rather than heraldic considerations and still upheld by Wescher — according to which this diptych was Page 296 originally a triptych, its right wing showing Che- 1. Friedlander, II, p. 101, no. 27; Destrée, pl. 45. valier’s wife, Cathérine Budé, with St. Catherine. The 2. Winkler, p. 161; Friedlander, II, p. 105, no. 43, right-hand wing may easily have been removed before pl. XXXVI; Destrée, pl. 44; Musper, fig. 44. The the two extant panels found their way into Notre- type represented by the Renders Madonna, the MaD ame at Melun where Denys Godefroy (Remarques donna in the Art Institute at Chicago and the Berlin sur Phistoire de Charles VII, p. 886) saw them some “Madonna with the Iris” is very closely followed in

time before 1661. the Metropolitan Museum Madonna erroneously as-

| cribed to Dirc Bouts (Wehle and Salinger, op. cit.

Page 295 p- 45 ff.) and also underlies one of Dirc Bouts’ finest 1. This is even true of the double portrait of original works, the Madonna in the National Gallery Hugues de Rabutin and Jeanne de Montaigu in the at London (p. 317; fig. 426). For further replicas and Rockefeller Collection at New York by the Master of variations, see Friedlander, II, p. 128 ff., nos. 107 a-n,

St.-Jean-de-Luz (cf., eg., Ring, 4 Century, Cat. no. pls. LXXIV, LXXV (no. 107 g is now in the Metro235, pls. 131, 132), where the objects of veneration politan Museum, Wehle and Salinger, op. cit., p. 75); are included in the portraits themselves. The husband Destrée, pls. 46, 51. The Madonnas with the Infant —here, of course, occupying the dexter panel — is holding an apple (Friedlander, II, p. 131 ff., nos. 109

shown praying to a statuette of the Madonna; the a—g, pl. LXXVI; Destrée, pl. 48) constitute only a

wife, to a statuette of St. John the Evangelist. subgroup of this type. 2. Winkler, p. 174; Friedlander, II, p. 101, no. 3. Cf. Winkler, p. 71 ff., figs. 37-39; Friedlander, 28, pl. XXV; Destrée, pl. 38; Beenken, Rogier, p. 71, II, pl. 130 f., nos. 108 a—n, pls. LXXIV, LXXV (no. fig. 97. The date, not before 1460, can be inferred from 108 | is now in the Metropolitan Museum, Wehle and

the fact that Jean Gros, first mentioned in 1469 and Salinger, op. cit., p. 42 £.); Destrée, pl. 47. This type not married until 1472, was hardly born before ca. is the basis of the Madonna in the Pennsylvania Mu-

1430. seum of Art (Winkler, fig. 40) now frequently as3. Musper, p. 24. cribed to Hugo van der Goes (Friedlander, IV, pl. 4. Friedlander, II, p. 101, no. 29, pl. XXIV; Destrée, I); the Madonna in the Herzog-Czete Collection at

pl. 37; Beenken, Rogier, p. 76 f, fig. 96. Budapest, also belonging in Hugo’s circle (Fried5. Winkler, p. 156 f.; Friedlander, II, p. 103 f., lander, IV, pl. XXXVII); and, with more substantial no. 39; Destrée, pl. 40; Schéne, p. 73; Musper, fig. 93; changes, his well-known Frankfort Madonna (Fried-

Beenken, Rogier, p. 70 f., fig. 99. The picture is lander, IV, pl. VII, our fig. 455). It was also fairly datable about 1460 because (contrary to Musper, p. literally repeated in two pictures from the workshop _ 24) Philippe de Croy did not assume the title “Sei- of Dirc Bouts, one preserved in the Stadelsches Kunstgneur de Sempy,” as implied by the inscriptions and institut at Frankfort (Friedlander, III, p. 108, no. 15, coat-of-arms on the back of the panel, until 1459 and pl. 22), the other formerly in the Stroganoff Collec-

480

NOTES 295'—297* tion at Rome and now belonging to Mrs. Jesse Straus cept for the fact that the Infant plays with the toes of at New York (Friedlander, II, p. 107, no. 11, pl. His right foot as in the Madonna now in the Museum

XVIII). at Houston, Texas (see preceding note), has been de4. Cf, eg., Winkler, fig. 39; Friedlander, II, pl. clared as an original, which does not seem convincing

LXXV; Destrée, pl. 48. to this writer (G. Gliick, La Collection del Monte, 5. Winkler, p. 57, fig. 31; Friedlander, II, p. 133, Vienna, 1928, p. 6, pl. I; van Puyvelde, Musée de l’Ono. 110 a, pl. LXXVII; XIV, p. 88, Nachtrag, pl. X rangerie, no. 97). How a picture in private possession, (after cleaning); Destrée, pl. 49; Beenken, Rogier, recently published by P. Wescher, “Eine unbekannte p. 77, fig. 95. The copy mentioned by Winkler, p. Madonnna von Rogier van der Weyden,” Phoebus, II, 57, note 1, and listed by Friedlander, II, p. 133, no. 1949, p. 104 ff., could be considered as a Madonna in 110 b, is now in the Wyckhuise Collection at Roulers half-length and acclaimed as an original is hard to and illustrated in Destrée, pl. 50. For the charming understand. It is evidently a fragment of a Madonna silverpoint drawing of the Virgin’s head in the Louvre, Enthroned vaguely related to the “Madonna in Red”

possibly an original, see Winkler, p. 174, fig. 30; in the Prado (our fig. 317), and has nothing to do Popham, Drawings of the Early Flemish School, with Roger in style and execution.

pl. 13. 3. Winkler, p. 79, with reference to an earlier re6. Friedlander, II, p. 102, no. 35, pl. XXXtT; mark of Hugo von Tschudi.

Destrée, pl. 43; Schéne, p. 79. Cf. Masterpieces of 4. The William Rockhill Nelson Collection, p. 42 Art... New York World’s Fair, 1939, no. 411, (new edition, p. 57). The picture’s connection with pl. 50, and Museum of Fine Arts, Houston, Texas, the “Notre-Dame de Grices” was discovered, and its Catalogue of the Edith A. and Percy S. Straus Col- authorship correctly established, by J. Dupont, “Hayne lection, 1945, no. 27. Though the Houston picture de Bruxelles et la copie de Notre-Dame de Graces de has been unanimously accepted by the authorities Cambrai,” L’Amour de Art, XVI, 1935, p. 363 ff. (except, as I see now, by Beenken, Rogier, p. 99, The issue was, however, obscured by Rolland, “La under “Amerikanischer Privatbesitz”) and doubtless Madone Italo-Byzantine de Frasne-lez-Buissenal,” who reflects a genuine composition, such weaknesses as the — basing his conjecture upon the fact that the comdesign of the left eye, the unconvincing foreshorten- mission given to Hayne de Bruxelles specifically states

ing of the averted half of the face and, above all, the that the twelve copies should be painted “in oils” loose and casual treatment of the embroidered pattern while no such stipulation was deemed necessary in

of the Virgin’s cloak (all pointed out to me by Pro- the case of the three copies ordered from Petrus fessor Wilhelm Koehler) make its manual authentic- Christus — proposes to ascribe the Kansas City panel ity extremely doubtful. The composition was to form to the latter while making Hayne de Bruxelles responthe basis of Dirc Bouts’ Madonna in the Metropolitan sible for a copy preserved in the Church of FrasneMuseum (Wehle and Salinger, op. cit., p. 44 ff, our lez-Buissenal. It is true that the medium of the Kansas fig. 425) as well as of a Madonna by Memlinc (Lon- City picture has occasionally been described as “tem-

don, Lady Ludlow, Friedlander, VI, pp. 27 £, 125, pera”; but it is in fact painted in the usual Flemish no. 48, pl. XXIX) which, for this very reason, occupies technique which, though probably involving a certain

an isolated place within his oeuvre. amount of lean pigments, was and is normally referred 7. This is the opinion of Musper, p. 21. to as “oils.” (I am indebted to Mr. Harold W. Parsons, Adviser to the William Rockhill Nelson Gallery, for

Page 297wyhaving explicitly reassured me on this point.) Its , style has no connection with that of Petrus Christus, 1. Petrus Christus’ Madonna of 1449, now in the d nothi ‘1 _ ‘but HW

Thyssen at Lugano (cf. de p. 313), is about and nothing against to Hayne yes aCollection Ban® Ai Pe 333 Bruxelles who maymilitates or may not itsbeattribution identical with

the earliest instance of this revival. © ee , y yn ;

2. See notes 296735. For several Madonnas in that “Hayne, jone P cintre,” who In 7459 P ainted the half-length of more or less Rogerian character yet frame of Roger's Cambrai altarpiece and p an of the not derivable from originals attributable to Roger with surrounding wall (cf. the document reprinted in certainty, see Friedlinder, II, p. 133 ff, nos. 111-119 Winkler, p. 170 f.; the identification is not too probable

(no. 119 illustrated on pl. LXXVI and, according to in view of the fact that this Hayne is explicitly reFriedlander, XIV, p. 88, now in the Faust Collection ferred to as “young” as late as 1459). The panel in in New York). The Madonna no. 117, now in the del the church of Frasne-lez-Buissenal, on the other hand, Monte Collection in The Hague and generally resem- is a truly “archeological” copy, practically indistinbling the Brussels version (Winkler, fig. 36; Fried- guishable from the original, completely beyond the lander, II, pl. LXXIV, no. 108 a; Destrée, pl. 47), ex- compass of a Flemish painter of the fifteenth century

481

NOTES and possible only at the time of Peiresc. It belongs of Drawings ... in the British Museum, V, p. 56 f. to a group of early seventeenth-century “duplicates” The two panels have been ascribed to Roger himself of the “Notre-Dame de Graces” enumerated and in as well as to various followers known from other part reproduced by Dupont, pp. 365 (Demandolx- pictures (de Tolnay, Le Maitre de Flémalle, p. 58, Dedons Collection at Marseilles) and 366 (Douai, Mu- no. 14, even ascribes the “Dream of Pope Sergius” seum, inscribed: “A la dame Marguerite de Haynin et to the Master of Flémalle without mentioning the

A Madame Novreul, 1627”). “Exhumation of St. Hubert”; cf. note 174*); but they seem to have beeen produced by a fairly inde-

Page 298 pendent and somewhat old-fashioned member of 1. In addition to the works already mentioned in Roger's workshop — perhaps a former pupil of the the preceding notes, I am unable to accept the follow- Master of Flémalle — to whom no other painting can

ing paintings: be ascribed with any amount of certainty. Their date

(a) The “Annunciation” in the Museum at Ant- is, in my opinion, about 1445 rather than about 1440 werp (Winkler, pp. 126, 128; Friedlander, II, p. 94, whether or not they were commissioned in connecno. 10; Destrée, pl. 114; Musper, fig. 86). With its tion with the foundation of the Order of St. Hubert diminutive format, rather soft forms and sharp con- in 1444 (see V. Servais, “Notice historique sur POrdre

trasts between blue and red, the picture gives the de Saint Hubert,” Revue Nobiliare Histor que et impression of having been executed by an artist Biographique, IV, 1868, p. 145 ff.). According to normally engaged in book illumination. Dubuisson-Aubenay they were preserved in Ste.-Gudule (b) The “Clugny Annunciation” in the Metro- at Brussels in the first half of the seventeenth century politan Museum (Winkler, p. 135; Friedlander, II, and were, even then, ascribed to Roger only with p. 106, no. 48, pl. XLI; Destrée, pl. 113; Musper, fig. some reservation ( estimé de la main de Rogier”; see 73; van Puyvelde, Primitives, pl. 37; Beenken, Rogier, L. Halkin, L ftinerarium Belgicum de Dubuissonp. 82 ff, figs. 83, 84; Wehle and Salinger, op. cit. p. Aubenay, Revue Belge d Archéologie et d'Histoire de 38 ff. with further references). In my opinion this PArt, XVI, 1946, p. 47 ff., especially p. 60).

picture was not produced until ca. 1470 — quite pos- (e) A picture at Petworth (Lord Leconfield Colsibly by Memlinc — and shows the more static quality lection), composed of a donor with St. James the characteristic of this phase; even the substitution of Gr eat and a Virgin Mary originally forming part of an

a stiff chasuble for a flowing pluvial or alb in the Annunciation from which the Angel has been cut Angel’s vestments, frequent in Boutsian compositions off with the exception of a fragment of his scroll (rebut not to be found in Roger’s, is symptomatic of this produced as Burgundian School related to the School

fundamentally un-Rogerian spirit. of Petrus Christus” in C. H. Collins Baker, Catalogue

(c) The “Madonna with St. Paul and a Donor” of the Petworth Collection of Pictures in the Possesin the same Museum, now officially ascribed to a sion of Lord Leconfield, London, 1920, no. 122, pl. follower (Winkler, p. 74; Friedlander, II, p. 104, facing p. 12, but ascribed to Roger by Friedlander, no. 40 A, pl. XXXV; Musper, p. 54; Beenken, Rogier, XIV, p. 88, Hulin de Loo, Biographie Nationale, p. 99, fig. 127; Wehle and Salinger, op. cit., p. 41 £, XXVII, col. 239, and Beenken, Rogier, P. 81 f., fig.

with further references). 82). While the type of the Annunciate is obviously

(d) The “Exhumation of St. Hubert” in the Brit- derived from Roger, the characterization of the donor

ish Museum (fig. 397) and its counterpart, the and the treatment of space (a tiled floor almost as “Dream of Pope Sergius and Consecration of St. rapidly receding towards a brocaded background as in Hubert” (fig. 396) which has passed from the Schiff the Basel and Geneva altarpieces by Conrad Witz) Collection in New York to the von Pannwitz Collection are not compatible with Roger s style.

at Haartekamp near Haarlem and is now, not quite For the “St. George” formely owned by Lady convincingly, ascribed to a different hand (Beenken, Evelyn Mason (fig. 273) and the “Mass of St. Rogier, p. 99, under “New York, Schiff Collection”). Gregory” in the Schwarz Collection (fig. 227), both For the “Exhumation,” see Winkler, p. 124 ff., fig. occasionally ascribed to Roger van der Weyden, see 55, and Thieme-Becker, XXXVII, p. 97; Friedlander, notes 174 *, 1754. Of the Virgin on a Grassy Bench II, p. 97, nos. 18, 19, pl. XVI; Destrée, pl. 118; Davies, mentioned by Hulin de Loo, Biographie Nationale,

National Gallery Catalogues, Early Netherlandish col. 234, as being in Swiss trade, and probably reSchool, p. 113 ff., with further references. For the ferred to by Beenken, Rogier, p. 99, under “Munchen, drawing of a procession, ascribed to the same hand, Collecting Point,” I have not even seen a reproducsee Winkler, figs. 56, 57; Popham, Drawings of the tion. According to Beenken it is certainly not by Early Flemish School, pls. 16, 17; ————, Catalogue Roger.

482

NOTES 298'-300° As for supposedly authentic drawings not as yet V, p. 60) which would also seem to represent the referred to, I am more than skeptical of a “Crucifix- Magdalen rather than the Virgin Mary; in contrast ion” in the Louvre reproduced in J. Dupont, “Que to two somewhat later panels, quoted by Popham, in dirons-nous?,” De van Eyck a Breughel (special issue which the same type is in fact employed for a Mater of Les Beaux-Arts, November 9, 1935), p. 10. The Dolorosa, the drawing shows the figure with very attribution of a drawing showing two figures appar- long hair and clad in wordly garments.

ently copied from an “Ascension of Christ” (the 2. An instructive list of such self-repetitions — Virgin Mary and St. Peter), also in the Louvre and including, however, a number of shopworks — is reproduced in De van Eyck & Rubens, no. 10, pl. found in Hulin de Loo, Biographie Nationale, XXVII,

III, is not even debatable. col, 231.

2. Winkler, p. 38 f.; Renders, II, pls. 14, 29, 32- 3. See pp. 116, 122.

37, 39, 40, 44, 45; Friedlander, II, p. 112, no. 68; de

Tolnay, Le Maitre de Flémalle, p. 58, no. 15, fig. Page 300 21; Musper, fig. 16; Beenken, Rogier, p. 51 ff, fig. 10 1. Hulin de Loo, Biographie Nationale, XXVII,

(as “Master of Flémalle”). 4 col. 235; Winkler in Thieme-Becker, XXXV, p. 472.

3. M. J. Friedlander, “Der Rogier-Altar aus Turin, Since death has prevented Hulin de Loo from stating Pantheon, XI, 1933, p. 7 ff.; Friedlander, XIV, p. 88, his arguments, I must refer my readers to other sources Nachtrag, pls. VII, VIII; Musper, fig. 545 Beenken, for information about the de Villa family: J. Destrée,

Rogier, pp. 34, 53, figs. 115-118 (justly denying “Ein Altarschrein der Briisseler Schule,” Zeztschrift Roger’s authorship, but maintaining the early date). fiir Christliche Kunst, VI, 1893, col. 173 ff; That the jewel worn by the donor around his neck Tapisseries et sculptures bruxelloises, Brussels, 1906, is the Order of the Porcupine was claimed by p. 57 ff.; ———, “Etudes sur la sculpture brabangonne Renders, II, “Appendice” (p. 93); to me it looks like au Moyen Age, IV,” Annales de la Société d’ Archéan ordinary filigree pendant. It should also be borne ologie de Bruxelles, XIII, 1899, p. 273 ff., especially in mind that the Order of the Porcupine (cf. G. p. 287 ff.; V. Angius, Sulle Famiglie nobili della Giucci, Iconografia storica degli Ordini Religios: e Monarchia di Savoia, Turin, 1841, Il, p. 1162 ff. Cavallereschi, III, Rome, 1840, p. 20 ff.) was the (kindly brought to my attention by Signora Anna family Order of the Orléans with whom Oberto de Maria Brizio); N. Gabrielli, “Opere di maestri Villa had no known connections. It was founded by flamminghi a Chieri nel Quattrocento,” Bollettino Louis of Orléans in 1393 and was in abeyance, as Sorico-Bibliografico Subalpino, XXXVIII, 1936, p. it were, during his son’s captivity from 1415 to 1440. 427 ff. What argues in favor of Hulin de Loo’s iden-

4. Friedlander, II, p. 74; cf. Winkler, p. 38 ff. tification is the fact that the donor of the Abegg 5 Renders, If, “Appendice” (p. 93). altarpiece is represented in Italian costume and would 6. Friedlander, XIV, p. 85: “[Dieses Gesamtwerk] thus seem to have sat for his portrait as a visitor to wird am festesten verklammert durch den .. . Altar, Flanders rather than as a permanent resident, and this der vor _ wenlgen Jahren in die Sammlung Abegg is true of Oberto de Villa (a younger son of Frances-

gelangt ist, chino, Lord of Villastellone and Counsellor to the 7: This was ascertained beyond any doubt when last Count of Piedmont) who was a country squire

the picture could be examined at Washington. Wink- and courtier (Equerry to Louis of Savoy) rather than ler, p. 38, rightly compares the undisfigured angels a merchant and visited the Netherlands only on the to those in the title page of the Brussels Cité de Dieu occasion of a mission to Philip the Good (date un-

of 1445 or 1446 (see note 213 °). fortunately not specified). But this, of course, does

8. See note 267 °. not exclude the possibility that other Piedmont de

9: This was already observed by von Tschudi, Villas, too, paid visits to the Netherlands. ConcernOP. Cit.» P. 945 who therefore — and, from his point of ing Oberto, the available evidence as to his dates is

view, without any misgivings — considered the Berlin somewhat contradictory. We know that his father “Calvary” as dependent upon the Vienna triptych. was still alive in 1425 (Angius, loc. cit.); and that he himself signed a power of attorney as late as

Page 299 November 22, 1494 (Gabrielli, p. 429, note), which 1. Compare the juxtaposition of the two heads in would place his birth in ca. 1420-1425. On the other Renders, II, pl. 36. The head of the Magdalen, on hand, he is said to be mentioned, as early as 1416, the other hand, is reminiscent of a drawing in the as the recipient of a bequest in a will in which he British Museum, Destrée, pl. 150, top (cf. Popham, figures together with four sisters, three of them Catalogue of Drawings ... in the British Museum, married and the fourth of marriageable age (Been-

483

NOTES ken, Rogier, p. 102, notes 26 and 27, referring to the Internationale de Bruxelles, Cing Siécles dArt, 1 “unpublished exposé” of a famous lecture delivered (Guide illustré par M. Paul Lambotte), Brussels, by Hulin de Loo in 1936). I was unable to ascer- 1935, pp. 3, 5. The statements made in the Mémorial tain the source of this statement which is not included were substantially repeated in Musée de l’Orangerie; in the brief printed summary of Hulin de Loo’s lec- De van Eyck a Brueghel (P. Lambotte, pref. P. ture (F. Salet, “Overzicht betreffende nederlandsche Jamot, introd.), Paris, 1935, p. 62 ff., nos. 87—89 Kunst,” Oud Holland, LV, 1938, p. 276) and even in (only the “Annunciation” illustrated) and summarized Art and de Geradon, op. cit., p. 24, is repeated only by J. Dupont, “Que dirons-Nous?,” p. 8 (with illuson Beenken’s authority. In view of the document of tration of the complete triptych). While the Turin 1494 — the date of which agrees with the fact that a panels were in Paris, M. Dupont discovered by means first cousin of Oberto’s father, Claudio de Villa, was of X-rays that the donor’s wing bore the de Villa still alive about 1480 (see note 301 >) —I am inclined coat-of-arms, obliterated by overpainting (see illusto doubt the accuracy of Beenken’s quotation; and tration in Ari and de Geradon, op. cit., pl. LIV, in this case the identity of the youthful donor in the right), and proposed to identify the original portrait Abegg altarpiece, which for stylistic reasons cannot be cut out from it with the Heseltine-Rothschild “Pordated before ca. 1455, with Oberto de Villa could be trait of a Lady” which thus became the “Portrait of a

maintained. Demoiselle de Villa” (see note 301 7). In this improved 2. Friedlander, XIV, p. 85 (“about 1438”); Hulin form the whole hypothesis was formulated by Hulin

de Loo, Biographie Nationale, XXVII, col. 235 (“prior de Loo in the historic lecture of 1936 which was never

to the ‘Descent from the Cross’ of the Escorial”); published im extenso but became the basis of a dogma Musper, p. 59 (“prior to the ‘Descent of the Cross’ of perpetuated in all subsequent literature.

the Escorial”); Winkler in Thieme-Becker, XXXV, 4. For the Frankfort Madonna by Hugo van der p. 472 (“still in the ’thirties”); Beenken, Rogier, Goes and the “Martyrdom of St. Hippolytus,” see

caption of fig. 115 (“about 1435-40”). notes 338 °, 336°; for the St. Francis panels attributed 3. For the Turin “Visitation,” see Friedlander, II, to Jan van Eyck, note 1921. p. 93, no. 5, pl. IX; Destrée, pl. 116. For its and its

counterpart’s original connection with the Louvre Page 301 “Annunciation,” see Hulin de Loo, Biographie Na- 1. The Heseltine-Rothschild portrait supposedly cut uonale, XXVII, col. 233 £5 Salet, op. cit.; Musper, out from the Turin don’s wing is surrounded by a pp. 45 £, 58, fig. 46; Winkler in Thieme-Becker, veil of mystery and confusion which, the generous AXXV, P. 475, and ibidem, XXXVI, p. 97 (under assistance of Messrs. Martin Davies, Jacques Dupont Meister der Exhumation des Heiligen Hubertus )s and Charles L. Kuhn notwithstanding, could be E. Michel, L’Ecole Flamande .. . au Musée du lifted only in part. Inscribed on the back with a Louvre, p. 43 £., pl. VI; Beenken, Rogier, pp. 31 t., spurious “Johannes van Eyck Miiij® XXV,” it was 33 ff., 37 £., 102, figs. 18-23; and, most recently, Art exhibited as a work from the school of Jan van Eyck and de Geradon, op. cit, p. 21 ff., pls. XLI-LVII at the famous Bruges Exhibition of 1902 (Exposition (with excellent reproductions and extensive but in- des Primitifs Flamands et d’Art Ancien, Premiére complete bibliography). Owing, again, to Hulin de Section, Tableaux, p. 40, no. 96) but immediately Loo’s lamented death, this ingenious hypothesis has recognized as belonging in the orbit of Roger van der never, to my knowledge, been fully expounded mn Weyden. It was assigned to the Master of the Edelheer print. So far as I could ascertain with the kind help Altarpiece, then held to be identical with the Master of M. Louis Grodecki and M. Jacques Dupont (who of the Exhumation of St. Hubert (see note 298) played a major role in the development of the hy- and/or the Master of the History of St. Joseph (see pothesis), the sequence of events was approximately note 1942), and dated 1450-1460 (M. J. Friedlinder, as follows. On the occasion of the Brussels Exhibi- “Die Briigger Leihausstellung von 1902,” Repertotion in 1935, Hulin de Loo observed that the original rium fiir Kunstwissenschaft, XXVI, 1903, p. 66 ff, portrait had been cut out from the Turin donor’s especially p. 72; Hulin de Loo, Bruges, 1902, Exposition wing and suggested that the Turin shutters, each de Tableaux Flamands des XIV*, XV¢ et XVIE siécles, measuring 86 cm. by 36 cm., belonged to the Louvre Catalogue Critique, Ghent, 1902, p. 21, no. 96). Later “Annunciation” which measures 86 cm. by 92 cm. on, it was shown as “School of Roger van der Weyden,” This was stated in Cinq Siécles d’Art a Bruxelles, at the “Exposition Internationale” of 1930 at Antwerp Mémorial de lExposition, | (Recueil de Planches), (Trésor de l’ Art Flamand du Moyen Age au XVIII¢ Brussels, 1935, pl. II (illustration of the complete siecle, Mémorial de Exposition d’ Art Flamand Ancien triptych) but not as yet in Exposition Universelle et a Anvers, 1930, 1, Peintures, Paris, 1932, p. 113, no. 132

484

NOTES 300°-302° bis). As for illustrations — the painting reproduced in painter’s infatuation with the Eyckian “look out of the Destrée, pl. 143, over the caption “Rogier(?), Portrait picture” would suffice to excuse it; Beenken himself is de Femme, Collection Edmond de Rothschild” is in honest enough to admit that his reconstruction is hard reality the London Portrait of a Lady by the Master of to swallow (p. 34: “so schwer es auch unserer VorFlémalle, our fig. 218—I know those in F. Laban, stellung fallt’?). Since the Heseltine-Rothschild portrait “Ein neuer Roger,” Zeitschrift fiir Bildende Kunst, has been inaccessible for the last fifteen years and has

new ser., XIX, 1908, p. 49 ff., fig. p. 62; Ten More never been X-rayed, I hesitate to pronounce “final Little Pictures (one of a series of catalogues of pictures judgment”; but on the basis of the available evidence and drawings belonging to J. P. Heseltine), London, it seems rather improbable that the panel ever formed 1909, no. 5; Aru and de Geradon, op. cit., pl. LIV, left; part of the Turin donor’s wing and, therefore, repreand Beenken, Rogier, fig. 23 (here inserted into its sents a Demoiselle de Villa.

alleged context). These reproductions make it abun- 2. Friedlander, II, p. 24. Musper as well as Art and dantly clear that Hulin de Loo’s and Friedlander’s de Geradon consider the Turin version as somewhat original verdict (“follower of Roger van der Weyden, later (plus evoluée) than the Liitzschena picture while ca. 1450-1460) was basically correct; even Beenken, Beenken considers it as an imperfect prelude to the p. 34, agrees that the’ picture can be considered only as latter; but no one seems to doubt that it was executed a workshop product, dating it, however, ca. 1435. On as early as 1435-1438.

no account can the Heseltine-Rothschild picture be 3. A terminus ante quem for the Turin version is ascribed to Roger himself, and if it were in fact the established by the fact that the castle in the background portrait cut out of the Turin donor’s wing it would was copied, about 1460, in the “Legend of St. Ulric” constitute the strongest possible argument against the in St. Ulrich’s at Augsburg (Glaser, op. cit., p. 190, latter’s (and its counterpart’s) authenticity. However, fig. 125). this hitherto unchallenged hypothesis is fraught with 4. The Visitation in the altarpiece at The Cloisters considerable difficulties. To begin with, there is a curi- (see 26311) is, however, derived from the Liitzschena

ous lack of precision, even unanimity, in the rather version. vital matter of measurements. The rectangular hole in 5. For this quadriptych, now in the Wallraf-Richthe Turin donor’s wing, from which the Heseltine- artz Museum at Cologne, see Friedlander, IV, p. 107 ff. Rothschild panel is supposed to have been cut out, no. 69, pl. LIV (the “Visitation”); W. Schniitgen, “Ein measures 17.4 cm. by 11.5 cm. (Art and de Geradon, niederlandisches Fligelbild aus dem Ende des XV. p. 22). Concerning the panel itself, however, the state- Jahrhunderts,” Zeitschrift fiir Christlche Kunst, Ml, ments as to its dimensions vary between 16 cm. by 12 1889, p. 49 ff. (with complete series of illustrations); cm. (Ten More Little Pictures and Beenken), which Gabrielli, op. cit., p. 433 ff., figs. 4-6. Claudio de Villa, would be a little too short and too wide, and 12.5 cm. banker at Brussels, was a son of Odonnino, the brother by 9 cm. (both the Bruges Catalogue and the Antwerp of Oberto’s father, Franceschino. According to Gabri-

| Trésor), which would be much too small (the state- elli, p. 429, note, he was no longer alive in 1483; but ment in Friedlander, II, p. 138, no. 127, where the the style of the Cologne quadriptych precludes a date dimensions are given as 31 cm. by 22.5 cm., is an obvi- before ca. 1480 (it is, in fact, placed in the very end of

ous clerical or typographical error). Even if this diff- the century by most authorities). Claudio, therefore, culty could be resolved, and even if we were prepared must have acquired it shortly before his death, and to overlook the fact that the angle at which the body this agrees with his very advanced age in the portrait and face of the Rothschild lady are turned more closely which he caused to be painted into it. approaches frontality than is customary in a donor’s portrait (the Bruges Catalogue describes her as “vue Page 302 de face”), even then we should be forced to make two 1. This miniature, showing a St. Martin on Horsefurther assumptions: we should have to postulate not back, is found in a North Italian manuscript in the only that the black background of the Heseltine-Roth- Biblioteca Communale at Reggio Emilia, ms. 17 A 144, schild portrait conceals a section of landscape (Art and fol. 225 (Fava, op. cit. p. 321, fig. 170; as to the date

de Geradon, p. 23) but also, which appears rather im- of the manuscript, cf. V. Ferrari, “Le Miniature dei probable from the photographs, that the eyes are en- — Corali della Ghiara e di altre Chiese di Reggio Emilia,” tirely repainted. As it is, the lady’s glance is fixed on La Bibliofilia, XXV, 1923, p. 57 f£., fig. 7).

the beholder instead of being turned toward the sacred 2. This date would be in harmony with a recent event in the central panel, and in a donor’s portrait this hypothesis according to which two grisailles showing would be so unparalleled a violation of custom and the Ecce Homo (Friedlander, II, p. 120, no. 87 a, now

decorum that neither the vanity of the sitter nor the owned by the E. and A. Silberman Galleries at New

485

NOTES York) originally formed the exterior wings of the 3. Glaser, op. cit. p. 111 ff. Cf. Thieme-Becker, Abegg altarpiece (Bosch to Beckmann, A Loan Exhibi- XXXVII, p. 330 f£.

tion... April 15th to May 14th, 1950, the Buffalo 4. A. Elsen, “Gabriel Angler, der Meister der PolFine Arts Academy, Albright Art Gallery, Buffalo and linger Tafeln,” Pantheon, XXVII-XXVIII, 1941, p. New York, no. 1, with illustration). Their style has 219 ff. In my opinion, the Netherlandish, especially always been correctly associated with that of the exterior Flémallesque, influence upon this interesting master wings of the pseudo-Cambrai altarpiece (Friedlander, decidedly predominates over that of Pisanello as stressed

loc. cit. and XIV, p. 86) which is now frequently by Elsen. ascribed to Vrancke van der Stockt (see note 283° ) and 5. Pacht, Oesterreichische Tafelmalerei, figs. 11-14. they are never dated earlier than towards 1460 (Hooge- The altarpiece after which the master is named was werff, II, p. 231, fig. 205, even ascribes them, somewhat ordered by Albrecht I], King of Germany in 1438

unaccountably, to a Haarlem master of the ’sixties). but never crowned because he died on October 27, The Catalogue of the Bosch to Beckmann show itself 1439. See Thieme-Becker, XXXVII, p. 9.

assigns the Silberman panels to Roger van der Weyden 6. For Conrad Laib, see, e.g., Glaser, op. cit., p. only with the reservation that he received “some assist- 124 ff.; Winkler, Altdeutsche Tafelmalerei, p. 80; ance from his close collaborator and pupil, Vrancke Pacht, Oesterreichische Tafelmaleret, figs. 33-36 (unvan der Stockt.” However, here as in the case of the der “D. Pfenning”); L. Baldass, Conrad Laib und die Heseltine-Rothschild portrait, this writer hesitates to beiden Rueland Frueauf. accept a theory so favorable to his own views; while the 7. The inscription on the Vienna Calvary (Glaser, wings of the Abegg altarpiece measure 103 cm. by 32 Op. cit.. p. 124, fig. 82; Pacht, Oesterretchische Tafel-

cm. each (the central panel measuring 103 cm. by malerei, fig. 34) reads as follows: “d. PFENNING 70 cm.), the dimensions of the Silberman wings are 1449 ALS ICH CHUN.” The first part, no longer aconly 94 cm. by 28 cm. each, and they do not give the cepted as a signature, may refer to the fact that the impression of having been cut down at the edges. picture was presented in lieu of a Pfennig, viz., a fee 3. Cf. Friedlander, “Der Rogier-Altar aus Turin,” or tax (cf. Grimm, Deutsches Wéorterbuch, VII, col.

p. 12. 1668), the “d” standing either for denarius or for dedit. Baldass, Conrad Laib, p. 65, doubts the identity of Page 303 Conrad Laib’s “Als ich chun” with Jan van Eyck’s 1. De Tolnay, Le Maitre de Flémalle, p. 12 “Als ich chan” on the ground that the chun could not 2. For Lucas Moser, see, e.g., Glaser, op. cit., p. be interpreted as a form of the verb kénnen; he be85 ff.; Winkler, Aldeutsche Tafelmalerei, p. 64 ff; lieves it to be the first syllable of the painter’s name J. Graf Waldburg-Wolfegg, Lukas Moser, Berlin, 1939. Conrad (archaically spelled Chunrat) so that “Als ich,

For further literature, see the very informative Cata- Chun[rat] . . .” would be the fragmentary beginning logue of the exhibition held at Paris in 1950: Musée of a long sentence the meaning of which remains obde l’Orangerie, Paris; Des Maitres de Cologne a Albert scure. However, chun (kun, kunne, Rtinn) is a perDiirer, G. Bazin, pref., K. Martin, introd., Paris, 1950, fectly legitimate dubitative subjunctive (cf. Grimm, p. 66 f., with further references. The Tiefenbronn op. cit., V, col. 1720, with quotation of Luther’s “daraltarpiece is now available in a popular-priced little umb Xdénnestu nicht so gewis sein,” “therefore thou monograph: W. Boeck, Der Tiefenbronner Altar von mayest not be able to know for sure”). “Als ich chun,” Lucas Moser, Munich, 1951. For the windows in the then, expresses, in even more modest fashion, precisely Besserer Chapel in Ulm Cathedral recently ascribed to what Jan van Eyck expressed in his famous motto: “As Moser, see H. Wentzel, Meisterwerke der Glasmalerei, best I can. Berlin, 1951, p. 60 ff., figs. 199, 200, 203-205, color

plate 3. Page 305 ,

1. Pacht, Oesterreichische Tafelmalerei, fig. 12. In

Page 304 another “Annunciation” by the Master of the Albrecht 1. Cf., e.g., Durrieu, Les Trés Riches Heures, pls. Altarpiece (Klosterneuburg, Stiftsgalerie, Pacht, fig.

VI, XXXIX, LXIV. 13) the Angel is clad in an alb as in the Mérode altar2. See p. 78. For Hans Multscher, see, e.g., Glaser, piece but equipped with peacock’s wings as in the

Op. cit., p. 102 ff.; Winkler, Altdeutsche Tafelmalerei, Friedsam “Annunciation.”

p. 74 ff.; Gerstenberg, Hans Multscher; G. Otto, Hans 2. Glaser, op. cit., p. 113, fig. 76. The motif of a Multscher, Burg bei Magdeburg, 1939. Cf. Des Maitres round object protruding from a shelf seen from bede Cologne @ Albert Diirer, p. 68 £., with further ref- low — a motif which can be traced back to the “Pythag-

erences. , oras,” (or, perhaps more probably, Boetius) in the 486

NOTES 302°-307° Portail Royal of Chartres Cathedral — does not occur of Fishes” (Geneva, Museum, Glaser, p. 135, fig. 90), in any extant work by either the Master of Flémalle the optical law according to which objects immersed

or Jan van Eyck; but there is reason to ascribe its in water are visible only as long as the angle of incivogue in fifteenth-century painting to the latter rather dence does not exceed the critical limit (ca. 48.5 dethan the former. In the first place, it is found in the grees) beyond which total reflection takes the place of Madonna at Covarrubias in Spain (see note 203°) partial refraction. which, whether the reflection of a lost original or a mere 5. This rather self-evident connection has recently variation on the “Ince Hall Madonna,” is purely Eyck- been stressed by Hulin de Loo, “Traces de Hubrecht ian in character. In the second place, it is prominently van Eyck.”

featured, not only in the wings of the Aix “Annuncia- 6. Cf. O. Fischer, “Die kiinstlerische Herkunft des tion” (see p. 307) but also in the Naples “St. Jerome” Konrad Witz,” Pantheon, XXIX, 1942, p. 99 ff. by Colantonio whence it found its way into the famous

London “St. Jerome” by Antonello da Messina. And Page 306 since Colantonio, active at Naples, may be presumed 1. For this picture, see note 194 2. to have known Jan van Eyck’s “St. Jerome” in the 2. For Stephen Lochner, see, e.g., Glaser, op. cit., collection of Alphonso V (see J. Lauts, “Antonello da p. 146 ff.; Winkler, Altdeutsche Tafelmalerei, p. 61 ff.; Messina,” Jahrbuch der Kunsthistorischen Sammlun- O. H. Forster, Stephan Lochner, Cologne, 1938; H.

gen in Wien, new ser., VII, 1933, p. 15 ff.; ———, Linfert, Alt-Kélner Meister, Munich, 1941, passim. Antonello da Messina, and ed., Vienna, 1940, pp. 11 £., Cf. Des Maitres de Cologne a4 Albert Durer, p. 39 £.,

33), the deal box would seem to have figured among with further references.

the foreshortened objects so much admired by Fazio 3. For the Master of the Darmstadt Passion, see, in this lost composition (see note 27). In Italy, it does eg., Glaser, op. cit. p. 138 ff. Cf. Des Maitres de not seem to occur before the fourth decade of the fif- Cologne & Albert Diirer, p. 43, and Thieme-Becker, teenth century, and then in works with Northern con- XXXVII, p. 75 f., with further references. notations: in an Avicenna manuscript in the Biblioteca

Universitaria at Bologna, ms. 2197 (Toesca, La Pittura Page 307 € la miniatura nella Lombardia, P. 499, fig. 392); na 1. For the intrusion of Flémallesque and Rogerian fresco, dated 1435, 0 S. Caterina at Galatina un Apulia influences upon the later work of the Bedford Master, (van Marle, op. cit., IX, p. 576, fig. 360); in the “An- see notes 74 3, 2591; for his use of the landscape in Jan

nunciation” by Justus of Ravensburg in the Convent van Eyck’s “Rolin Madonna” in the “Hours of Jean of S. Maria di Castello at Genoa, dated 1451 (A. Dunois (see note 55 °),” Weale-Brockwell, p. 92, and Schmarsow, Die oberrheinische Malereit und thre Pacht, “Jean Fouquet: A Study of His Style,” p. 88. Nachbarn, Kgl. Sachstsche Gesellschaft der Wissen- 2. For the Master of Aix, sce, e.g., Lemoisne, op. schaften, Abhandlungen der Philologisch-Historischen cit, pl. 47; Sterling, Les Primitifs, p. 96 £4 and note Klasse, Leip 2185 XXII, T9O4, NO. 25 Ps 945 pl. I); and 100; ———, Les Peintres, pls. 78-82; Ring, A Century,

in the St. Gregory in the Eremitani Chapel at Padua Cat. no. 91, pls. 43-52, color plate facing p. 28; Cataby Niccol6 Pizzolo, datable between 1448 and 1453 logue of the D. G. van Beuningen Collection, no. 19, (G. Fiocco, L'Arte di Andrea Mantegna, Bologna, pls. 17-21; Thieme-Becker, XXXVII, p. 342 ff. The 1927, p. 146) . The deal box in worm s-eye perspective similarity between his style and that of Colantonio also appears in a most interesting South German or (cf. note 3057) is so strong that it has been proposed Austrian trompe Foeuil picture (Mr. Mortimer ; S. to identify the two masters (L. Demonts, “Le Maitre Brandt at New York) which may be called the earliest de ’Annonciation d’Aix; des van Eyck 4 Antonello de independent still life although it probably served a Messine,” Revue de l’Art Ancien et Moderne, LIU, definite practical purpose (Orangerie des Tuileries, La 1928, p. 257 ff; . “Le Maitre de I’Annonciation

Nature Morte, no. 5, pl. III). ; d’Aix et Colantonio,” zhidem, LXVI, 1934, p. 131 ff.; 3. For Conrad Witz, see, e.g., Glaser, op. cil. Pp- ———., “Le Maitre de l’Annonciation d’Aix et Colan95 fi. 127 ff; Winkler, Altdeutsche Tafelmaler Cty Ps tonio,” Mélanges Hulin de Loo, Brussels and Paris, 69 ff.; Wendland, op. cit.; Ueberwasser, Konrad Witz. 1931, p. 123 ff; C. Ari, “Colantonio ovvero il ‘Maestro Cf. Des Maitres de Cologne a Albert Durer, p. 74 fi., della Annunciazione di Aix,” Dedalo, XI, 1931, p.

with further references. 1121 ff.). Like most scholars, I cannot accept this 4. Mrs. Jane Langton calls my attention to the fact identification of the two artists but agree with Demonts

that Conrad Witz was the first to observe, in his “St. in insisting on the importance of the Eyckian comChristopher” (Basel, Oeceffentliche Kunstsammlung, ponent in their style. Glaser, op. cit., p. 134, fig. 89) and “Miraculous Draft 3. Sterling, Les Primitifs, p. 96.

487

NOTES 4. See Robb, op cit., p. 517 £., with illustration of 4. Friedlander, I, p. 151, pl. LX; Schone, p. 83; , the “Annunciation” in the “Hours of Louis of Savoy” Wehle and Salinger, op. cit., p. 19 f. in the Bibliothéque Nationale, ms. lat. 9473, fol. 17 5. Schone, p. 14, says that the figures are “arrayed (fig. 37). For the Prado “Annunciation” erroneously one beside the other in frieze-like fashion.” This is ascribed to the Master of Flémalle, see note 175 1°. correct in comparison with works of Dirc Bouts, Hugo 5. Meiss in Burlington Magazine, LXXXIX, 1947, van der Goes or Geertgen tot Sint Jans; but in comp. 286. For Eyckian parallels, see the Musical Angels parison with its chief prototype, the great “Descent in the Ghent altarpiece, the donor’s portrait in the from the Cross” by Roger van der Weyden, the BrusYpres altarpiece and, quite particularly, the St. Dona- sels “Lamentation” is definitely “spatial.” tian in the “Madonna van der Paele.”

Page 308 Page 310

1. For the Master of 1456, see, e.g., Lemoisne, op. 1. De Tolnay, “Flemish Paintings in the National

cit., pls. 62, 63; Sterling, Les Primitifs, p. 86 f.; Ring, Gallery,” p. 181. oo

A Century, Cat. no. 143, pl. 91; Thieme-Becker, 2. Fra Luca Paciol, Divina Proportione, C. WinterXXXVII, p. 366 £. As in the case of Colantonio and berg, ed. (Quellenschriften fiir Kunstgeschichte, new

the Master of Aix, the similarity between the Master ser., IT), Vienna, 1889, p- 160. of 1456 and the Portugese painter, Nufio Gongalvez, 3. See G. J. Kern, Die Grundziige der linear-perwould seem to be based on common Flemish sources spekuvischen Darstellung in der Kunst der Gebriider and does not justify their identification with one an- van Eyck und threr Schule, Leipzig, 1904, p. 18 ff.;

other. ——, “Perspektive und Bildarchitektur bei Jan van 2. L. Grodecki, op. cit. Eyck,” Repertorium fir Kunstwissenschaft, XXXV,

3. Pacht, “Jean Fouquet: A Study of His Style” 1912, p. 27 ff.; Panofsky, “Die Perspektive als symbo-

p. 100. lische Form,” p. 318 f£., note 53. The principle was ac4. Rogerian influence in France is first exemplified curately applied from as early as ca. 1450.

by an altarpiece in the Metropolitan Museum, dated 4. See p. 289 f. 1451 (Sterling, Les Peintres, pl. 131; Ring, A Century, 5. F riedlander, I, p. 145 f, pl. L, and XIV, p. 79;

Cat. no. 155, with further references). Wehle and Salinger, Op. City P. 17 ff. The halo, sus5. Cf. Glaser, op. cit., pp. 157 ff., 186 ff. For one pected by Friedlander, is old enough to have withof the earliest and most enthusiastic Rogerians, Fried- stood the recent cleanings — which, however, does not rich Herlin, see now Des Maitres de Cologne @ Diirer, Prove that it dates back to 1446. Should it be authen-

Dp. 34. tic (which seems improbable to me for stylistic reasons) 6. See Post, A History of Spanish Painting, espe- the sitter may have been cast in the role of St. Bruno,

cially vols. IV—VII. the founder of the Order, who was venerated as a 7. For Petrus Christus, see, apart from the litera- saint long before he received his place in the liturgy ture referred to in the following notes, Friedlander, in 1514 and was formally canonized in 1623 (see I, p. 142 ff, 169 ff. pls. XLIX-LXX; Schéne, pp. 26 f,, Acta Sanctorum, October, vol. II], p. 694 ff.). If not, 80-84; , Dieric Bouts und seine Schule, p. 55 ff. it may have been added on either of these two occa(complete chronology according to the via moderna); sions in order to transform a bona fide portrait into

van Puyvelde, Primitives, p. 27, pls. 48-55. an image of the Founder (the two other Carthusian saints, St. Hugh of Lincoln and St. Hugo of Grenoble,

Page 309 would hardly have been of sufficient interest in Flan1. Friedlander, I, p. 148, pls. LUI-LV; van Puy- ders). Traditionally, the sitter is identified with the velde, Primitives, pl. 50 (only the “Nativity”). As evi- famous Carthusian theologian, Dionysius of Louvain denced by its perspective, the panel showing the An- (died 1471), and Professor Meyer Schapiro was good

nunciation and the Nativity was the left wing of a enough to inform me that this hypothesis would be triptych the right wing of which was formed by the in keeping with the eye-deceiving fly which has settled “Last Judgment.” The central panel may be presumed on the parapet: in his De venustate mundi Dionysius to have shown the Calvary or, possibly, a Deposition of Louvain describes the beauty of the natural universe

or Lamentation. as a hierarchy which starts with the very insects. On 2. A. C. Bough, ed., A Literary History of Eng- the other hand, a fly is often seen feasting on a death’s

land, New York and London, 1948, p. 102. head (as in Joos van Cleve’s “St. Jerome” in the 3. Friedlander, I, p. 156 ff., pl. LXIX; Schone, pp. Princeton Art Museum, a Crucifixion ascribed to 82, 84; van Puyvelde, Primitives, pl. 54 (landscape Vecchietta owned by Mrs. Dan Fellows Platt and now

detail). on loan in the Princeton Art Museum, or Guercino’s 488

NOTES 307*-311° famous “Et in Arcadia Ego” in the Galleria Corsini ton Magazine, LXX, 1937, p. 138 ff. See also Panofsky,

at Rome) so that it may play the role of an incon- “A Letter to St. Jerome.” spicuous memento mori. The illusionistic use of such 2. De Tolnay, Le Maitre de Flémalle. an insect — recurring in Carlo Crivelli and Diirer and 3. Frankfort, Stadelsches Kunstinstitut. Friedlaneven attributed to Giotto by Vasari—can be traced der, I, p. 148 f., pl. LVI. back to classical antiquity: in his Narcissus chapter 4. Formerly in the Fritz Thyssen Collection, Mil(Imagines, I, 22 [23]) Philostratus delightfully de- heim a. d. Ruhr. Friedlander, I, p. 154, pl. LXV, and scribes how the painter, “enamored of verisimilitude,” XIV, p. 79. As to the date, I agree with Miss Ring, had depicted a bee sitting on a flower in such a man- who first published the picture, in feeling that it was ner that it was impossible to decide whether “an ac- painted about the time when Petrus Christus joined tual bee had been deceived by the picture or a painted the Confraternity of the Dry Tree, which happened

bee deceived the beholder.” shortly before 1462. The apparently paradoxical con6. Friedlander, I, p. 145, pl. XLIX. nection of the Virgin Mary with a dry tree is founded

7. The same is true of the much-debated silver- on Ezekiel XVII, 24: “And all the trees of the field point “Portrait of a Falconer” in the Stadelsches shall know that I the Lord have brought down the Kunstinstitut at Frankfort which would seem to re- high tree, have exalted the low tree, have dried up the flect another portrait by Petrus Christus (Friedlander, green tree and have made the dry tree flourish.” This I, p. 124, pl. XLVII). This attribution of the drawing He did, as graphically explained by Guillaume de —or, rather, its original (Panofsky, “Die Perspektive Deguileville, by grafting a branch of the Tree of Life

als symbolische Form,” p. 318 f., note 53; “The onto the dry Tree of Knowledge, that is to say, by Friedsam Annunciation,” p. 438, note 14) — was causing the Virgin Mary to be conceived by St. Anne accepted (without quotation) by Beenken, Hubert (see Ludwig, op. cit., and Hartt, op. cit.).

and Jan, p. 52, note. Winkler’s recent hypothesis ac- 5. Friedlander, I, p. 152, pls. LXU-LXIV; van cording to which the drawing reflects a lost original Puyvelde, Primitives, pl. 48. For the late dating of the by Roger van der Weyden (“Rogier van der Weyden’s picture, see Schéne, Dieric Bouts und seine Schule, Early Portraits”) is hardly acceptable; so far as we p. 56; for its real date, Scholtens, op. cit., and above, know, Roger never showed the sitter within a per- p. 188. It received its conventional name from the fact spective interior. An apparently original drawing by that it was acquired, in 1888, from the collection of

Petrus Christus (“Portrait of a Lady,” then in the the Marquis of Exeter. W. Gay Collection at Paris) was published by Popham, 6. Both the “Annunciation” and the “Nativity” Drawings of the Early Flemish School, pl. 10), and bear a curious and hardly accidental resemblance to I am also inclined to ascribe to him the “Portrait of the two Rhenish panels in the Metropolitan Museum a Lady” in the Boymans Museum at Rotterdam, for- referred to in note 127 *, the “Nativity” even in that merly attributed to Jan van Eyck, which shows a re- the shed is combined with a rock formation which markable similarity with the Grymestone portrait must be interpreted as a residue of the cave seen in (Friedlander, I, p. 127; de Tolnay, Le Maitre de the provincial Nativities according to St. Bridget (see Flémalle, p. 74, no. 5, fig. 147). Mr. C. T. Eisler calls p. 125 f.). my attention to the fact that another apocryphal van 7. Friedlander, I, p. 150 f., pl. LIX. Eyck drawing, the “Two Female Heads” preserved in 8. Friedlander, XIV, p. 70, Nachtrag, pl. II; van the Galleria Sabauda at Turin (see note 2007), may Puyvelde, Primitives, pl. 51; de Tolnay, “Flemish well be a copy after Petrus Christus, the heads resemb- Paintings in the National Gallery,” p. 179 ff. Mr. Eisler,

ling those in the “Nativity” formerly in the Goldman already mentioned, has expressed doubts as to the Collection (Friedlander, p. 128; de Tolnay, Le Maitre authenticity of the Washington “Nativity” which have de Flémalle, p. 74, no. 6; phot. Anderson, no. 9803). not entirely convinced me. I am, however, certain that the following pictures should be eliminated from

Page 311 Petrus Christus’ work: (1) a “Portrait of a Lady,” 1. O. Picht, “Die Datierung der Briisseler Bewein- now in the Robert Lehman Collection at New York ung des Petrus Christus,” Belvedere, IX/X, 1926, p. (F riedlander, I, p. 158, pl. LXX) which has no ap155 ff.; Schéne, pp. 14, 26; ———, Dieric Bouts und preciable relation to Petrus Christus’ style and must seine Schule, p. 56; de Tolnay, “Flemish Paintings in be dated, by reason of the costume, ca. 1470-1480 the National Gallery of Art,” p. 179. Some doubt of rather than ca. 1450; (2) the “Portrait of a Young this reinterpretation of the facts, however, has been Man” in the County Museum at Los Angeles (Art expressed by M. Davies, “National Gallery Notes, II; News, XLII, 1944, December 15, cover); (3) two Netherlandish Primitives: Petrus Christus,’ Burling- altar wings, showing St. John the Baptist and St.

489

NOTES Catherine, in the Kaiser Friedrich Museum at Berlin 4. Friedlander, I, p. 155, pl. LXVI; Weale-Brock(Friedlander, I, p. 150); (4) the “Lamentation” for- well, p. 67 ff., pl. IX (as Hubert van Eyck). merly in the Schloss Collection at Paris (Friedlander, 5. Cf. note 192}. I, p. 152, pl. LXI) and now in the Louvre (E. Michel,

L’Ecole Flamande ...au Musée du Louvre, p. 41, Page 313 pl. V), which, even after a thorough cleaning, remains 1. Friedlinder, I, p. 147 £,, pl. LIl, and XIV, p. 79; unconvincing and may well have been produced by a A. L. Mayer, “Die Ausstellung der Sammlung ‘Schloss Flemish-trained Italian rather than a Netherlander Rohoncz’ in der Neuen Pinakothek, Miinchen,” Pan(see particularly the pure profile view of the figure on theon, V1, 1930, p. 297 ff. In van Puyvelde, Primitives,

the extreme right); (5) the “D eath of the Virgin p. 27, this rather unattractive picture —closely derecently acquired from Knoedler’s by the Putnam pendent upon the Frankfort Madonna by the Master Foundation in San Diego, Cal. (Friedlander, The of Flémalle — is listed twice, once under its correct Death of the Virgin by Petrus Christus”; Flemish address, and once as being in the collection of Count Primiuves, An Exhibition Organized by the Belgian Matuschka-Greiffenklau whence it was sold to Mr. Government, p. 22, color plate). The enormous picture Thyssen. (67% by 5472 inches, a somewhat suspicious fact in 2. Friedlander, I, p. 146 f., pl. LI; Schone, p. 81; itself) is not in very good condition; for a reproduction van Puyvelde, Primitives, pl. 49. I agree with Friedbefore restoration, see Venturi, Storia dell Arte Italiana, linder in rejecting Weale’s hypothesis (revived in Art VII, p. 172, fig. 100. But even so it is, in my opinion, News, XLIII, 1944, June, p. 12) according to which unacceptable as a work of Petrus Christus; discovered the picture represents the legend of St. Eloy and St. in Sicily, it may well have been produced by one of Godeberta of Noyon whom he affianced to Christ in those South Italian or Hispano-Italian masters who the presence of King Clothaire II. The event described painted in the Flemish manner on too large a scale. in the Life of St. Eloy (Acta Sanctorum, April, Il, p. 9. D . Tolnay, “Flemish Paintings in the National 32 f£.) took place in the Royal Palace and consisted of

Gallery. That the St. Joseph should be inspired by St. Eloy’s solemnly placing his own episcopal ring the Prophets in the Ghent altarpiece seems less con- upon the finger of the maiden whose matrimonial

vincing.- prospects were being discussed by her parents and their liege lord, the King. Petrus Christus, however, Page 312 stages the scene in a shop and shows us, instead of a 1. According to de Tolnay, ibidem, p. 180, the last Bishop in pontificalibus, an honest goldsmith weighing

archevault relief represents “Cain Founding His Race two rings for a young couple, the young man tenin the Land of Nod” (Genesis IV, 16). However, the derly embracing the shoulder of the girl (which in elderly couple with spade and distaff, respectively, are itself precludes his identification with King Clothaire).

manifestly identical with the First Parents seen in the The idea of a perfectly normal marriage is further second relief. Since Adam, supporting himself on the emphasized by the bridal girdle conspicuously placed spade as on a crutch, is characterized as very old and upon the counter and significantly contrasted with the

weak, the young man kneeling before him must be image in the mirror which reflects two elegant young © his third son, Seth, about to set out in quest of the bachelors idling along with their falcon, time-honored health-giving branch of the Tree of Life. And since symbol of the leisure class. St. Eloy, then, is here dethis branch was to grow into the tree from which the picted, not as a champion of virginity but, on the Cross of Christ was made, the scene forms both an contrary, as a protector of holy matrimony, and much appropriate ending of the Genesis cycle and an appro- can be said for the assumption that the picture was priate prelude to the main subject of the picture. ordered by a goldsmiths’ guild which had more reason 2. Cf. M. Schapiro, “Cain’s Jaw-Bone That Did to advertise its social usefulness than to propagandize the First Murder,” Art Bulletin, XXIV, 1942, p. 205 ff., asceticism.

especially p. 208. 3. Friedlander, I, p. 156, pl. LXVII; and XIV,

3. See p. 188 ff. De Tolnay, while insisting that p. 80. Petrus Christus did not arrive at Bruges until 1444, 4. The attribution of this painting, which I had no “three years after van Eyck’s death” (“Flemish Paint- occasion to see, is somewhat doubtful; see Baldass, ings in the National Gallery,” p. 179), yet admits the Eyck, p. 288, no. 64. possibility that he completed the “Rothschild Ma- 5. Friedlander, I, p. 155 f£, pl. LXVIH; van Puydonna” (Le Maitre de Flémalle, p. 33) which was velde, Primitives, pl. 55; Davies, National Gallery completed at Bruges some time before September 3, Catalogues, Early Netherlandish School, p. 21 ff.

| 490

1443. Since the margins are covered with a “band of new

NOTES 311°-316" gold which may slightly encroach upon the original by Petrus Christus, see de Tolnay, “Flemish Paintings painted surface,” it is difficult to decide to what extent in the National Gallery,” p. 179. the picture, which seems to be a fragment of either a

triptych (not diptych) wing or a Sacra Conversazione, Page 315

has been cut down. 1. De Tolnay, “Flemish Paintings in the National 6. Paintings and Sculpture from the Kress Collec- Gallery.” tion, no. 75; Friedlander, “The Death of the Virgin by 2. As pointed out by Davies, National Gallery CataPetrus Christus”; van Puyvelde, Primitives, pl. 53 (the logues, Early Netherlandish School, p. 11, another

male donor only). See note 187 ?. archevault relief in the “Granada-Miraflores” altar-

7. Friedlander, I, p. 150, pl. LVIII; Schone, p. 80; piece was employed by Dirc Bouts for his “Lamentavan Puyvelde, Primitives, pl. 52. That the date as- tion” in the National Gallery at London (fig. 420, signed to the panel by Schone, p. 27 (“about 1446”) note 3161), is more than twenty years too early is evidenced by the 3. Friedlinder, XIV, p. 90; Schéne, pp. 88, 89; dress which has its closest parallel in portraits such as ———, Dieric Bouts und seine Schule, p. 79 ff., pls. Memlinc’s “Maria Baroncelli-Portinari” in the Metro- 8-14. Friedlander, III, p. 105, no. 2, pls. V, VI, repro-

politan Museum (Friedlander, VI, pl. XXXVIII; duces only the replica in the Colegio del Patriarca at Wehle and Salinger, op. cit., p. 67 f.), datable 1470- Valencia. 1471, and by the curious cap which recurs in almost 4. Cf. also the “Resurrection,” now generally atidentical form in the Paris “Froissart,” Bibliothéque tributed to one of Dirc Bouts’ Doppelgdngers, in the Nationale, ms. fr. 2645, fol. 321 v. (Durrieu, La Pinakothek at Munich (Friedlander, III, p. 109g, no. Miniature flamande, p\. XLIX). The identification of 20, pl. XXIX; Schone, Dieric Bouts und seine Schule,

the sitter with Lady Talbot, first wife of Sir Edward p. 163, pl. 56). Grymestone, is without foundation. If we wish to in-

dulge in speculation, we may rather identify the Berlin Page 316 panel — originally owned by Eduard Solly who ac- 1. Friedlander, III, p. 105, no. 3, pl. VII; Schone, quired most of his treasures in Italy — with the por- Dieric Bouts und seine Schule, p. 82 ff., pl. 15. The trait of a “French lady by Pietro Cresti da Bruggia” picture’s derivation from the sixth archevault relief listed in the inventory of Lorenzo de’ Medici of 1492 in the central panel of the “Granada-Miraflores”’ altar(Friedlander, I, p. 144). According to Waagen, the piece was observed by Davies, National Gallery Catalost frame bore the painter’s signature, which would logues, Early Netherlandish School, p. 11. explain the fact that the inventory quotes him by name. 2. Friedlander, III, p. 105, no. 4, pl. VIII; Schéne,

8. See, eB Schone, p. 26; de Tolnay, “Flemish Dieric Bouts und seine Schule, p. 121 f., pl. 44 a (as

Paintings in the National Gallery,” p. 179. by Dirc Bouts the Younger); Michel, L’Ecole Fla-

9. Hoogewerff, II, p. 14. mande ...au Musée du Louvre, p. 46 f., pls. XI, 10. See p. 103 f. XII. The fame of the composition is attested, not only by the numerous replicas (Schéne, pls. 43, 44 b) but

Page 314 also by the fact that an Italo-Flemish picture in the I. See p. 242 f. Naples Museum (phot. Anderson, no. 5598) shows it

2. For Dirc Bouts, see, apart from Friedlander, III, fused with the Rogerian Pietd type exemplified by our pp. 11 ff., 105 ff., pls. I-XLV, the elaborate monograph figs. 320 and 390.

by Schéne, Dieric Bouts und seine Schule, with full 3. See notes 296 * 3 &, bibliography up to 1937. Cf. also L. Baldass, “Dirk 4. The framing system of the Granada triptych is Bouts, seine Werkstatt und Schule,” Pantheon, XXV, transmitted only through the replica at Valencia.

1940, p. 93 ff. 5. Friedlander, III, p. 108, no. 12, pl. XIX; Schone,

3. Van Mander, op. cit., fol. 206 v. p. 91; ———-, Dieric Bouts und seine Schule, p. 87 f., 4. See note 2914. Though the identity of this pl. 18; van Puyvelde, Primitives, pl. 56; Davies, Na-

“Dieric Aelbrechts” with Dirc Bouts is admittedly tional Gallery Catalogues, Early Netherlandish School, conjectural it recommends itself also by the fact that p. 12. When Davies objects to the acceptance of Dirc the latter, after having called his first son after himself, Bouts’ London panel as the “earliest example of a

called his second son “Aelbrecht.” portrait in a room with a view out of the window”

5. Friedlander, III, 105, no. 1, pls. I-IV; Schone, on the grounds that Petrus Christus’ donor’s portrait, p. 87 (“Annunciation”); ———, Dieric Bouts und also preserved in the National Gallery (see p. 313), seine Schule, p. 75 ff., pls. 1-5. For a comparison be- “is at least very nearly the same thing,” it should be tween the “Nativity” and the Washington “Nativity” borne in mind that the latter picture is in all proba-

491

NOTES bility a fragment and that the original spatial context Bouts, the Houston Madonna, presupposes the “Notre-

cannot be ascertained with sufficient accuracy. The Dame de Graces” of Cambrai which did not become London portrait of 1462 has been associated in style popular in the Netherlands until 1454 and probably and period with the “Portrait of a Young Man” in did not come to Roger’s attention until between 1455 silver point which has passed from the Oppenheimer and 1459 (see note 297%; Schone himself, p. 26, corand Rosenthal Collections to the Tryon Art Gallery rectly considers the Houston Madonna as one of of Smith College at Northampton, Mass. (Popham, Roger’s last works). In my opinion the New York Drawings of the Early Flemish School, pl. 17; Schone, Madonna antedates the London Madonna, which may Dieric Bouts und seine Schule, p. 88, pl. 19; A. P. A. be dated about 1465, by only a few years.

Vorenkamp, “A Famous Drawing by Bouts; North- 3. This is also true of several Madonnas, not atampton,” Art News, XXXVII, 1939, June 3, p. 9; tributable to Dirc Bouts himself, which have been A. Mongan [ed.], One Hundred Master Drawings, mentioned in notes 2967? (one in the Metropolitan Cambridge, Mass., 1949, p. 14). This fine drawing Museum, the second now in the collection of Mrs. (our fig. 423) has been unanimously accepted as an Jesse Straus at New York, the third in the Stadelsches authentic work of Dirc Bouts. But while it is surely Kunstinstitut at Frankfort), as well as of a rather fine an original, and not a copy, it must be ascribed, I Madonna owned by Baron van der Elst (Friedlander, think, to one of Bouts’ followers. In the first place, XIV, p. 90, Nachtrag, pl. XIV) which Schone, Dreric the hairdress and the excessively high cap conform to Bouts und seine Schule, p. 185, pl. 84 b, ascribes to

the fashion of the ’seventies and not of the ’sixties. the Master of the Pearl of Brabant (according to him , In the second place, the style (see particularly the identical with Dirc Bouts the Younger). This picture contours of the shoulders, the folds of the sleeve and is erroneously reproduced as being the Madonna owned

the dent in the cap) show a sharp, discontinuous by Mrs. Jesse Straus (see note 296°) in Flemish Primtangularity utterly foreign to Dirc Bouts. In the third tives, An Exhibition Organized by the Belgian Govplace, the drawing is manifestly a self-portrait, marked ernment, Pp. 34.

by that curiously fishy stare which results from the 4. Friedlander, III, p. 109, no. 22, pl. XXXII; fact that the irises and pupils were drawn in ex post Schone, p. 97; ———, Dieric Bouts und seine Schule, facto as is the case in the well-known self-portraits in p. 106 f., pl. 32. The composition is based on John I, silver point of Albrecht Durer and his father (referred 28 f. and was, later on, remodeled into a more literal

to in note 1987). From these it differs only in that illustration of this passage by the transformation of the figure is turned to the left, with the result that the Baptist into a preacher and the addition of a the artist’s right arm and hand (appearing, of course, group of disciples (Berlin, Kaiser Friedrich Museum, as his left in the drawing) could be included in the Friedlander, III, p. 123 f., no. 82, pl. LXVIII). The picture while the other forearm is concealed; the very fact that the disciples differ in style from the two fingers give the impression of holding a pencil. Since principal figures would seem to eliminate the possiDirc Bouts was already an elderly man in 1462, the bility that this picture, a school piece, reflects an Northampton drawing could, therefore, not be attrib- original of which the Wittelsbach picture would be uted to him even if its style were compatible with that an abridged variation.

of the London portrait. 5. See p. 322. 6. See p. 290.

Page 318

Page 317 1. Louvain, St. Peter’s. Friedlander, HI, p. 107, 1. Friedlander, III, p. 108, no. 14, pl. XXI; Schone, no. 8, pls. XII, XIV; Schone, Dieric Bouts und seine p. 96; ———,, Dieric Bouts und seine Schule, p. 96 f., Schule, p. 84 ff., pls. 16, 17; van Puyvelde, Primitives,

pl. 28; Davies, National Gallery Catalogues, Early pls. 58, 59.

Netherlandish School, p. 12. See note 296 ”. 2. Friedlander, III, p. 108 f., no. 18, pls. XXIV-— 2. Friedlander, III, p. 107, no. 9 a (with illustra- XXVIIT; Schone, pp. 92-95; ———, Dieric Bouts und tion of a replica in the Bargello on pl. XVI); Schone, seine Schule, p. 88 ff., pls. 20-27; van Puyvelde, Primip. 90; ———,, Dieric Bouts und seine Schule, p. 77 f., tives, pls. 60, 61. According to documents this work

pl. 7; Wehle and Salinger, op. cit., p. 44 f. Cf. note was executed between 1464 and 1467. Our fig. 427 296 ®, Schone, while rightly sensing the picture’s deri- shows the arrangement decided upon by the Louvain

vation from Roger van der Weyden, dates it as early authorities when the triptych was reassembled in St. as ca. 1447. This is hardly acceptable since Roger him- Peter’s after the first World War and approved by self did not produce Madonnas in half-length before Schone, Dieric Bouts und seine Schule, p. 91. It should 1450 and since the Rogerian model employed by Dirc be noted, however, that the original distribution of the

492

NOTES 316°-320° lateral panels is not documented and that other schol- paintings of this type and is not found elsewhere in ars, notably Friedlander, III, p. 22, have proposed a this painting”; and that there is visible in the X-ray different one (left wing: Abraham and Melchizedek “a thin, straight line, running slightly off the vertical,

above the Passover; right wing: the Gathering of somewhat to the right of the face, which may be part Manna above Elijah in the Desert). Neither do we of the original background.” know whether the two scenes stipulated for the ex- 4. The “Paradise” is in the Musée des Beaux-Arts terior (one being the “Shewbreads” according to at Lille: Friedlander, III, p. 111, no. 30, pl. XX XIX; Leviticus XXIV, 5-9, the other unspecified) were Schéne, p. 101; ————, Dieric Bouts und seine Schule,

ever executed. For the identity of the four characters p. 98 ff., pl. 29. The “Hell” is in the Louvre: Friedin contemporary costume — probably the Masters of lander, IT, p. 111, no. 31, pl. XL; Schone, Dieric Bouts the Brotherhood of the Sacrament, for which the altar- und seine Schule, p. 98 ff., pl. 30; van Puyvelde, Primi-

piece was executed, rather than Dirc Bouts and his tives, pl. 57 (color); Michel, L’Ecole Flamande ... sons—see J. G. van Gelder, “Het zoogenaamde au Musée du Louvre, p. 46 f., pl. XIV. A rough copy Portret van Dirc Bouts op ‘Het Werc van den Heil- of the whole “Last Judgment” is illustrated in Schone, ichen Sacrament, ” Oud Holland, LXVI, 1951, p. 51 ff. Dieric Bouts und seine Schule, pl. 45 b. For the technique and condition of the work, see Core- 5. Cf. P. du Colombier, “Essai sur les personnages mans, Gettens and Thissen, “La Technique des ‘Pri- de Claude Lorrain,” Bulletin de la Société Poussin,

mitifs Flamands,’” II. Troisiéme Cahier (Chefs-d’Oeuvre perdus et re3. For these two panels, now in the Musée Royal trouvés), Paris, 1950, p. 41 ff. at Brussels, see Friedlander, III, p. 111, no. 33, pls. | XLI-XLV; Schone, pp. 98-100; ———, Dieric Bouts Page 319 und seine Schule, p. 108 ff., pls. 34-39; van Puyvelde, 1. Quoted in Friedlander, III, p. 15. Molanus (recte Primitives, pl. 53. Cf. also van de Waal, op. cit., II, Vermeulen) is the author of the well-known De picp. 126, note 263, and Lederle-Grieger, op. cit., pp. 25, turis et imaginibus sacris referred to in note 147 ?.

58. The commission, given in 1468, called for four 2. Transmitted only through workshop copies and pictures representing two subjects (precisely as in replicas: Friedlander, III, p. 126, nos. 92, 93, pls. Roger’s famous series in the Town Hall of Brussels). LXXVI, LXXVII.

However, when Dirc Bouts died in 1475 only the 3. Friedlander, III, pl. XXVIII; Schone, p. 94. first pair, illustrating the Justice of Emperor Otto III, Friedlander’s masterly description (p. 26) is inaccuwas approximately completed, and only one of these rate only in describing the illumination as abendlich two panels was entirely finished. The “Execution of (“vespertinal”). According to Exodus XVI, 19-21, the the Innocent Count” (Friedlander, pl. XLII) was Manna was gathered in the early morning; for, “when evidently finished by a rather clumsy follower who the sun waxed hot it melted.”

supplied the whole foreground, including the be- 4. Friedlander, III, p. rog f., no. 24, pls. XXXII, headed body of the Count and the two wooden by- XXXIV; Schone, Dieric Bouts und seine Schule, pp. standers on the extreme right and left. According to 43 ff., 180 f., pls. 79-81, 88 a (as by Dirc Bouts the van Gelder (quoted in the preceding note) the Augus- Younger). Cf. Baldass, “Dirk Bouts, seine Werkstatt tinian Canon in the “Ordeal of the Countess” bears the und Schule” (as by the Master of the Pearl of Brabant features of Dr. Janne van Haeght, charged with the whom Baldass does not consider as identical with Dirc supervision of the program. Dirc Bouts’ latest style is Bouts the Younger). See also Thieme-Becker, XXXVII,

further represented by his “Portrait of a Man” in the p. 269. Metropolitan Museum (Friedlander, III, p. 111, no.

32, pl. XLI; Schone, Diertc Bouts und seine Schule, Page 320 p. 107 £., pl. 33; Wehle and Salinger, op. cit., p. 47 £.). 1. For Ouwater, see, e.g., Friedlander, III, pp. 56 ff., As already indicated in note 294 16, this beautiful work 112 £., pls. XLVI-XLVIII; Hoogewerff, II, p. 58 ff.;

should not be listed as “half of a diptych” but as a W. R. Valentiner, “Aelbert van Ouwater,” Art Quarfragment from a larger composition. This assumption, terly, VI, 1943, p. 74 ff W. Schéne, “Albert van based on iconographical considerations, was confirmed Ouwater; Ein Beitrag zur Geschichte der hollandischen

by a technical investigation kindly undertaken, at my Malerei des XV. Jahrhunderts,” Jahrbuch der Preussuggestion, by Mr. Murray Pease. Mr. Pease was kind sischen Kunstsammlungen, LXIII, 1942, p. 1 ff., was enough to inform me that the wood on all four edges unfortunately inaccessible to me, while an article by is not original but consists of skilfully attached pieces; K. G. Boon, “De Erfenis van Aelbert van Ouwater,” that the X-ray shows a “wide, contraction-type crackle Nederlandsch Kunsthistorisch Jaarboek, 1, 1947, p. in the background area which is not characteristic of 33 ff., became available too late to be considered. For

493

NOTES Ouwater’s dates and his alleged responsibility for the Mass., 1952, p. 37 ff. Cf. also Hoogewerff, I, p. 1 ff. “Hand G” miniatures and their relatives, see p. 242 f. 2. Friedlander, III, p. 112 f., no. 38; Hoogewerff, 2. K. Gerstenberg, “Ueber ein verschollenes Ge- I, p. 564 ff., figs. 321, 322; Centraal Museum, Utrecht, malde von Ouwater”; cf. A. Katzenellenbogen, “The Catalogus der Schilderijen, 1952, no. 285. Separation of the Apostles,” Gazette des Beaux-Arts, 3. See, e.g., the frescoes in the Buurkerk at Utrecht, ser. 6, XXXV, 1949, p. 81 ff., especially p. 96 f. mentioned by Hoogewerff, loc. cit.; the “Bearing of the

3. Van Mander, op. cit., fol. 205 v. Cross” in the Musée Royal at Brussels (Winkler, Die 4. Friedlander, III, p. 112, no. 34, pl. XLVI; Schone, altniederlindische Malerei, p. 155, fig. 95); the “Gath-

pp. 85, 86. ering of Manna” in the Museum at Douai (Fried5. The only approximate parallel known to me is lander, III, p. 112, no. 37; Hoogewerff, I, p. 552, fig.

a drawing in the Kupferstichkabinett at Berlin (Fried- 312); a “Calvary” in the Museum at Budapest (Hooge-

lander, III, p. 60, pl. XLVIII) which is so close to werff, I, p. 560, fig. 315); the “Healing of the Blind Ouwater in design and interpretation that it has been of Jericho” owned by Prof. J. P. Kleinweg de Zwaan described as a copy after a lost composition attributa- at Amsterdam (Hoogewerff, I, p. 556, fig. 313). ble to Ouwater himself. But even here the resurrected 4. Friedlander, V, pp. 65 ff., 139 ff., pls. XXXILazarus turns to Christ rather than the beholder, and XLII; Schéne, p. 142; Hoogewerff, II, p. 240 ff; the scene is laid in an open porch rather than in a Thieme-Becker, XXXVII, p. 346. closed “temple.” Page 324

Page 321 1. Friedlander, III, p. 39. 1. Friedlander, IIT, p. 57. 2. The attribution of several woodcuts to Ouwater 2. Wehle and Salinger, op. cit., p. 50. by Valentiner, “Aelbert van Ouwater,” is, to say the 3. Friedlander, III, p. 112, no. 35, pl. XLVII; least, unconvincing. Wehle and Salinger, loc. cit. A Madonna in half 3. E. Graf zu Solms-Laubach, “Der Hausbuchlength, also preserved in the Metropolitan Museum meister,” Stiédel-Jahrbuch, 1X, 1935/36, p. 13 ff. I (Friedlander, no. 36, pl. XLIX; Wehle and Salinger, wholeheartedly agree with this author’s thesis that the Pp. 52 ff.), seems to be the work of a follower drawing Housebook Master was a native of Holland and that from both Ouwater and Bouts. It is, however, possible his style developed from (and remained allied to) the that an authentic “Crucifixion” by Ouwater, now lost, Dutch tradition; but I am skeptical of his contention is reflected in a drawing formerly in the Kupferstich- that the Housebook Master is identical with Erhard

kabinett at Dresden (Friedlander, III, p. 60; illus- Reuwich of Utrecht, the famous illustrator of Brey-

trated in Hoogewerff, II, p. 70, fig. 32). denbach’s Peregrinationes in terram sanctam of 1486 4. See note 298 1, item (d). It is hard to see how the and regret to say that Count Solms-Laubach’s recent dependence of Ouwater’s “Raising of Lazarus” on the contribution (“Nachtrag zur Hausbuchmeisterfrage,”

“Exhumation of St. Hubert” can be denied (Schéne Essays in Honor of Georg Swarzenski, Chicago and as quoted by Davies, National Gallery Catalogues, Berlin, 1951, p. 111 ff.) has failed to convert me.

Early Netherlandish School, p. 115) without either 4. For Geertgen tot Sint Jans, see, in addition to reversing the relationship between the two composi- the literature referred to in note 243 7: Friedlander, V, tions, which would be unwarranted both for stylistic pp. 11 ff., 131 ff, pls. I-XV; Schéne, pp. 29 £, 121and historical reasons, or postulating a common source 129; Hoogewerff, II, p. 138 ff.; L. Balet, Der Frithalmost exactly identical with the “Exhumation,” which hollinder Geertgen tot Sint Jans, The Hague, 1910; would unnecessarily complicate but not alter the situa- L. Baldass, Geertgen van Haarlem (Kunst in Holland,

tion as far as Ouwater is concerned. V-VI), Vienna, n. d. [1921]; J. H. H. Kessler, Geert-

5. Friedlander, III, p. 51. gen tot Sint Jans; z13n Herkomst en Invloed in Hol-

land, Utrecht, 1930. That Geertgen was a native of

Page 322 Leyden is suggested by an engraving by Theodore 1. Ibidem, p. 55. Matham where he is called Gerardus Leydanus Pictor; that he served his early apprenticeship at Bruges is

Page 323 attested by a document published by R. A. Koch, 1. P. Geyl, Eenheid en Tweeheid in de Neder- “Geertgen tot Sint Jans in Bruges,” Art Bulletin, landen, Lochem, 1946, p. 195 (translation mine); XXXII, 1951, p. 259 ff. The date of this apprentice——- From Ranke to Toynbee; Five Lectures on ship (1475) agrees with the estimated dates of his Historians and Historiographical Problems (Smith birth and death (see note 2437). The number of College Studies in History, XXXIX), Northampton, works attributable to Geertgen has recently been aug-

494

NOTES 320°-327' mented by two delightful early pictures. One, now in that the Ausschnitt als geschlossene Bildform had been the van Beuningen Collection at Vierhouten, shows frequent in Europe around 1400. In the work of Hugo the Madonna in half-length surrounded by a magnif- van der Goes the pseudo-fragment occurs, so far as I cent glory evoking the idea of a real spectrum in that can see, only once, viz., in a “Descent from the Cross”

its colors imperceptibly change from red to orange, reflected in the replicas referred to in note 3387. And | yellow, green, and blue, and by a cloud of angels since the original has not come down to us, it is not carrying musical instruments, the instruments of the impossible that it had been mutilated before it bePassion, scrolls inscribed “Sanctus,” and the Rosary came accessible to the copyists. (M. J. Friedlander, “Zu Geertgen tot Sint Jans,” 3. Friedlander, V, p. 132, no. 9; Hoogewerff, II, Maandblad voor Beeldende Kunsten, XXV, 1949, p. p. 164. Illustrations are found in Winkler, Die altnie187 ff.; D. M. Hoffman, “A Little-Known Master- derlandische Malerei, p. 178 (whence my quotation), piece; Our Lady of the Sanctus,” Liturgical Arts, fig. 111; Baldass, Geertgen van Haarlem, pl. 3; F. XVIII, 1950, p. 43 ff.). The other, now in the Museum Diilberg, Frihhollinder, Haarlem, n.d., II, p. 8, pl. at Cleveland, is a tiny “Adoration of the Magi”; see IV. It is significant that Geertgen’s first master (see M. J. Friedlander, “Eine bisher unbekannte Epiphanie note 324+) was not a panel painter but a member of von Geertgen,” Maandblad voor Beeldende Kunsten, the illuminators’ and bookbinders’ guild.

XXVI, 1950, p. 10 ff.; H. S. Francis, “Two Dutch Fif- 4. Friedlander, V, p. 132, no. 8, pl. XII; Schone, teenth-Century Panels” (the other being a “St. John the p. 128; Hoogewerff, II, p. 162 ff., figs. 74, 75. The Baptist” by Dirc Bouts, Friedlander, III, p. 109, no. picture is unanimously accepted as a fairly late work.

20, pl. XXX, formerly in the Thyssen Collection), 5. See p. 146; note 146°, Bulletin of the Cleveland Museum of Art, XXXIX,

1952, p. 326 ff. Cf. also Art Quarterly, XV, 1952, p. Page 327 188 ff. A lost painting by Geertgen tot Sint Jans, illus- 1. Friedlander, V, p. 132, no. 10, pl. XIII; Hoogetrating the legend of the Rosary, has been tentatively werff, II, p. 165 ff, fig. 76. The authenticity of the reconstructed by G. Ring, “Attempt to Reconstruct a picture was doubted by Davies, “National Gallery Lost Geertgen Composition,” Burlington Magazine, Notes, I,” and Oettinger, “Das Ratsel der Kunst des

XCIV, 1952, p. 147. Hugo van der Goes,” p. 66 ff. I find it, however, im-

Pa8¢ possible to separate it from theand unquestioned “Raising 375 of Lazarus” in the Louvre, its iconography would 1. Friedlander, V, p. 131, no. 1, pl. 1; Schéne, seem to link it with the community of which Geertgen p. 121; Hoogewerff, II, p. 175 ff., fig. 79. Davies, Na- tot Sint Jans was a member. In the High and Late

tional Gallery Catalogues, Early Netherlandish School, Middle Ages, the Holy Kinship, as venerated by those

p. 37, and “National Gallery Notes, I,” is the only who believed in the trinubium Annae, consisted prischolar to express some doubt as to the authenticity of marily of the husbands and direct descendants of St.

the picture. Anne, viz., first, the Virgin Mary, daughter of St. 2. Both the “Dream of King René” in the Cuer Anne and Joachim and wife of St. Joseph, and her

a’ Amour s Espris and the “Dream of Constantine” by son, Jesus Christ; second, Mary, the daughter of St.

Piero della Francesca are frequently illustrated; the Anne and Cleophas and wife of Alphaeus, and her former, e.g., in Sterling, Les Primitifs, P- 99; fig. 100, four sons, St. James the Less, St. Simon, St. Jude and and Ring, A Century, pl. 54, the latter in van Marle, Joseph the Just (who failed to become an Apostle be-

op. cit. XI, p. 37, fig. 20. cause the lot decided for Barnabas); third, Mary, daughter of St. Anne and Salomas (“Mary Salome’)

Page 326 and wife of Zebedee, and her two sons, James the Great 1. Friedlander, V, p. 132, no. 7, pl. XI; Schone, and John the Evangelist. It is this “Holy Kinship in p. 129; Hoogewerff, II, p. 179 ff., fig. 81. The authen- the narrower sense” which is listed in numerous ticity of the picture was unjustly doubted by Balet, mnemonic verses (the best-known in the Golden Legop. cit., p. 157, and Kessler, op. cit. pp. 7 £., 51 £. For end in the chapter on the Birth of the Virgin, Sepits iconography, see Panofsky, “Imago Pietatis,” p. tember 8), figures in most pictorial and graphic repre-

290 ff. sentations of the subject (two early instances in the

2. Schéne, p. 19, would seem to think of half-length “Queen Mary’s Psalter,” fol. 68, G. Warner, ed., Loncompositions such as the Malouel tondo in the Louvre don, 1912, pl. 120, and in Gautier de Coincy’s “Mira(fig. 101) or the frequent renderings of the Man of cles de Notre Dame,” Paris, Bibliothéque de |’Arsenal,

Sorrows, the Piété Nostre Seigneur, etc., rather than ms. 3517, fol. 7, illustrated in Martin, La Miniature of what I have called pseudo-fragments, when he says francaise, pl. 15, fig. XIX), and was personally intro-

495

NOTES duced to Saint Collette of Corbie, who had been blam- beginning of the fifteenth century (cf. Kleinschmidt, ing St. Anne for having married three times but was p. 269 f.). Instances of this kind were therefore espe-

set right by means of a vision in which “Madame cially popular in Mosan and Rhenish art, one of the Saincte Anne s’apparut a elle moult glorieusement, earliest being the well-known eponymous picture by menant avec elle sa noble progénie” (E. Sainte-Marie the Elder Master of the Holy Kinship in the WallrafPerrin, La Belle Vie de Sainte Collette de Corbie, Paris, Richartz Museum at Cologne (H. Reiners, Die Kélner 1921, p. 64). The cadet branch of the family, centered Malerschule, Miinchen-Gladbach, 1925, pl. XIV; Lin-

around St. Elizabeth of whom nothing is said in the fert, op. cit., fig. 17). The painting normally ascribed Bible except that she was the wife of Zacharias and to Geertgen tot Sint Jans is unique in that St. John the

the Virgin Mary’s cousin (Luke, I, 36), had to be Baptist and his mother, but neither his father nor built up without the benefit of Biblical sources. While any other member of the cadet branch, are conspicu-

an early medieval mural in Santa Maria Antiqua, ously included in a “Holy Kinship in the narrower ultimate source of all representations of the Holy sense.” It glorifies the little Baptist much as the “comKinship, is limited to the three “Holy Mothers,” St. plete and unabridged” renderings of the subject do St. Anne with the infant Virgin Mary, the Virgin Mary Servatius, and this creates a strong presumption in with the Infant Jesus and St. Elizabeth with the in- favor of its attribution to a painter who was a memfant John the Baptist (W. de Griineisen, Sainte-Marie- ber of the Order of St. John and always showed his Antique, Rome, 1911, p. 110, fig. 84), later medieval special veneration for this Order’s patron saint; in fact imagination, first crystallized in the Golden Legend, the picture may well have been executed for the very provided St. Elizabeth with a mother (Esmeria, Is- community in which he lived. Concerning the individ-

meria, Hismeria), a father (Ephraim, Effra) and a ual little Apostles (Joseph the Just was apparently younger brother (Eliud). And this younger brother, omitted because he failed to become one), I believe having married an alleged Emerentia, was supposed — that the boy on the extreme left should be identified to have been the father of one Emin, Enim or Emynen with St. James the Less, whose attribute is the club,

who with his wife, Memelia or Emilion, produced while the boy engaged in lighting the candles on the St. Servatius, Bishop of Tongres (strangely presumed choir screen would seem to be St. Jude, his T-shaped by others to have been a brother rather than a nephew lighter being a substitute for St. Jude’s traditional, of St. Elizabeth); for all of this, cf. B. Kleinschmidt, L-shaped carpenter’s rule. Ss. James the Great, John Die heilige Anna, Diisseldorf, 1930, p. 252 ff. In ar- the Evangelist and Simon are uniquely determined. tistic renderings (Kleinschmidt, p. 263 ff.) this cadet 2. Friedlander, V, p. 131, no. 4, pls. IV-VI; Schéne, branch, if represented at all, is therefore either reduced p. 122; Hoogewerff, II, p. 173 f., fig. 78. The picture

to St. John the Baptist and his parents, as in a Book (though not its wings) is accepted by all scholars exof Hours for Macon use in which St. Anne and her cepting Balet, op. cit., p. 138 ff., and should be dated three husbands, the Holy Family, Mary Cleophas with early rather than late.

husband and sons, Mary Salome with husband and 3. Friedlander, V, p. 132, no. 5, pls. VI, VIII; sons, and St. Elizabeth with husband and son are Hoogewerff, II, p. 156, fig. 72. represented in five separate miniatures, the last-named 4. Friedlander, V, p. 133, no. 12, pl. XIV; Schone, | treated as a kind of bas-de-page and showing St. Eliza- p. 123; Hoogewerff, II, p. 158 ff., fig. 73.

beth and Zacharias squatting on cushions instead of 5. Friedlander, V, p. 132, no. 6. pls. IX, X; Schéne, enthroned (V. Leroquais, Un Livre d’Heures manu- pp. 124-126; Hoogewerff, II, p. 141 ff., figs. 65-70. scrit a lusage de Macon, Macon, 1935, p. 18 £., pls. The huge altarpiece of which the Vienna panels XI, XII). Or it is limited to the ancestry of St. John, formed part is described by van Mander (the other significantly opposed to that of Christ alone so as to painting assigned by him to Geertgen, an architecexpress the opinion of those who, like Jacob Faber tural portrait of St. Bavo’s, still in situ and illustrated Stapulensis, Sylvius Egranus and Agrippa of Nettes- in Balet, op. cit., pl. facing p. 35, and Hoogewerff, II, heim, protested against the belief in the srinubium p. 153, fig. 71, is difficult to judge because of its purely Annae (thus in a picture by Bernhard Strigel in the scientific character). Wan Mander states that the cenVienna Gemaldegalerie, illustrated in Glaser, op. cit., tral panel of the altarpiece represented the Calvary p. 289, fig. 197, and Kleinschmidt, p. 158, fig. 95, in but does not specify the subject of the left wing. The which St. Anne is defiantly called UNICUM VIDUI- general assumption that it was a Bearing of the Cross TATIS SPECIMEN, and Joachim UNICUS MARI- is, however, very probable for iconographic reasons.

, TUS ANNAE). Or it appears complete and un- Except for the fact that the central panel showed the abridged so as to do honor to St. Servatius of Tongres Calvary instead of the Bearing of the Body to the whose cult grew to enormous proportions from the Sepulchre, Geertgen’s altarpiece was thus somewhat

496

NOTES 327°-328° similar to the lost triptych from the Roger workshop argued, would not have been able to afford so expenwhich can be reconstructed from several paintings and sive an ornament, and from the fact that in the group drawings (note 266 °; figs. 391, 392); and this applies, behind the sarcophagus nearly equal prominence is I think, not only to its program but also to its form. given to two knights rather than one, it has been conAs they are, the Vienna panels, attached to a rectangle cluded that the altarpiece was ordered in 1460, when

almost twice as wide as it is high, would make a the then Commander, Gerrit van Schooten (died very awkward ensemble, and the fact that the Cross 1461), had made his son, Pieter, “Coadjutor,” and in the “Lamentation” as well as the buildings in the that it was executed during the latter’s Commander“History of the Baptist’s Remains” are now cut off ship from 1461 to 1471; see A. Chatelet, “A propos by the upper margin led me to the conclusion that des Johannites de Haarlem et du retable peint par the Vienna panels were mutilated when they were Geertgen tot Sint Jans,” L’Architecture Monastique, sawed apart so as to make them look like normal, Actes et Travaux de la Rencontre Franco-Allemande rectangular pictures. Their original form must have des Historiens d'Art (1951), Numéro Spécial du Badresembled that of the Leipzig drawing after Roger’s letin des Relations Artistiques France-Allemagne, “Bearing of the Cross” (Musper, fig. 49; our fig. 391), Mayence, 1951. These reasons, however, do not seem

that is to say, the “Lamentation” must have had a top strong enough to support a date incompatible with piece on the left, and the “History of the Remains” all the other evidence, including the crucial fact that one on the right. The “Calvary” must thus have had the “Lamentation” evinces the influence of the Montwo top pieces on either side like the Paris drawing forte altarpiece by Hugo van der Goes. The presence after Roger’s “Bearing of the Body” (Destrée, pl. 61; of only five knights would be hard to explain had Winkler, fig. 45; Musper, fig. 53; our fig. 392). This their number been greater. A famulus of the Order hypothesis (see diagram) was confirmed by a tech- would have been willing, if not obliged, to work without pay — apart from the fact that the laymen figuring in the main group of knights as well as the old

S| Canon in the “Lamentation” (see note 3297) may Y/ well owe their inclusion to the fact that they had // contributed to the material expense of the altarpiece. = There is nothing to show that the two ranking dignia taries must be Commander and Coadjutor rather than

i Commander and Prior, and even if this assumption = were true it should be noted that, according to van Beresteyn, p. 55, the appointment of a Coadjutor

1.39 m (implying his designation as successor to the Commander) was by no means characteristic only of the

nical investigation undertaken at my request in the year 1460 but was a tradition of the Haarlem ComVienna Gemialdegalerie. According to a kind com- mandery from as early as 1391. In conclusion, it munication from Dr. Friederike Klanner the upper should be noted that Chatelet himself reproduces an margin of the two panels is not a true edge but came interesting seventeenth-century drawing (preserved in about by a cut so crudely performed that particles the Municipal Archives of Haarlem) which by its of the pigment splintered off and the damage had to inscription claims to portray Geertgen tot Sint Jans be patched up with putty subsequently colored. and, if indeed reflecting a lost self-portrait, would 6. The fact that these “group portraits” include seem to constitute a further argument in favor of the only five actual knights, whereas most of the other commonly accepted dates: it shows a young man of persons are not even members of the Order, fits in about twenty-five, clad in the costume of the middle with the fact that the Grand Prior’s visit in 1495 — ‘eighties. not very long after the presumable date of Geertgen’s altarpiece — mentions precisely this number; see E. A.

van Beresteyn, Geschiedenis der Johanniter Orde in Page 328 Nederland tot 1795 (van Gorcums Historische Biblio- 1. See Panofsky, Albrecht Diirer, I, p. 24; II, p. 40,

teek, deel 8), Assen, 1935, p. 56 ff. Recently, this no. 337, figs. 69, 70. shrinkage of the Haarlem Commandery in the last 2. Ibidem, I, p. 23, Il, p. 79, no. 725, fig. 24. years of the fifteenth century has given rise to the 3. Most frequently illustrated, the first state in hypothesis that the altarpiece was executed at a much Panofsky, Albrecht Durer, II, fig. 209. Owing to the earlier date. A declining community, it has been printing process, the motif is reversed.

497

| NOTES 4. This was suggested by W. Kronig, “Geertgens Pp. 43; Baldass, fig. 68), that Goesian influence must Bild Johannes des Taufers,” Das Ménster, III, 1950, be considered.

p. 193 ff. 4. The paramount importance of Hugo’s influence on Geertgen was first stressed and admirably analyzed Page 329 by A. Goldschmidt, “Der Monforte-Altar des Hugo 1. Durrieu, Les Trés Riches Heures, pl. XVIII. The van der Goes,” Zeitschrift fiir Bildende Kunst, XXVI, motif, ultimately derived from classical sources, would 1915, p. 221 ff.

seem to have been transmitted through Italian chan- 5. Friedlander, V, p. 131, no. 2, pl. II; Hoogewerff, nels, perhaps a Resurrected in a “Last Judgment” (cf. II, p. 169, fig. 77. Now universally considered as a Durrieu, pl. XXV); in Geertgen’s painting, it appears school piece. reversed, which is not unusual in copies based upon

tracings on carta lucida. As Durrieu, p. 9, has shown, Page 330 the famous manuscript was in the possession of the 1. For this motif, see, e.g., the second archevault

House of Savoy through Jean de Berry’s daughter, relief on the right-hand side of the first panel in Jeanne, the wife of Amédée VII, and was completed Roger’s “Granada-Miraflores” altarpiece; Dirc Bouts’

under Charles I who reigned from 1482 to 1489. “Adoration” in the Prado (p. 314 f.); two “AdoraBetween 1472 and 1482 it probably belonged to the tions” supposed to reflect compositions by Hugo van latter’s older brother, Philibert, who was, however, der Goes (Friedlander, IV, pl. XXXII, and J. Destrée, a minor even at the time of his death. Its whereabouts Hugo van der Goes, Paris and Brussels, 1914, plates at the time of Geertgen’s apprenticeship (1475-1476) facing p. 122); Jerome Bosch’s “Adoration” in the

are, therefore, difficult to determine, and it is not Philadelphia Museum of Art (Friedlander, V, pl. impossible that it had been sent to Bruges for repairs XLIV).

or in an abortive attempt to have it finished. 2. For Hugo van der Goes, see, e.g., Friedlander, 2. The presence of this old Canon is as yet unex- IV, pp. 9 ff., 123 ff., pls. I-XL; Schéne, pp. 17 ff., plained. Were it not for the fact that the Order of 28 f., 108-120; van Puyvelde, Primitives, pls. 66-75; St. John was absolutely independent of all spiritual J. B. Knipping, “Hugo van der Goes,” in: Nieder-

and temporal authority save that of Rome (Catholic landische Maleret im XV. und XVI. Jahrhundert, , Encyclopedia, VII, p. 478, col. 2), it might be thought Amsterdam and Leipzig, 1941, p. 121 ff. For the that he is the archdeacon in charge of the monastery, assemblage of the material and, above all, the biofor the bishops of major dioceses used to delegate the graphical data, J. Destrée, Hugo van der Goes (reannual visitations of religious houses to archdeacons, ferred to in the preceding note) is still the standard each of whom was in permanent charge of a certain work while R. Rey, Hugo van der Goes, Brussels, district, which often resulted in a strong feeling of 1945, is very unreliable. For stylistic criticism, see espeloyalty and affection on both sides. As it is, the Canon cially Oettinger, “Das Ratsel der Kunst des Hugo van

must be a special well-wisher of the Haarlem Com- der Goes.” mandery and more likely than not contributed to the 3. See E. Panofsky and F. Saxl, Durers Kupferstich

expense of the work (see note 327°). “Melencolia I’ (Studien der Bibliothek Warburg, II), 3. Compare the landscape in Geertgen’s “St. John Leipzig and Berlin, 1923, p. 32 ff. in the Wilderness” with that in Hugo’s Vienna “Fall 4. Traces of Hugo’s work in honor of Charles the of Man” (our fig. 456). It is conceivable that Hugo Bold and Margaret of York have been thought to himself produced a “St. John in the Wilderness” survive in a series of tapestries one of which is bewhich may be dimly reflected in Hans Memlinc’s lieved to contain the portraits of the ducal couple; little picture at Munich (Friedlander, VI, p. 124, no. see F, H. Taylor, “‘A Piece of Arras of the Judg44; illustrated, e.g., in K. Voll, Memling, Des Mets- ment’; The Connection of Maitre Philippe de Mol and ters Gemdalde [Klassiker der Kunst, XIV], Stuttgart Hugo van der Goes with the Mediaeval Religious and Leipzig, 1909, p. 17; Kronig, “Geertgens Bild Theatre,” Worcester Art Museum Bulletin, 1, 1935Johannes’ des Taufers,” fig. 5; L. von Baldass, Hans 1936, p. 1 ff. This article suffers, however, from sevMemling, Vienna, 1942, fig. 56). This little picture eral inaccuracies and a constant confusion between displays a landscape so much more advanced in per- the marriage festivities at Bruges (July 3-12, 1468) spective than do its counterpart (a “St. Veronica” in and the subsequent joyeuses entrées into Ghent. the Thyssen Collection, illustrated in Baldass, fig. 57)

and its somewhat later parallel, the left exterior wing Page 331 of the Floreins altarpiece in the Hépital Saint-Jean at 1. H. G. Sander, “Beitrage zur Biographie Hugos Bruges of 1479 (Friedlander, VI, p. 114, no. 2; Voll, van der Goes und zur Chronologie seiner Werke,”

498

NOTES 328*—333° Repertorium fiir Kunstwissenschaft, XXXV, 1912, terly, VII, 1944, p. 181 ff.) should never have been

p. 519 ff. (cf. Destrée, Hugo van der Goes, p. 214 fi.). published as an original. | | Knipping, op. cit., p. 129, erroneously refers to the 2. For this date, see the following note.

author as “Gerard” Ofhuys.

2. Hieronymus Minzer in his traveling record of Page 333 .

1495: “Quidem alius magnus pictor supervenit volens 1. In 1901-1902 A. Warburg (op. cit., I, pp. 198, imitari in suo opere hanc picturam et factus melan- 209 ff.) established the names and birth dates of the cholicus et insipiens” (Weale, Hubert and John van first Portinari children as follows: (1) Maria, born Eyck, p. lxxiv f£.; Destrée, Hugo van der Goes, p. 17, 1471; (2) Antonio, born 1472; (3) Pigello, born 14743

note 1). (4) Margherita, presumably born 1475; (5) Guido,

3. The “Meeting of David and Abigail,” described born 1476. Since only three children, the youngest of by van Mander as the center of a legendary love them Pigello, are represented in the Portinari triptych, story, has come down to us only in copies; cf. Fried- and since the fourth, the conjectural Margherita, was lander, IV, p. 129, no. 19, pl. XXX; Destrée, Hugo supposed to be on her way in 1475» Warburg convan der Goes, p. 66 ff., pls. facing pp. 66 and 70. cluded that it was commissioned in this year and was 4. Friedlander, IV, p. 125 £, no. 10, pls. XI-XVIII; finished in 1476, accounting for the presence of St. Schone, pp. 109-115; van Puyvelde, Primitives, pls. Margaret by the assumption that she was included 68, 69, 71; Destrée, Hugo van der Goes, p. 96 ff., both as the patroness of childbirth and as the future pls. facing 98, 100, 102, 104, 106, 108, 110, I12, 114. Margherita’s name saint. Warburg's identification of The triptych has been published in a little monograph the children has been unanimously accepted by the by G. Marchig, L’Adorazione di Hugo van der Goes, specialists, including those who tend to shift the date Florence, 1947. For the cleaning and restoration of the of the altarpiece to 1474-1475 (Oettinger, “Das Ratsel

“Annunciation” on the exterior, cf. R. Oertel, “Die der Kunst des Hugo van der Goes,” p. 44) or even to Verkiindigung des Hugo van der Goes,” Pantheon, 1472-1475 (Schone, p. 29; regardless of the fact that XX, 1937, p. 377 ff.; for the date of the triptych, see Pigello did not exist until 1474). In reality, however,

note 333 1. Warburg’s terminus ante quem non is a little too early

5. Warburg, op. cit., I, p. 190. rather than too late. It seems to have escaped notice that he himself has corrected his original list in one important point: the first-born child was not named

Page 332 Maria but Margherita, born on September 15, 1471,

1. I know only two authentic portraits by Hugo while the birth date of Maria is unknown (Warburg, van der Goes and both of them are donor’s portraits p. 378). The presence of St. Margaret is, therefore, cut out from larger compositions. One is the “Portrait as self-evident as that of St. Anthony: she is the patron of a Young Man” in the Metropolitan Museum (Fried- saint of the first-born daughter precisely as St. Anthony

lander, XIV, p. 93, Nachtrag pl. XVI; Wehle and is the patron saint of the first-born son. And since Salinger, op. cit.. p. 57 f. with further references); there was no child in 1475 at all while the comparathe other is the “Portrait of a Donor and St. John tively mature appearance of all the children suggests the Baptist” in the Walters Art Gallery at Baltimore a date as late as is compatible with the historical data, (Friedlander, IV, p. 128, no. 18, pl. XXIX; Destrée, we have every reason to assume that the triptych was Hugo van der Goes, pl. facing p. 128; van Puyvelde, not commissioned until 1475-1476 (when Guido was Primitives, pl. 74; The Worcester-Philadelphia Exhibi- expected) and was executed shortly after. In 1476tion of Flemish Painting, no. 14, recording the dis- 1477, Margherita was between five and six, Antonio

covery of the donor’s orant hands which were re- between four and five, and Pigello between two and vealed by a cleaning in 1939; our fig. 370). The three. It is true that they look older than even that; “Portrait of a Monk” in the Metropolitan Museum but their mother, born in 1456 and married at the (Friedlander, IV, p. 126 f., no. 13, pl. XX; van Puy- age of fourteen (not seventeen, as stated in Knipping, velde, Primitives, pl. 75; Wehle and Salinger, op. cit., Op. cit., p. 142), also looks older than twenty. Yet it p. 58 f. with further references), though accepted is a gross exaggeration to say that the apparent age by Oettinger, “Das Ratsel der Kunst des Hugo van of Hugo’s children may be entirely discounted in an der Goes,” p. 56 f., must, in my opinion, be assigned attempt to date one of his works (Oettinger, p. 56). to a follower of Roger van der Weyden. And the He makes them older but there is a fairly constant “Portrait of a Young Man” in the Rhode Island ratio between their real and apparent age; we have School of Design at Providence, R. I. (C. de Tolnay, only to subtract about three years from the latter in “Hugo van der Goes as Portrait Painter,” Art Quar- order to arrive at the former (see also note 335 1).

499

NOTES Knipping, p. 143, on the other hand, goes too far in at Montreal) first published by M. J. Friedlander, the other direction when he proposes to date the “Eine Zeichnung von Hugo van der Goes,” Pantheon, Portinari triptych as late as ca. 1480, assuming that XV, 1935, p. 99 ff., and recently reproduced in Mongan Guido (born, we remember, in 1476) and his younger (ed.), One Hundred Master Drawings, p. 16. A “St.

sister or sisters (a Dianora was born in 1479) were Luke Painting the Virgin” formerly in the Konigs not included because they were too small to be com- Collection at Haarlem (I. Adler, “Hugo van der Goes,” fortably transported to the Roode Kloster for a sitting. Old Master Drawings, V, 1930-1931, p. 54, pl. 34) The omission even of babes in arms from a donation is, in my opinion, not only too weak but also too late

of this kind would have amounted to a diminutio to be assigned to Hugo. Neither am I able to accept capitis which no self-respecting family would have a “Crucified Christ” at Windsor Castle, much less a

inflicted upon their offspring. Madonna at Dumbarton Oaks, recently proposed by , 2. Cf. Panofsky, Albrecht Durer, I, p. to f., no. 28. K. G. Boon, “Naar Aanleiding van Tekeningen van : The iris also occurs in the Monforte altarpiece and, Hugo van der Goes en zijn School,” Nederlandsch most significantly, in the Vienna “Fall of Man” where Kunsthistorisch Jaarboek, UI, 1950-51, p. 83 ff. The one of its blossoms takes the place of the traditional fine but certainly non-authentic drawing showing St. fig leaf. For the symbolism of the columbine, see George and St. Margaret (formerly in the Lanna Col-

p. 146; note 146°. lection, Friedlander, IV, p. 62, pl. LXXVII) is now 3. Not counting, of course, the angel announcing in the Lessing Rosenwald Collection; cf. Rosenwald the birth of the Lord to the shepherds in the distance. Collection, An Exhibition of Recent Acquisitions, 4. The Eucharistic significance of the grain is National Gallery of Art, E. Mongan, ed., L. J. Roseneven more explicit in Botticelli’s well-known Madonna wald, pref., Washington, 1950, no. 25.

in the Isabella Stewart Gardner Museum at Boston 4. Friedlander, IV, p. 127 f., no. 17, pl. XXVII; (L. Venturi, Botticelli, New York and Vienna, 1937, Schone, pp. 108, 110; van Puyvelde, Primitives, pl. 72; pl. 4) where it is supplemented by grapes and blessed Destrée, Hugo van der Goes, p. 77 ff., pls. facing pp. by the Christ Child. For the connection between the 76, 78, 80, 82. For the date and reconstruction of the

Eucharist and the word “Bethlehem,” see, e.g., the Monforte altarpiece, see Goldschmidt, “Der Mon- . Eighth Homily of St. Gregory (kindly brought to my forte-Altar des Hugo van der Goes.” attention by Professor Adolf Katzenellenbogen),

Patrologia Latina, LXXVI, col. 1104. Page 335

1. Friedlander, IV, p. 126, no. 12, pl. XIX; Schone,

Page 334 pl. 118; Destrée, Hugo van der Goes, p. 91 ff., pls. 1. This was already emphasized by Destrée, Hugo facing pp. 92, 94, 96. The date (1478-1479) is con-

van der Goes, p. 98. firmed by the fact that the Crown Prince, born in 2. Isaiah IX, 6. The Vulgate has Parvulus instead 1473, looks about the same age as Margherita Porti-

of Puer. nari, born in 1471. Destrée’s hypothesis according to 3. Jean Lemaire de Belges, La Couronne Marga- which the pictures antedate the birth of the future

ritigue (frequently quoted, e.g., in Weale-Brockwell, James IV and the young prince is the King’s younger

p. 283, and Destrée, Hugo van der Goes, p. 1): brother, Alexander, Duke of Albany, must be dis“Hugues de Gand, qui tant eut les tretz netz, carded, not only for stylistic reasons but also because

y fut aussi, et Dieric de Louvain, it is most improbable that the royal couple should

avec le roy des peintres Iohannes.” _ have been portrayed in the company of the heir pre-

sumptive as long as an heir apparent was a distinct It is regrettable that none of the drawings ascribed possibility. to Hugo van der Goes is of unquestionable authen- 2. St. George, the patron saint of England, would ticity. The, relatively speaking, most convincing attri- be the very last saint to be included in a portrayal butions are the magnificent “Meeting of Jacob and of the King and Queen of Scotland; the only logical Rachel” in Christ Church, Oxford (Friedlander, IV, counterpart of St. Andrew, patron of Scotland, is St. pl. LXXVI; Destrée, Hugo van der Goes, pls. facing Canute, patron of Denmark. As such, however, he pp. 72, 74; best reproduction in S. Colvin, Selected should carry the Dannebrog, a cross argent on a field Drawings from Old Masters in the University Gal- gules, and not a cross gules on a field argent, which leries and in the Library of Christ Church, Oxford, is the velabrum of St. George. Since Mr. Ellis WaterOxford, 1903 ff., III, 17), and the “Young Female house kindly informs me that the banner has not been Saint Sitting on the Ground” in the Ludwig Rosenthal repainted, the only explanation is that the painter, Collection at Berne (now Lewis V. Randall Collection knowing no more of the Dannebrog than that it

500

NOTES 333°-337° | showed a cross device in gules and argent, confused Friedlander, III, p. 111, no. 29), is, on the other hand, it with the velabrum by sheer ignorance — a confusion very close to the Portinari altarpiece and should be all the more understandable as the whole figure is dated in 1477~1478. Oettinger, “Das Ratsel der Kunst patterned after the St. George in Jan van Eyck’s des Hugo van der Goes,” p. 57, believes it to postdate “Madonna van der Paele.” I have been unable to ascer- the Bonkil panels (which he, convinced that the ap-

tain whether the inscription of the banner, “TIhesus parent age of James IV may be disregarded, dates

Maria,” bears Danish or Scottish implications. only slightly later than the Portinari triptych) while 3. This was observed by Destrée, Hugo van der Schone, Dieric Bouts und seine Schule, p. 168, un-

Goes, p. QI. | accountably declares it an early work, “on no account 4. Concerning the text of this hymn there is con- postdating the Monforte altarpiece.” siderable confusion which was dispelled with the kind

help of Professor Erich Auerbach. According to Page 337 Destrée, Hugo van der Goes, Pp. 92, Hugo’s text is a 1. Friedlander, IV, p. 127, no. 15, pls. XXIV-— variation on the hymn still sung at Trinity Vespers XXVI; Destrée, Hugo van der Goes, p. 110 ff, pls.

and on the following Saturday Vespers: facing pp. 116, 118. From the measurements of the

“Iam sol recedit igneus: Berlin “Nativity” (97 cm. by 245 cm.) it has been Tu, lux perennis, Unitas, concluded that it may have served as a predella for Nostris, beata Trinitas, the Monforte altarpiece (150 cm. by 247 cm.). If so, Infunde lumen [or amorem] cordibus.” an interval of almost ten years would have to be

, . , , assumed between the execution of the altarpiece and

According to Knipping, op. Cihy Pe r6r, it was com: its “predella,” and it seems much more probable that P osed by the well-known p hiloso pher and theorist of the near-identity of the widths is purely fortuitous. optics, John Peckham, Archbishop of Canterbury This is all the more plausible as one of the lost wings (died 1292). In reality Hugo's text is much older than of the Monforte altarpiece itself exhibited the Nativity both the official version and the Peckham hymn. It (cf. Goldschmidt, “Der Monforte-Altar des Hugo van was ascribed to St. Ambrose as early as in the ninth der Goes”) so that a representation of this subject in century and may well be authentic (cf. G. M. Dreves the predella would have amounted to a duplication. and C. Blume, Analecta hymnica medit aevi, Leipzig, 2. Friedlander, IV, p. 127, no. 14, pls. XXI-XXII;

II, 1886, P- 34, NO. 17; H. A. Daniels, Thesaurus Schéne, p. 119; van Puyvelde, Primitives, pl. 73 hymnologicus, Leipzig, 1855, I, p. 36 ff., no. XXVI, (color); Destrée, Hugo van der Goes, p. 123 ff. pl. and IV, p. 47 f.). The hymn actually composed by facing p. 130. For full documentation and many exPeckham (Dreves and Blume, L, 1907, P- 595» No. cellent illustrations, see Janssens de Bisthoven and 392), a typical product of the thirteenth century, reads Parmentier, op. cit, p. 50 ff. The “Nativity” in the

as follows: collection of Lord Pembroke at Wilton House (Fried“O lux beata Trinitas, lander, IV, p. 127, no. 16, pl. XXVII; Schéne, p. 120; Tres unum, trium unio, van Puyvelde, Primitives, pl. 70; Destrée, Hugo van

Imperialis unitas der Goes, p. 118 ff., pl. facing p. 124; our fig. 475),

In trium contubernio.” though extravagantly praised in latter-day criticism, is, iN my opinion, more than questionable. Destrée,

Page 336 p. 119 f., supported by Hulin de Loo, considers it 1. Hugo’s anxiety about unfinished work is men- as a copy; but it may easily be the work of an imitator. tioned by Gaspar Ofhuys. The non-authenticity of the 3. For the iconography of the Dormition, see now panel showing the Queen and St. Canute was empha- H. Swarzenski, “A Masterpiece of Bohemian Art.” sized by Destrée, Hugo van der Goes, p. 94, but an- Even where Christ appears, not very frequently, in a nounced as an important discovery by Oettinger, “Das glory instead of standing on the ground (as in the Ratsel der Kunst des Hugo van der Goes,” p. 56. Bohemian diptych in the Morgan Library, Swarzen2. A similar temper can be discerned in the St. ski, fig. 2, and an Austrian miniature in the National John in the Baltimore fragment referred to in note Gallery at Washington, Lessing J. Rosenwald Collec3321 (our fig. 370). The wing with a portrait of tion, Swarzenski, fig. 8), He is represented as a quiet Hippolyte de Berthoz and his wife, Elizabeth de figure, holding the soul of the Virgin on His left arm

Keverwyck, added by Hugo van der Goes to the and extending His right hand in blessing. Boutsian St. Hippolytus altarpiece in St.-Sauveur 4. See the excellent analysis in Friedlander, IV, at Bruges (Friedlander, IV, p. 126, no. 11; Destrée, p. 49 f. Hugo van der Goes, p. 120 f., pl. facing p. 128; cf. 5. This position of the bed occurs, e.g., in Schon-

501

NOTES gauer’s engraving B. 33. If, as has been assumed, extent of imitating the stippled gold ground of the this print, copied as early as 1481, were dependent on Madonna; but just in this detail the difference beHugo’s painting the latter’s terminus ante quem would tween precise yet animated order and sloppy yet be toward 1480. The relation between the two works pedantic accumulation is so evident that it is hard to is, however, extremely doubtful, and Schongauer’s understand how Oettinger, “Das Ratsel der Kunst des familiarity with Hugo’s picture is flatly rejected by Hugo van der Goes,” p. 44, could adduce this gold

Friedlander, IV, p. 51. ground as proof of contemporaneity. In reality the

date of the donors’ marriage, while constituting a

Page 338 terminus post quem for the wings and the framework,

1. De Busscher’s essay is quoted by Destrée, Hugo constitutes only a terminus ante quem for the Mavan der Goes, p. 19. In recent times, and without ref- donna which may have been acquired by the Overerence to de Busscher, the hypothesis of Hugo’s trip bekes any number of years after its completion (see to Italy was put forward with great éclat by Oettinger, also Baldass, Hans Memling, p. 36). The related

“Das Ritsel der Kunst des Hugo van der Goes,” p. Madonnas in the Philadelphia Museum of Art and 50 ff., and accepted by Schéne, pp. 17, 28. Rey, op. cit. the Herzog-Czete Collection at Budapest (see note p. 26, misdating Hugo’s admission to the painters’ 296°) would seem to be shopwork. guild by two years, goes so far as to say: “Nous savons

qu'il était installé 4 Gand en 1465, au retour d’un Page 339

voyage qu'il venait de faire en Italie.” 1. Oettinger, “Das Ratsel der Kunst des Hugo van 2. Friedlander, IV, p. 123 f., no. 4, pls. IV—VI; der Goes,” p. 47. Schone, pp. 116, 117; van Puyvelde, Primitives, pl. 66 2. Ibidem, p. 49. (“Fall of Man” only); Destrée, Hugo van der Goes,

p. 38 ff.,Adam pls. facing pp. 32, 36,justly 40. The similarity between and Christ was emphasized byPage eat tt 340 up ..:

Knipping, op. cit, p. 152. Oettinger’s late dating of I. For the Nativity” in the Vieille Boucherie, see the Vienna diptych and its relatives was accepted by note 127. Maeterlinck’s attempt to construe a flour-

Schéne, p. 29, but —as I saw with gratification when ishing school of Ghent” by annexing the ocuvre of the the publication became accessible to me — rejected by Flemalle Master and a great number of other important Baldass, Hans Memling, p. 36. So far as I know, Rey, items for his home town cannot be taken more seriously

op. cit. is the only scholar to assign different dates than, for examp le, Max Lautner’s nearly forgotten pro-

to the two parts of the diptych, proposing an early posal to assign the whole work of Rembrandt to

date for the “Fall of Man” and a late one for the Ferdinand Bol. ae

also seem to apply pp g ae

“Lamentation.” The date of the Vienna diptych would 2. For Joos van Ghent, see, eg. Friedlander, Ht,

\ to apply to the suppositive original of a pp. 74 ff., 129 ff., pls. LX XXII-XCIII; Schone, pp. 106,

“Descent from the Cross” on two panels which is 107; van Puyvelde, Primitives, pls. 76-78; J. Lavalleye, reflected in a canvas in the Kaiser Friedrich Museum Juste de Gand, Petnire de Frédéric de Montef elir “ (Friedlinder, IV, p. 124 £, no. 7, pl. VIII; Destrée, Louvain, 1936. For further references, see the following

Hugo van der Goes, p. 43 f£., pl. facing p. 44) and notes. in a diptych by Memlinc in the Capilla Real at Granada (Friedlander, VI, p. 118, no. 13, pls. XV, Page 341

XVI; Destrée, p. 53 f., pl. facing p. 54). 1. For Joos van Ghent’s activities at the court of 3. Friedlander, IV, p. 124, no. 5, pl. VII; Destrée, Urbino, especially the much-debated extent of his colHugo van der Goes, p. 31 ff., pl. facing p. 4 (Madonna Jaboration with the mediocre Spanish painter, Pedro only). The Madonna forms the central panel of a Berruguete, see, in particular, Lavalleye, Juste de Gand, diptych donated by William van Overbeke and Johanna p. 95 ff.; Hulin de Loo, Pedro Berruguete et les Porde Keysere who were married on February 5, 1478. traits d’Urbin, Brussels, 1942; Post, A History of Span-

The donors, the husband protected by St. William, ish Painting, IX, p. 17 ff.; Citta di Forli, Mostra di the wife by St. John the Baptist, are represented in Melozzo e del Quattrocento Romagnolo, Forli, 1938, the wings. These were, however, subsequently added p. 25 ff.; Davies, National Gallery Catalogues, Early to a much smaller central panel originally designed Netherlandish School, p. 45 ff. Quite recently, the prob-

as an independent devotional image, and the three lem has been further complicated by the injection of pictures were then set into a sumptuous framework. Bramante; see P. Rotondi, I] Palazzo Ducale di Urbino, The lateral panels were executed by an inferior artist Urbino, 1951, p. 353 ff.; ———, “Contributi Urbinati

who tried to adapt his style to Hugo’s even to the al Bramante pittore,’ Emporium, CXIII, 1951, p.

502

NOTES 338'-344"

G. Carter). pl. VIL.

109 ff. (kindly brought to my attention by Mr. David of a follower) by Lavalleye, Juste de Gand, p. 82 ff.,

2. Friedlander, III, p. 129, no. ror, pl. LXXXIII; 4. The influence of the Ghent altarpiece on Hugo van Puyvelde, Primitives, pl. 76; Wehle and Salinger, van der Goes’ Vienna diptych is not limited to the op. cit. p. 54 ff., with further references. O. Picht First Parents but extends to such details as, e.g., the (Kritische Berichte zur kunstgeschichtlichen Literatur, treatment of the fruit tree, the vegetation on the 1927/28, p. 37 ff.) is the only scholar to date the New ground and the Cain and Abel reliefs in the spandrels

pork in jos van Taian of the St yJ. Wilde. pane’ Studie Michelancelnac bh agreeEpiphany with Lavalleye, JusteCrenrs de Gand, p. 79Perioe. ff., pl. VI, 5- Ut. Wilde, Fine oftudie Michelangelos in considering it as the painter’s carliest known work. der Antike,” Mitteilungen des Kunsthistorischen Instt3. Friedlander, III, p. 129, no. 100; van Puyvelde, Lutes in F lor eng, IV, 1932, p. 41 ff.

mes 77 central on-X. ravelleyes sch nen» rela valleys , 129 wt uste Py de Gand, p. 85pane! ff., pls. A reproduction P. TOO; “YE, 7G no » P-Poh > Pied. showing the triptych in its entirety is found in Winkler, 7: another pre-Italian reminiscence 1n the Urbino Die altntederlindische Malerei, p. 113, fig. 66. A res- panel 1s the figure believed to represent Caterino Zeno,

toration after the conflagration of 1822 not only dis- pencian Ambassador to the Shah of Persia, which figured the work by crude overpainting (especially iterally repeats the wicked ruler in Dirc Bouts’ “Mar-

ce

ke

5

Fria

eee

enraged

sear

Se

noticeable in the sky and landscape background) but iyrcom ot * Vv). Th (cf. ravers | a ae Cand also mutilated the panels as such: in the central panel Pp. » pl. - He assumption that the Vienna

cut and patched; in the wings the corresponding —

arches were reduced to triangles and later restored to in the same style — must have been known to Geer tgen arches by the addition of new segments (see the dia- tot Sint Jans (see p. 329 and note 329°) who was 1n gram in Lavalleye, p. 88 which is, however, conjec- Bruges in 1475-1476 and to whom the Portinari triptural in accepting the slanting cuts in the central panel tych was apparently unknown.

as authentic and thus postulating a triangular top piece). As evident from the “barbe,” the central panel Page 343 and the wings were always cut round on top so that 1. This is also the opinion of Destrée, Hugo van der the upper contour of the triptych offered an aspect Goes, p. 18 £., and Knipping, op. cit., p. 162. somewhat similar to that of its great local predecessor, 2. For the Virgin Mary in particular, cf., e.g., Dirc the Ghent altarpiece by the van Eycks. For the choice Bouts’ London Madonna and Roger’s “Madonna of

of prefigurations, see Lutz and Perdrizet, op. cit. Laurent Froimont” at Caen. pp. 274, 326; and, more particularly, Cornell, Biblia

Pauperum, p. 277 ff., pls. 39, 53, 57- Page 344 4. See figs. 393-3953 353, 386. 1. For the document concerning the decoration of

5. See p. 314. St. Pharahildis, see Destrée, Hugo van der Goes, p.

6. Friedlander, III, p. 83. 247 f. A detailed contemporary description of the “mer-

7. Winkler, Die altniederlindische Malerei, p. op. 114.cit.veilleux “evost aeChabeuf, reprinted mn netle II, p. 1621ff., and H. “Charles Téméraire 4 Dijon en janvier 1474; L’Entrée et les

Page 342 Funérailles,” Mémoires de la Société Bourguignonne r. Jean Lavalleye (Juste de Gand, p. 94, and in de Géographie et d'Histoire, XVIII, 1902, pp. 83 ff.

Leurs, op. cit., I, p. 212) writes that the early works of 257 ff.: “Lesdiz tres nobles corps, lesquelz _mondit Joos van Ghent “exerted a very strong influence on seigneur le duc Charles a fait amener en merveilleux . . 9 et devost triumphe des pays de Flandres et autres de Hugo van der Goes, his young fellow artist” but does ar de la ou ilz ont vavé le tribu de nature humaine

not go very far in substantiating this veryladicte justvillestate+; our approucher de Dijon eti ypay’ estre receuz ment. sy en telle réverence et honneur qu'il appartenoit ont esté 2. A similar gesture occurs in Memlinc’s free copy amenez jusques en ung villaige nommé Saint-Appol-

after Hugo van der Goes in the Capilla Real at Gra- lonnet assiz environ demie lieue de distance d’icelle ,

nada (referred to in note 3387 ). ville de Dijon et en Véglise d’illec descenduz et posez 3. An even more similar Magdalen is found in a le dimanche sixiesme jour de fevrier MCCC soixante “Calvary” in the Descamps Collection at Brussels treze. Accompaigniez de tres hault et puissant prince ascribed to Joos van Ghent (though probably the work monseigneur Adolf de Cleves seigneur de Ravestein et

503

NOTES de grant nombre de grans et puissans seigneurs tant lins received his name presupposes, of course, the inbarons que autres chevaliers, escuiers et aussi de gens fluence of the Portinari triptych. As far as Netherdéglise et de gens laiz avec deux cens hommes de pied landish panel painting of the fifteenth century is con-

tous vestuz et habillez de noir qui ont portées les cerned, the rarity of this arrangement, commented torches durant tout le voiaige.” (Chabeuf, p. 292 f.). upon by Hulin de Loo, is such that I know only three 2. For the Master of Moulins, see, e.g., Sterling, Les instances outside Hugo’s own workshop: first, the Primitifs, p. 118 ff.; ———, Les Peintres, pls. 64-71 “Annunciation” on the exterior of Roger’s Middelburg (three in color); Ring, A Century, Cat. nos. 292-313, altarpiece referred to in note 277 1, which shows French pls. 156-170, figs. 44, 45, color plate facing p. 236; connotations also in other respects. Second, the Berlin F. Winkler, “Der Meister von Moulins und Hugo van “Annunciation,” close in style to Aelbert Bouts, which der Goes,” Pantheon, X, 1932, p. 241 ff.; Thieme- appears to be a reversed version of an original by his Becker, XXXVII, p. 235 ff. For his non-identity with father (Friedlander, II, p. 114 f., no. 44 b, pl. LII; Jean Perréal, see M. Huillet d’Istria, “Jean Perréal,” cf. Schéne, Dieric Bouts und seine Schule, pp. 148, Gazette des Beaux-Arts, ser. 6, XXXV, 1949, pp. 313 ff, 191, pl. 54 b). Third, a much-repeated composition, 377 ff.; G. Ring, “An Attempt to Reconstruct Perréal,” copied by the Swabian Master of the Ehningen altarBurlington Magazine, XCII, 1950, p. 225 ff. An piece some time before 1482 (the alleged date, 1476, is authoritative re-examination of the whole question is arbitrary), which also seems to be based on an inven-

expected from M. Jacques Dupont. As far as the tion of Dirc Bouts and the best replica of which, forMaster of Moulins’ relationship with Hugo van der merly in the Taymans Collection at Brussels, now seems

Goes is concerned, the easiest explanation would be to be in trade (Friedlander, III, p. 122 f., no. 78; that he made friends with him on the occasion of the Destrée, Hugo van der Goes, p. 166 £., pl. facing p. 196; famous Fleming’s visit to Dijon and was allowed to Schone, Dieric Bouts und seine Schule, p. 116 f., pls. 41, see him in the Roode Kloster in later years. It shoud 42 [cf. also pl. 71 a]; Flemish Primitives, An Exhibi-

also be noted that Hugo van der Goes is the only tion Organized by the Belgian Government, p. 58). In Flemish artist included in the well-known list of fa- the two latter cases, however, the reversion of the cusmous painters appended to the third edition (Toul, tomary arrangement may well have been caused by the 1521) of Jean Pélerin’s treatise on perspective which supervening influence of Hugo van der Goes himself otherwise contains only the names of masters “de- who, we remember, visited the heirs of Dirc Bouts in corans France, Almaigne et Italie”; see A. de Mon- 1479/80; the Taymans “Annunciation” is, in fact, said taiglon, Notice historique et bibliographique sur Jean to come from the Roode Kloster. The silver point

Pélerin dit Le Viateur Chanoine de Toul et sur son drawing of an “Annunciation” at Wolfenbiittel (H. livre De Artificiali Prospectiva, Paris, 1861, p. 59 ff. Zimmermann, “Eine Silberstiftzeichnung Jan van 3. For Fouquet’s Madonna, see, e.g., Lemoisne, Eycks aus dem Besitze Philipp Hainhofers,” Jahrbuch op. cit., pl. 54; Sterling, Les Primitifs, fig. 75 (color); der Kénighch Preussischen Kunstsammlungen,

——, Les Peintres, pl. LU; Ring, A Century, Cat. XXXVI, 1915, p. 215 ff.; Friedlander, I, p. 126; de | no. 123, pl. 74. For the Angel in the Jacques Coeur Tolnay, Le Maitre de Flémalle, p. 74, no. 9; our text ill.

window, see L. Grodecki, op. cit. 62) I hold to be the work of a French artist active be4. For the gesture of the Angel, see p. 43; note 437. tween 1440 and 1450. Only by this assumption can we Angels approaching the Annunciate from the right are account for the gesture of the angel and the provincial so frequent in France that it is impossible to enumerate reconversion of an Eyckian interior into a semi-exterior

them (for the Boucicaut Master, cf., e.g., Bibl. Nat., view. ms. lat. 10538, fol. 31) and were especially in favor 5. Illustrated, e.g., Lemoisne, op. cit., pl. 52 a; Sterwith Fouquet and his followers, not only in the An- ling, Les Primitifs, p. 74, fig. 723 ———, Les Peintres, nunciation proper but also in the Annunciation of the pl. XLVII; Ring, 4 Century, Cat. no. 120, pl. 69. Virgin’s Death; cf., apart from the Horae in the Royal

Library at Copenhagen, ms. Gl. kgl. Saml. 1610,4° Page 345 (Stockholm Catalogue, no. 176) the famous “Hours 1. Glaser, op. cit., p. 207, introduces the chapters of Etienne Chevalier” (P. Wescher, Jean Fouquet und dealing with German painting from ca. 1480 with a seine Zeit, Basel, 1945, pls. 2, 5; K. G. Perls, Jean Fou- little preface entitled “Der spatgotische Barock.”

quet, Paris, 1940, pls. 3, 7). For a later example, see, 2. Glaser, op. cit., p. 384 ff., figs. 261, 262.

e.g., an anonymous French “Annunciation” in the 3. Friedlander, V, pp. 56 f., 135 f., nos. 26-27, pl. Musée Calvet at Avignon (Sterling, Les Primitifs, p. XXII; Thieme-Becker, XXXVII, p. 98 f. (as “Meister 116, fig. 140). The “Annunciation” on the exterior of der Figdorschen Kreuzabnahme”’). the Moulins altarpiece from which the Master of Mou- 4. See above, p. 323 f.

504

NOTES 344*-347° 5. For Jacob Cornelisz., see Friedlander, XII, pp. Sisters at Bruges is illustrated in van Puyvelde, Primt-

96 ff., 193 ff., pls. XLV-LVII; Hoogewerff, III, p. tives, pl. 104. ,

72 ff.; K. Steinbart, Die Tafelgemalde des Jakob Cor- 14. Friedlander, VI, pp. 65 f., 139, pls. LVII-LIX; nelisz. von Amsterdam, Strasbourg, 1922; ————, Das Thieme-Becker, XXXVII, p. 34.

Holzschnittwerk des Jakob Cornelisz. von Amsterdam, 15. Friedlander, XIV, p. 105, Nachtrag, pl. XXII;

Burg bei Magdeburg, 1937. Thieme-Becker, XXXVII, p. 28. Cf., however, Janssens 6. For Cornelis Engelbrechtsz., see Friedlander, X, de Bisthoven and Parmentier, op. cit., p. 71 ff.

pp. 53 ff., 129 ff., pls. XXXIX-LVII; Hoogewerff, III, 16. Friedlander, VI, pp. 66 ff., 140 ff., pls. LXp. 144 ff.; E. Gavelle, Cornelis Engelbrechtsz., Lyons, LXVI; Thieme-Becker, XXXVII, p. 203 f.

1929. The style of the “Antwerp Mannerists of ca. 17, See Wehle and Salinger, op. cit., p. 84 ff. 1520,” first studied in M. J. Friedlander’s admirable 18. For the Master of St. Giles, whom some scholars essay, “Die Antwerpener Manteristen von 1520,” Jahr- believe to be a Frenchman, see, e.g., Sterling, Les Primtzbuch der Koéniglhch Preussischen Kunstsammlungen, tifs, p. 135, figs. 168-172; ————, Les Peintres, pls. 140,

XXXVI, 1915, p. 65 ff., has so much in common with 141 (color); Ring, A Century, Cat. nos. 239-249, pls. that of their Dutch contemporaries that it can be ac- 135-138, color plate facing p. 24; M. J. Friedlander,

counted for only by a strong North Netherlandish “Le Maitre de St.-Gilles,” Gazette des Beaux-Arts, influence; in fact the problem of disentangling “Dutch- ser. 6, XVII, 1937, p. 221 ff.; Thieme-Becker, XXXVII,

men” from “Flemings” in this group has proved to be p. 6 f. Cf. Davies, National Gallery Catalogues, Early

one of the thorniest in the history of art (cf. the fa- Netherlandish School, p. 70 ff. Two pictures of the mous problem of “Jan de Cock” and “Jan van Leyden,” St. Giles series, the “Conversion of an Arian by St. Master at Antwerp from 1503, discussed at length in Gregory” and the “Baptism of Clovis,” have recently

Hoogewerff, III, p. 355 ff.). For the work of the been acquired by the Kress Foundation (Paintings and “Antwerp Mannerists,” see Friedlander, XI, pp. 9 ff., Sculpture from the Kress Collection, nos. 82, 83).

116 ff., pls. I-LII. While the Master of the Legend of St. Giles was active

7. See p. 100 ff. at Paris three Flemish painters active at Genoa have been discussed by M. J. Friedlander, “Drei nieder-

Page 346 , landische Maler in Genua,” Zeitschrift fur Bildende 1. Wehle and Salinger, op. cit., p. 72 f. Kunst, LXI, 1927-1928, p. 273 ff. 2. For Aelbert Bouts, see Friedlander, III, pp. 64 ff.,

114 ff., pls. L-LXIII; Schone, Dieric Bouts und seine Page 347

Schule, p. 190 ff. 1. Cf. M. Conway, “The Abbey of Saint-Denis and 3. Cf. Friedlander, III, pp. 70 ff., 122 f., nos. 74-77, its Ancient Treasures,” Archaeologia or Miscellaneous

pls. LXIV-LXVII; Thieme-Becker, XXXVII, p. 324 f. Tracts Relating to Antiquity, LXVI (ser. 2, XVI),

4. Friedlander, V, p. 105. IQI5, p. 103 ff.; ———, “Some Treasures of the Time

5. See note 247 ”. of Charles the Bald,” Burlington Magazine, XXVI,

6. Friedlander, IV, p. 108 f. 1914-1915, p. 236 ff.; A. M. Friend, “Carolingian Art 7. Friedlander, IV, pp. 101 ff., 137 ff., pls. XLVI-L; in the Abbey of St.-Denis,” Art Studies, I, 1923, p. ———, “Der Meister der Katharinen-Legende und 67 ff.; Abbot Suger on the Abbey Church of St. Denis Rogier van der Weijden”; Thieme-Becker, XXXVI, and Its Art Treasures, p. 179, figs. 9, 10.

p. 177 f. 2. Friedlander, IV, p. 125, no. 9, pls. IX, X; Des8. Friedlander, IV, pp. 109 ff., 139 ff., pls. LI-LIV; trée, Hugo van der Goes, p. 33 ff., pls. facing pp. 8, 12,

Thieme-Becker, XXXVII, p. 33 ff. 16. I agree with Oettinger, “Das Ratsel der Kunst des g. Friedlander, XII, pp. 15 ff., 165 ff., pls. I-IX; Hugo van der Goes,” in believing that this altarpiece, Thieme-Becker, XXXVII, p. 211. Cf. Davies, National the “Annunciation” on the exterior showing the Angel Gallery Catalogues, Early Netherlandish School, p. 78 £. approaching from the right, is not an early work of 10. Friedlander, IV, pp. 112 ff., 141 f£., pls. LV-LIX; Hugo van der Goes but was produced by a meek folThieme-Becker, XXXVII, p. 130. Cf. Davies, p. 75 ff. lower already acquainted with the Portinari triptych,

11. Friedlander, IV, pp. 118 f., 144 ff., pls. LXITI- and that the same is true of the “Madonna with St.

LXVII; Thieme-Becker, XXXVI, p. 117 f. Anne” in the Musée Royal at Brussels (Friedlander, | 12. Friedlander, IV, pp. 115 ff., 143 f., pls. LX- IV, p. 123, no. 2, pl. II; van Puyvelde, Primitives, pl. LXII; Thieme-Becker, XXXVII, p. 167. 67 [color]; Destrée, Hugo van der Goes, p. 129 f,, 13. Friedlander, VI, pp. 60 ff., 136 ff., pls. LI-LVI; pl. facing p. 134; a better color reproduction in FlemThieme-Becker, XXXVII, p. 335. A nice detail from ish Primitives, An Exhibition Organized by the Belthe eponymous diptych in the Convent of the Black gian Government, p. 36).

595

NOTES | 3. London, W. H. Samuel (now Viscount Bearsted white or colored, see Voll, Memling, pp. 78-91; Balof Maidstone) Collection; Friedlander, IV, p. 133, no. dass, Hans Memling, figs. 104-117; and the mono-

31, pl. XXXVII. graphs listed in note 347 +. 4. Friedlander, IV, p. 134, no. 36, pl. XL.

5. Memlinc is, significantly, the only Early Flemish Page 349 master represented in the “Klassiker der Kunst”’ series 1. Bruges, Hopital St.Jean, dated 1487. Friedlander (Voll, Memling). See also, C.2.5 Friedlander, VI, PP: VI, p. 118, no. 14, pls. XVII, XVIII; Schone, pp. 104, 9 ft., 114 f., pls. I-XLVIII; Baldass, Hans Memling; 105; van Puyvelde, Primitives, pls. 86, 87 (color). at J. Friedlander, Memiling, Amsterdam, n.d. [1950]. 2. Friedlander, VI, p. 130, no. 74, pl. XLII. ere are also little monographs on individual works 3. Friedlinder, VI, p. 128 £., nos. 67, 68; illustrated,

and groups of works, e.g., M. Guillaume-Linephty, eg, in Voll, Memling, figs. 58, 59; Baldass, Hans Hans Memling in the Hospital of St. John at Bruges, Memling, figs. 58, 59.

Paris, 1939; ~~? Hans Memling: The Shr ine of 4. Friedlander, VI, p. 130, nos. 75, 76 (hardly as St. Ur sula, Paris, 19395 P. Lambotte, Hans Memling, early as ca. 1470), illustrated, e.g., in van Puyvelde,

ue wre de la Chasse de Ste. Ursule, Antwerp, 19395 Primitives, pl. 93 (the lady only); Voll, Memling, . Drost, Das Jiingste Gericht des Hans Memling in PP. 74, 75. der Marienkirche zu Danzig, Vienna, 1941; C. G. 5. Friedlander, VI, p. 120, no. 23 B (dated 1487 and Heise, Der Liitbecker Passionsaltar von Hans Memling, originally forming a triptych with the Berlin Madonna,

Hamburg, 1950. oy ae 7 no, 23 A, and the St. Benedict in the Uffizi, no. 23 C), 6. For Memlinc s birthplace, See Brockwell, A illustrated, e.g., in Voll, Memling, pp. 70-72; Baldass, Document Concerning Memling. Since Seligenstadt Hans Memling, figs. 99-101. is a comparatively small place, it is easy to conceive 6. Friedlinder, VI, pp. 44 £., 130, no. 73, pl. XLI.

that he was locally known only as a “native of Mainz” ». Friedlander, VI, p. 119, no. 16 B, pl. XIX;

(see the following note). i, Wehle and Salinger, op. cit., p. 64. For the pink as a ft: Rombouts de D oppere, Notary at St. D onatian s symbol of betrothal see F, Mercier, “La Valeur sym- |

in Bruges (reprinted in Friedlander, VI, p. 10 f.): “Die bolique de Voeillet dans la peinture du moyen-Age,”

XI Augusti, Brugis obiit magister Johannes Mem- Revue de V'Art Ancien et Moderne, LXXI, 1937, Pp. melinc, quem pr aedicabant _peritissimum fuisse et 233 ff. The relationship between the Metropolitan Muexcellentissimum pictorem totius tunc orbis christiani. seum portrait and its companion piece in the van Oriundus erat Magunciaco, sepultus Brugis ad Aegi- Beuningen Collection (Friedlander, no. 16 A, pl. XIX;

dii . . Catalogue of the D. G. van Beuningen Collection, p. 8. Friedlander, VI, p. 56. 39, no. 24, pl. 25) has baffled the experts because the

9. For Eyckian vistas seen through colonnettes, see, van Beuningen picture “instead of the expected por-

eg., Friedlander, VI, pls. XI, XXAI; for brocaded trait of the lady’s betrothed, shows a pair of uncloths of honor and oriental rugs, 107 dem, pls. XI, XVI, trammeled horses standing with their feet in a brook.”

XXX, XXXII, XXXIV-XXXVI; for historiated capi- That the two pictures constituted a regular diptych, tals, the Madonna in the Liechtenstein Collection at and neither belonged to an altarpiece (as tentatively Vienna (ibidem, p. 126, no. 54, illustrated, e.g., in Voll, assumed by Friedlander and in the van Beuningen Memling, p. 131; Baldass, Fans Memling, fig. 62 Catalogue) nor formed the front and back of one and [color]); for convex mirrors, Friedlander, pls. XVII, the same panel (as conjectured by Wehle and Salinger)

AXAI. is evident from the fact that the landscape as well as the parapet are continuous and that the vanishing lines

Page 348 of the “diaphragm arches” converge in such a manner 1. Friedlander, VI, pls. XV, XVI (see note 3387). that the interval between the two pictures cannot have 2. Henry James, A Little Tour in France, M. Swan, amounted to more-than the width of two frames. The

intr., New York, 1950, p. 75. horses, therefore, cannot belong to a missing narrative 3. Friedlander, VI, p. 54 f. (to associate them with an Adoration of the Magi is 4. Stuttgart, Museum. Friedlander, VI, p. 121, no. ipso facto improbable because they are only two in

25, pl. XXIII. number and have neither saddles nor reins) but must

5. Cf, Friedlander, VI, p. 50: “Memling ist stiick- be read in direct connection with the portrait. This is

weise der Natur nahe.” by no means so absurd as it may seem. Continuing a 6. Bruges, Hépital Saint-Jean. Friedlander, VI, p. tradition which can be traced back as far as Ibycus, an 121, no. 24, pl. XXI, XXII; van Puyvelde, Primitives, amorous significance was attached to the horse (“Sont pl. 85. For a complete series of illustrations, black-and- autant que leurs chevaulx, Jennes amoureux nou-

506

NOTES 347°-350° veaulx,” sings Charles d’Orléans), and in medieval manufacture, I agree with Friedlander, p. 42, in doubtpoetry the steed was an accepted symbol of the znamo- ing his identity with either Forzore Spinelli or, as rato, the “man in love.” As such he is described, for proposed by Hulin de Loo (“Le Portrait du Médailleur example, by Guittone d’Arezzo and Francesco Bar- par Hans Memlinc: Jean de Candida et non Niccolo berino and pictured in fourteenth-century painting (cf. Spinelli,” Festschrift fiir Max ]. Friedlinder zum 60. F. Egidi, “Un Trattato d’Amore inedito di Fra Guit- Geburtstage, Leipzig, 1927, p. 103 ff.), Giovanni de tone d’Arezzo,” Giornale storico della letteratura ttalt- Candida. In fact the portrait seems to be even later ana, XCVII, 1931, p. 49; ————, “Le miniature dei than 1477-1479 when the latter was in the service of Codici Barberiniani dei ‘Documenti d’Amore, ” L’ Arte, Charles the Bold. V, 1902, pp. 1 ff., 78 ff.; Panofsky, Studies in Iconology, g. Friedlander, VI, p. 130, no. 79, pl. XLIV; Schone,

p. 116 ff., figs. go, 91). And here Cupid himself, con- p- 102. ceived as a malignant force by Guittone and as Amore 10. This can be inferred from the physiognomical honesto by Francesco Barberino, is made to stand on type and, in part, even the place of preservation. In the animal’s back. In a charming drawing in Jacopo addition to the two instances already adduced, there Bellini’s Louvre Sketchbook (V. Goloubew, Die Skiz- may be mentioned the portraits in the Musée Royal at zenbiicher Jacopo Bellinis, Brussels, 1908-1912, II, pl. Brussels, Friedlander, VI, p. 131, no. 84 (Voll, MemXXXVIII) a little Faun and a clear-sighted Cupid, his ling, p. 20, Baldass, Hans Memling, fig. 50); in the bandage encircling his brow instead of covering his Ca d’Oro at Venice, Friedlander, VI, p. 130, no. 77 eyes, are seen competing for the control of a horse (Voll, p. 23, Baldass, fig. 51); in the Galleria Corsini which an adult Satyr attempts to hold back by its tail. at Florence, Friedlander, VI, p. 131, no. 86 (Voll, p. 22, The horses in the picture by Memlinc (who may have Baldass, fig. 52); in the Uffizi (Friedlander, VI, p. 132, received his commission and instructions from one of no. 8g, illustrated in Winkler, Die altniederlaindische the numerous Italians residing at Bruges) are obvi- Maleret, p. 126, fig. 75); and in the collection of Baron

ously a variation on this popular theme. The white van der Elst at Vienna (Friedlander, XIV, p. 103, horse (and it should be borne in mind that in Christian Nachtrag, pl. XXI, Baldass, fig. 53). I am not acsymbolism the white horse often bears unfavorable im- quainted with the portrait at Copenhagen, Friedlander, plications because the “equus pallidus” in Revelation VI, p. 131, no. 82. VI, 8, ridden by Death and followed by Hell, used to 11. Friedlander, VI, p. 115, no. 7 (central panel of be represented as white rather than “pale” as can be a triptych the wings of which show the Martyrdom of seen, for example, in an impressive miniature in the St. Sebastian and the Ascension), illustrated in Voll, “Hours of Alfonso of Castile,’ Morgan Library, ms. Memling, pp. 113-115; Baldass, Hans Memling, fig. 854, illustrated in F. B. Adams, Jr., Second Report to 118.

the Fellows of the Pierpont Morgan Library, New 12. The Washington Madonna: Friedlander, VI, p. York, 1951, pl. facing p. 28) is controlled by a monkey, 127, no. 60, pl. XXXIV, and XIV, p. 106. The Vienna

symbol of everything self-seeking and base in human Madonna (central panel of a triptych the wings of nature. He is bent only on quenching his thirst and which show the two Saint Johns on the interior and Pays no attention whatever to the lovely young lady. the First Parents on the exterior): Friedlander, VI, p. The noble isabel, however, free from low appetites and 116, no. 9, illustrated, e.g., in Voll, Memling, pp. 117not subjected to undesirable pressures, looks at the girl 119; Baldass, Hans Memling, figs. 119, 120. The Uffizi

with an expression of unending devotion. The former Madonna: Friedlander, VI, p. 128, no. 61, pl. XXXV; personifies the bad lover, the latter the good one. van Puyvelde, Primitives, pl. 88. Strange though it may appear to the modern beholder, 13. Chatsworth, Duke of Devonshire Collection. he zs, in a sense, the “portrait of the lady’s betrothed” Friedlander, VI, p. 117, no. 10, pls. XI-XIII. so sorely missed by the Metropolitan Museum: the image of a lover “true as the truest horse that yet would Page 350

never tire,” as Shakespeare's Thisbe still says of her 1. Friedlander, VI, p. 122, no. 33, illustrated, eg., Pyramus. And that in this case the lady occupies the in Voll, Memling, pp. 32-39. Since the composition dexter side of the diptych is only natural in view of includes such scenes as the Circumcision and the the fact that she was not as yet the donor’s wife; in the Massacre of the Innocents, Baldass, Hans Memling, p.

guise of a stallion, he looks up to his beloved as he 44, figs. 75-83, is correct in calling it “The Life of would look, in human form, to the Madonna. Christ and Mary” rather than “The Seven Joys of the 8. Friedlander, VI, p. 129, no. 71, pl. XXXIX; van Virgin.” Puyvelde, Primitives, pl. 92. Since the young man 2. Friedlander, VI, p. 123, no. 34, pl. XXVI (full proffers a coin of Nero rather than a medal of his own __ series of illustrations in Voll, Memling, pp. 92-98; 5097

NOTES Baldass, Hans Memling, figs. 13-17). For a complete 6. Friedlander, VI, p. 145, no. 165, pls. LXXIV, series of photographs and extensive bibliography, see LXXV. Aru and de Geradon, op. cit., p. 14 ff., pls. XXII-XL. 7. See p. 176 f. 3. Friedlander, VI, p. 114, no. 1, pl. I.

4. Friedlander, VI, p. 114, no. 2, pls. IJ-IV. Page 352 5. Friedlander, VI, p. 50: “Er schmiickte die Bild- 1. Friedlander, VI, p. 152, no. 202, illustrated, e.g., flache symmetrisch und harmonisch wie ein kélnischer in Bodenhausen, op. cit., p. 157.

Maler.” 2. Friedlander, VI, p. 82: “kerzensteif und kerzen6. Wehle and Salinger, op. cit., p. 20 ff. See note rund.” | 146°. 3. Friedlander, VI, p. 155, no. 214, pl. XCVIIL. 7. The “Archaism of around 1500” is often referred 4. A list of such borrowings is found in Friedlander,

to in writings in art history and was well commented VI, p. 103. |

upon by Baldass, “Gotik und Renaissance im Werke 5. Friedlander, VI, p. 147, no. 173, XIV, p. 106; des Quinten Massys” but still awaits a comprehensive Schéne, pp. 144, 145. As evidenced by the perspective

treatment which it will receive, it is to be hoped, by of the pavement, the panels are cut out from a larger Mademoiselle Nicole Verhaegen. Instructive juxtaposi- picture in which the Virgin Mary was placed on a tions of several early sixteenth-century works with their higher level than the Angel. Cf. the recent article by early fifteenth-century prototypes are found in G. Brom, M. Salinger, “An Annunciation by Gerard David,” “Vernieuwing van onze Schilderkunst in de vroege The Metropolitan Museum of Art, Bulletin, new ser., Renaissance,” Gentsche Bijdragen tot de Kunstgeschie- IX, 1951, p. 225 ff. denis, VII, IQ4I, p. 7 ff.; but this author’s interest is 6. Friedlander, VI, Pp. 155, no. 216, pl. XCVII. See

focused on the transformation of these prototypes Davies, National Gallery Catalogues, Early Netherrather than on the problem of why they were re- landish School, p. 29 f.

, sorted to. 7. Friedlander, VI, p. Schone, 155,pp. 148, no.152;215, pl. XCVI; van Puyvelde, Primitives, pl. 98. Why Schone, p. 31, should have revived Bodenhausen’s

Page 351 hypothesis according to which the woman facing 1. See note 3343. Gerard David’s self-portrait is not his wife, Cornelia

2. Cf. G. Doutrepont, “Jean Lemaire de Belges et Cnoop, but a lady who had paid for the wood panel la Renaissance,” Académie Royale de Belgique, Classe on which the picture was painted (while Cornelia is des Lettres et des Sciences Morales et Politiques, Mé- supposed to appear under the guise of St. Catherine) motres, ser. 2, XXXII, 1934, especially p. XXVIII. I have been unable to determine. 3. For Gerard David, see, e.g., Friedlander, VI, pp. 8. Friedldnder, VI, p. 149, no. 189, pl. LXXXVII. v1 ff., 143 ff., pls. LXVII-CI; Schéne, pp. 30 £., 143- g. See p. 267. Gerard David's resumption of the 145; van Puyvelde, Primitives, pls. 94-103. E. Freiherr older type was rightly stressed by Friedlander, VI, p. 86.

von Bodenhausen, Gerard David und seine Schule, ro. See the “Crucifixion” in the Barnes Collection Munich, 1905, still remains one of the finest mono- at Merion near Philadelphia, Friedlander, VI, p. 149, graphs in the field of Early Netherlandish Painting. no. 187, pl. LXXXVI. , Cf. also F. Winkler, “Gerard David und die Briigger 11. Friedlander, IV, pp. 119 ff., 146 ff., pls. LXVIIIMiniaturmalerei seiner Zeit,” Monatshefte fir Kunst- LXXII; Maquet-Tombu, Colyn de Coter. wissenschaft, VI, 1913, p. 271 ff.; ———, “Das Skiz- roe a. pL. LXXXVIIL CE Brom. ob. cit 36.3

. ° ie , 12. Madrid, Prado. Friedlander, VIII, p. 173, no.

zenbuch Gerard Davids,” Pantheon, III, 1929, p. 271 ff. 5% Pr —_ 7 OP. Ck PP. 20s 27+ . Munich, Alte Pinakothek; Friedlander, VI, pp.

ros 148, no. 181, pl.Municipal LXXXI epMuseum. Page 353 ,Friedlander, , ey " 1. Tournai, 5. Friedlander, VI, no. p. 156, no. 222, pls. C, CI; van ; erp.VIII, Lowe ; p- 151, 5, pl. XII; van Puyvelde, Primitives, 130

Puyvelde, Primitives, pls. 94, 95 (pl. 95 in color). For (detail). Cf, Brom, op. cit., pp. 12, 13.

full documentation and many excellent illustrations, 2. Madrid, Prado. Friedlinder, VIII, p. 154, no. 19, see Janssens de Bisthoven and Parmentier, op. cit., p. pl. XXII. See note 2204 and Brom, op. cit. pp. 20, 21. 12 ff. For the unusual subject, cf. van de Waal, op. cit., 3. Friedlander, VIII, p. 151, no. 3, pl. VII. Cf. II, p. 124, note 261; Lederle-Grieger, op. cit., pp. 25, Brom, op. cit., pp. 28, 29. 42 ff.; E. Gans and G. Kisch, “The Cambyses Justice 4. See Panofsky, Albrecht Diirer, I, p. 104; ———,

Medal,” Art Bulletin, XXIX, 1947, p. 121 ff. The “Dirers Stellung zur Antike,” Jahrbuch fir Kunst“Judgment of Cambyses” is dated 1498. geschichte, I, 1921/22, p. 43 ff., particularly p. 86 ff.

508

NOTES 350°-356° 5. For Massys, see, e.g., Friedlander, VII, pp. 15 ff., see Friedlander, IX, p. 138, no. 66, pl. XX XIX; Baldass,

113 ff., pls. I-LV; W. Cohen, Studien zu Quinten Joos van Cleve, p. 18, pls. 34, 35; Davies, National GalMetsys, Bonn, 1904; J. de Bosschere, Quinten Metsys, lery Catalogues, Early Netherlandish School, p. 66 ff. Brussels, 1907; H. Brising, Quinten Matsys, Essai sur 7. See the “Holy Families” best exemplified by Vorigine de l'Italiamsme dans l'art des Pays-Bas, Upp- nearly identical paintings in the Thyssen Collection at sala, 1909; Baldass, “Gotik und Renaissance im Werke Lugano (formerly Holford Collection at London) and

des Quinten Metsys.” the Vienna Gemaldegalerie: Friedlander, IX, p. 137, 6. Diirer in his Diary (Lange and Fuhse, op. cit., ne 64, P's. XXXVII, and XIV, p. 115; Baldass, Joos van

p. 111, 16; p. 112, 5); cf. also, p. 117, 1 ff.: “They spare eve, pl. 54. no expense in such matters [viz., architecture and 8. Friedlander, VII, pp. 43 f., 122, no. 51, pl. XLVI.

decoration ], for there is money enough.” For the comparison with the “Robert de Masmines,”

p. 146. Quinten Metsys.”

7. Friedlander, VII, p. 117, no. 17, pl. XIX; Schone, see Baldass, “Gotik und Renaissance im Werke des

8. Friedlander, XIV, p. 108, no. 27, best illustrated Pave

in Baldass, “Gotik und Renaissance im Werke des g in

Quinten Metsys,” pl. XI (see note 1757). For the T. seep. 17. .

Lyons Madonna, see Friedlander, VII, p. 119, no. 27. 2. “ -M.J edlander, ws zu Quentin Mas. Friedlander, XIV, p. 108, no. 27; Schéne, p. 157. SY5»_ WiCETONE, ANA, 1927) P. I Ne el Pe 1085 NO. 275 SEHONEs Ps 197 3. For the cap affected by Cosimo de’ Medici, see

P48° the354 medals reproduced in des J. Friedlander, Die italie. nischen Schaumiinzen fiinfzehnten Jahrhunderts, I. Friedlander, VII, p. 122, no. 53, pl. L; van Puy- Berlin, 1882, p. 144 ff., pl. XXVII, 3, 4; and — even velde, Priminves, pl. 123 (color); Michel, L’Ecole more strikingly — the famous Uffizi portrait by Jacopo

Flamande ...au Musée du Louvre, p. 63 f., pls. Pontormo (F. M. Clapp, Jacopo Carucci da Pontormo; XXXII, XXXIII. For a juxtaposition with Petrus His Life and Work, New Haven, London and Oxford,

i in M ” and Brom, o D, are ,

Christus’ “St. Eloy,” see Baldass, “Gotik und Renais- 1916, p. 147 ff., fig. 42)

sance 1m Werke des Quentin Metsys,” an » Op. 4. Panofsky, Albrecht Diirer, I, p. 238; II, no. 210,

cit., pp. 14, 15. ; figs. 299, 300. 2. See note 203°. 5. Friedlander, VII, pp. 64, 122, no. 52, pl. IL 3. For the identification of the Master of the Death (XLIX); , “Neues zu Quentin Massys.” of the Virgin, named after two altarpieces in the

Pinakothek at Munich and the Wallraf-Richartz Mu- Page 356 seum at Cologne, with Joos van Cleve (recte Joos van 1. The Praise of Folly by Desiderius Erasmus of der Beeke), see Friedlander, IX, pp. 20 ff., 127 ff., pls. Rotterdam, H. H. Hudson, tr., Princeton, 1941, p. 42. XVI-LVII, and L. Baldass, Joos van Cleve, der Meister 2. See Friedlander, “Neues zu Quentin Massys,” des Todes Maria, Vienna, 1925. Cf., however, the criti- and, for the Leonardo drawing (in fact, a very good cal remarks in Davies, National Gallery Catalogues, copy after a Leonardo original), K. Clark, 4 Catalogue

Early Netherlandish School, p. 45. of the Drawings of Leonardo da Vinci in the Collection 4. Friedlander, IX, pp. 53, 140, no. 74; Art News, of His Majesty the King at Windsor Castle, 1935, p. XXVIII, 1930, April 26 (colored reproduction on cov- 70 f., no. 12492. Apart from further lowering the lady’s er); J. Rosenberg, “Early Flemish Painting,” The Bul- dress and adding the no less “disgusting” hands, Mas-

letin of the Fogg Museum of Art, X, 1943, p. 47 f. sys did little to change his model. But he would not

P8e..

Friedlander and Rosenberg rightly ascribe the picture have thought of using it for a large, independent paint-

— supposedly representing Countfor Biterswii ng " in all1512, had not Erasmus praise — nes date pub Geldern — to Joos van CleveRoger and account its ar- ished immediately before of theFolly presumable chaic character by the assumption that the painter, like of the “Ugly Duchess” — supplied him with an icono-

Roger van der Weyden and others before him, was graphic “theme.” In his commentary on the Windsor asked to recreate an ancestor portrait. Winkler, “Rogier drawing, Sir Kenneth Clark correctly considers Wenzel van der Weyden’s Early Portraits,’ unconvincingly Hollar’s engraving as the source of the lady’s identifica-

attributes it to Jan Mostaert and considers it as a copy tion with the Regina di Tunis but, curiously enough,

after an early work of Roger van der Weyden. refers to Tenniel’s figure as the “Red Queen” rather 5. New York, Metropolitan Museum. Friedlander, than the “Duchess.” He also narrows down the possiIX, pp. 41 f£., 137 f£., no. 65, pl. XXXVIII; Wehle and bilities too much in stating that Tenniel must have Salinger, op. cit., p. 133; Brom, op. cit., pp. 24, 25. worked from either the Windsor drawing or the Hollar 6. For the numerous versions of this composition, print. He may just as well have worked from Massys’

509

NOTES painting which was in England from at least 1836-1837 tal Hieronymus Bosch, Basel, 1937, may be mentioned:

when G. F, Waagen saw it in the collection of H. D. M. J. Friedlander, Hieronymus Bosch, The Hague,

Seymour. 1941; L. von Baldass, Hieronymus Bosch, Vienna,

3. T. Wright, A History of Caricature and Gro- 1943; L. van den Bossche, Jeroen Bosch, Diest, 1944; J. tesque in Literature and Art, London, n.d. [1864], p. Combe, Jéréme Bosch, Paris, 1946; V. W. D. Schenk, tor f., fig. 67; F. Bond, Wood Carvings in English Tussen Duivelgeloof en Beeldenstorm, een Studie over Churches, I, Misericords, London, New York, etc., Jeroen Bosch en Erasmus van Rotterdam, Amsterdam,

IQI0, pp. 180, 225. 1946; J. de Bosschére, Jéréme Bosch, Brussels, 1947; J.

4. For Lucas van Leyden, see, e.g., Friedlander, X, Mosmans, Iheronimus Anthonis-zoon van Aken, alias pp. 78 ff., 134 ff., pls. LVITI-LXXXVII; ———, Lucas Hieronymus Bosch, zijn Leven und zijn Werk (im-

van Leyden (Meister der Graphik, XIII), Leipzig, portant for documentary evidence), ’sHertogenbosch, 1924; Hoogewerff, III, p. 207 ff.; R. Kahn, Die Graphik 1947; W. Fraenger, Hieronymus Bosch, Das tausend-

des Lucas van Leyden, Strasbourg, 1918; L. Baldass, jahrige Reich, Coburg, 1947 (English translation: Die Gemiilde des Lucas van Leyden, Vienna, 1923; N. “The Millennium” of Hieronymus Bosch, Chicago, Beets, “Lucas van Leyden,” in: Niederlindische Ma- 1951). D. Bax, Ontctjfering van Jeroen Bosch, The lerei im XV. und XVI. Jahrhundert, Amsterdam and Hague, 1948; W. Fraenger, Die Hochzeit zu Kana, Ein Leipzig, 1941, p. 245 ff. For Scorel, see, e.g., Fried- Dokument semitischer Gnosis bei Hieronymus Bosch,

lander, XII, pp. 118 ff., 199 ff., pls. LVII-LXXVIII; Berlin, 1950. Hoogewerff, IV, p. 23 ff.; ———, Jan van Scorel, 2. An excellent survey of such influences is found Peintre de la renaissance hollandase, The Hague, in Bax, op. cit., p. 246 ff. 1923; C. H. de Jonge, “Jan van Scorel,” in: Nieder- 3. Bosch’s connection with pre-Eyckian art, especiallindische Malerei im XV. und XVI. Jahrhundert, p. ly book illumination, was especially stressed by de

209 ff. Tolnay, Hieronymus Bosch, and Bax who also gives a 5. Diirer’s fundamental importance for Lucas van useful survey of “what Bosch read” (op. cit., p. 275 ff.).

Leyden is too well-known and ubiquitous to require 4. A particularly surrealistic interpretation of this exemplification. As to his influence on Scorel, the scene, kindly brought to my attention by Professor numerous instances referred to in the earlier literature Millard Meiss, is found in Bibliothéque Nationale, ms.

have recently been augmented by a “Fall of Man” in fr. 823, fol. 78. Divine Grace leads the Pilgrim, to private ownership which is an almost literal copy of quote from John Lydgate’s charming translation:

Diirer’s engraving B. 1 (Hoogewerff, V, figs. 84, 85), “To a roche of hardé ston and I should like to add that a work as mature as the And, at an eyé, there ran oute “Lamentation” in the Centraal Museum at Utrecht, Dropys of water al aboute: executed about 1535-1540 (Friedlander, XII, p. 201, The dropys wer (to my semyng) no. 323, pl. LXVII; Hoogewerff, IV, p. 137, fig. 60; Lych salté terys of wepyng; de Jonge, op. cit., p. 359, fig. 311; Utrecht, Centraal And in- ta cisterne ther besyde, Museum, Catalogus der Schilderijen, no. 261), still The dropys gonné for to glyde.” harks back to a “Lamentation” produced in Diirer’s (The Pilgrimage of the Life of Man, Early English workshop about 1500-1501 (Nuremberg, Germa- Text Society, extra series, LXXVII, LXXXIIJ, XCII, nisches Nationalmuseum, illustrated, e.g., in F. Wink- London, 1899-1904, p. 582, v. 21806 ff.). The rock is

ler, Diirer, Des Meisters Gemilde, Kupferstiche und made of the hard human hearts which, softened by Holzschnitt € [Klassiker der Kunst, IV, 4th ed.], Stutt- God, shed tears of contrition. Collected in a “cistern” gart and Leipzig, 1928, p. 23). Dir ers initial influence (the French text has cuvier), these tears make a “nice, on Gossart was especially cmp hasized by F. Winkler, lukewarm” bath, viz., the Second Baptism of RepentDie Anfange Jan Gossarts,” Jahrbuch der Preussischen ance which the Pilgrim must take before embarking on Kunstsammlungen, XLU, 1921, p. 5 ff.; see also W. the Ship of Religion. Kroénig, “Die Friihzeit des Jan Gossart,” Zeitschrift fur 5. Brussels, Bibliothéque Royale, ms. 10176-78 (see

Kunstgeschichte, Ul, 1934, P. 163 ff. For Diirer’s in- p. 108), fol. 68; Gaspar and Lyna, op. cit, I, pl. fluence on Netherlandish pamnung 1n general, see J. LXXXVII a, our fig. 138. The scene represents Envy Held, Diirers Wirkung auf die niederlandische Kunst carrying her two daughters, Treason and Detraction,

seiner Zeit, The Hague, 1931. the latter serving her

Page 357 “With flarsyd Erys, fful off poysoun, 1. Of the enormous literature on Jerome Bosch a Put on A spyte by traysoun.

few publications postdating C. de Tolnay’s fundamen- (The Pilgrimage of the Life of Man, p. 413, v. 15363 f.).

510

NOTES 356°-358° An image like this would seem to explain the famous setzung mit dem Unbewussten,” Du, Schweizerische pair of skewered ears in the right wing of Bosch’s Monatsschrift, X1, 1951, October, p. 7 ff.). There is, it “Garden of Lusts” in the Prado at least as adequately seems, no shred of evidence to show that this personas do the Biblical passages adduced by Fraenger, Hzero- age had anything to do with the Adamites or possessed nymus Bosch, Das tausendjahrige Reich, p. 67, which that wealth of occult knowledge ascribed to Bosch by either refer to ears but not to arrows, or to arrows but Fraenger; but he may well have been partly responsible

not to ears. for Bosch’s unquestionable familiarity with Jewish 6. An astrological explanation of several Bosch com- legends and customs which will be discussed by Dr.

positions, notably the so-called “Prodigal Son” now in Lotte B. Philip, “The Prado Epiphany by Jerome the Boymans Museum at Rotterdam, has been attempt- Bosch,” Art Bulletin, XXXV, 4 (in print). For some ed by A. Pigler, “Astrology and Jerome Bosch,” Bur- factual objections to Fraenger’s theory, which could be

lington Magazine, XCII, 1950, p. 132 ff. multiplied ad infinitum, see Bax, op. cit., p. 207 ff. 7. See Fraenger, op. cit. Recently this author has 8. Frequently illustrated, e.g., in P. Lafond, Hieronidentified the imaginary “Hochmeister” of the heretical ymus Bosch, Paris and Brussels, 1914, pl. facing p. 1,

Adamite sect, whom he considers as Bosch’s chief and Bax, op. cit., fig. 2. , patron and mentor and whom he originally seemed to g. For an interesting discussion of Bosch’s effect on consider as an Italian reared in all the arts of Florentine Spanish literature see X. de Salas y Bosch, El Bosco en Neoplatonism, with a tangible personality with whom la literatura espafiola, Barcelona, 1943. Bosch was probably in contact: Jacob van Almangien, a converted Jew who in 1496 entered the Confraternity

of Our Lady under the name of Philippe van Sint Jans Page 358 but reconverted himself, some ten years later, to the 1. Medicinarius, Liber de arte distilland: simplicia Jewish faith (Fraenger, Der Tisch der Weisheit, bisher et composita; Das ntiv buch der rechten kunst zu “Die Sieben Todsitinden” genannt, Stuttgart, 1951; distillieren, Strasbourg, 1505, fol. CXXXXI ff. (the ———, “Hieronymus Bosch in seiner Auseinander- couplet here quoted, fol. CLXXIV v.).

511

BLANK PAGE

CONDENSED BIBLIOGRAPHY

This bibliography does not include titles referred to only once, , except for books and articles of special interest directly related to the subject of this book.

BLANK PAGE

I. AUTHORS Adler, I., “Hugo van der Goes,” Old Master Drawings, ——- “Ein Friihwerk des Geertgen tot Sint Jans und

V, 1930-1931, p. 54, pl. 34. die hollandische Malerei des XV. Jahrhunderts,”

Alberti, Leone Battista, Kleznere kunsttheoretische Jahrbuch der Kunsthistorischen Sammlungen in Wien, Schriften, H. Janitschek, ed. (Wiener Quellenschriften XXXV, 1920/21, p. 1 ff.

fiir Kunstgeschichte, XI), Vienna, 1877. ——— “The Ghent Altarpiece of Hubert and Jan van Alvarez Cabanas, A., “La Crucifixidn, tabla de Roger Eyck,” Art Quarterly, XIII, 1950, pp. 140 ff., 183 ff. van der Weyden,” Religién y Cultura, XXIV, 1933, p. —— “Gotik und Renaissance im Werke des Quinten

56 ff. Metsys,” Jahrbuch der Kunsthistorischen Samm-

Andrieu, Lieutenant Colonel, “Le Paysage de la Vierge au lungen in Wien, new ser., VII, 1933, p. 137 ff.

Donateur, de van Eyck,” Revue Archéologique, ser. —— “Die Zeichnung im Schaffen des Hieronymus

5, XXX, 1920, p. 1 fff. Bosch und der Frihhollander,” Die Graphischen

Apel, W., French Secular Music of the Late Fourteenth Kiinste, new ser., Il, 1937, p. 18 ff.

Century, Cambridge, Mass., 1950. Balet, L., Der Friuhhollander Geertgen tot Sint Jans, The —— The Notation of Polyphonic Music, 900-1600, Hague, rgro.

Cambridge, Mass., 1942. Bandmann, G., “Ein Fassadenprogramm des 12. Jahrhun-

Art, C., “Colantonio ovvero il “Maestro della Annuncia- derts und seine Stellung in der christlichen Ikono-

zione di Aix,’” Dedalo, XI, 1931, p. 1121 ff. graphie, Das Miinster, V, 1952, p. I ft. ——— and Geradon, E. de, La Galerie Sabauda de Turin Bauch, K., “Ein Werk Robert Campins?” Pantheon,

(Les Primitifs Flamands, Corpus de la Peinture des XXXII, 7944; P- 30 fi. Anciens Pays-Bas Méridionaux au Quinziéme Siécle, Bax, D., Ontcijfering van Jeroen Bosch, The Hague, 1948.

Vol. II), Antwerp, 1952. Bazin, G., L’Ecole Franco-Flamande, XIV et XV siécles Aubert, M., La Bourgogne; La Sculpture, Paris, 1930. (Les Trésors de la peinture frangaise, II, 2), Geneva,

—— La Sculpture francaise du moyen dge et de la 1941.

renaissance, Paris, 1926. —L’Ecole Parisienne (Les Trésors de la peinture

Aubert de la Rue, H., “Les Principaux manuscrits a francaise, I, 5), Geneva, 1942. .

peintures de la Bibliothéque Publique et Universi- ——— L’Ecole Provengale, XIV et XV_ siécles (Les taire de Genéve,” Bulletin de la Société Frangaise de Trésors de la peinture francaise, I, 3), Geneva, 1944.

Reproductions de Manuscrits a Peintures, 11, 1912. —— See also Collections and Exhibitions, Paris, Auerbach, E., “Dante’s Prayer to the Virgin (Paradiso, Musée de l’Orangerie, Des Maitres de Cologne... XXXIII) and Earlier Eulogies,” Romance Philology, Beenken, H., Hubert und Jan van Eyck, Munich, 1941.

III, 1949, p. 1 ff. REFERRED TO IN THE Notes as “Beenken, Hubert und

Aulanier, C., “Marguerite van Eyck et Homme au Turban Jan.” Rouge,” Gazette des Beaux-Arts, ser. 6, XVI, 1936, —— Rogier van der Weyden, Munich, 10951.

p. 57 ff. REFERRED TO IN THE Nores as “Beenken, Rogier.”

Baker, C. H. Collins, see Catalogues and Exhibitions, “The Annunciation of Petrus Cristus in the Petworth, Collection of Lord Leconfield. Metropolitan Museum and the Problem of Hubert Baker, E. P., “The Sacraments and the Passion in Medi- van Eyck,” Art Bulletin, XIX, 1937, p. 220 ff. aeval Art,” Burlington Magazine, LXXXIX, 1947, p. ——— “Bildnissch6pfungen Hubert van Eycks,” Pan-

81 ff. . theon, XIX, 1937, p. 116. ff.

Baldass, L. (von), Conrad Laib und die beiden Rueland “Zur Entstehungsgeschichte des Genter Altars:

Frueauf, Vienna, 1946. Hubert und Jan van Eyck,” Wallraf-Richartz Jahr-

—— Geertgen van Haarlem (Kunst in Holland, V-VI), buch, new ser., II/III, 1933/34, p. 176 ff.

Vienna, nd. [rg21]. —— “The Ghent Van Eyck Re-Examined,” Burlington

—— Die Gemilde des Lucas van Leyden, Vienna, 1923. Magazine, LXIII, 1933, p. 64 ff.

Hans Memling, Vienna, 1942. —— “Jan van Eyck und die Landschaft,” Pantheon, —— Hieronymus Bosch, Vienna, 1943. XXVIII, 1941, p. 173 ff.

515 ,

———— Jan van Eyck, London and New York, 1952. ——— “Remarks on Two Silver Point Drawings of REFERRED TO IN THE Notes as “Baldass, Eyck.” Eyckian Style,” Old Master Drawings, VII, 1932/33,

—— Joos van Cleve, der Meister des Todes Maria, p. 18 ff.

Vienna, 1925. ——— Review of Renders, Hubert van Eyck, Kritische theon, XXV, 1940, p. 93 ff. 1930-1932, p. 225 ff.

—— “Dirk Bouts, seine Werkstatt und Schule,” Pan- Berichte zur Kunstgeschichtlichen Literatur, I1/1V,

BIBLIOGRAPHY: AUTHORS —— “Rogier van der Weyden und Jan van Eyck,” Boinet, A., “Les Manuscrits 4 peintures de la Bibliothéque

Pantheon, XXV, 1940, p. 129 ff. Sainte-Geneviéve de Paris,” Bulletin de la Société

Beer, E. S. de, “Gothic: Origin and Diffusion of the Term; Frangaise de Reproductions de Manuscrits a Peint-

the Idea of Style in Architecture,” Journal of the ures, V, 1921, p. 122. Warburg and Courtauld Institutes, X1, 1948, p. 143 ff. —— See also Collections and Exhibitions, Paris, Edouard

Beets, N., “Lucas van Leyden,” in: Niederlandische Kann Collection. - Maleret im XV. und XVI. Jahrhundert, Amsterdam Boll, F., Sternglaube und Sterndeutung, 3rd ed., W. Gun-

and Leipzig, 1941, p. 245 ff. del, ed., Leipzig, 1926.

Begeer, R. J. M., “Le Bouffon Gonella peint par Jan van Bonaventure, St., Sancti Bonaventurae ... opera, Venice,

Eyck,” Oud Holland, LXVII, 1952, p. 125 ff. 1751-1756. .

Beissel, E. (S.), “Un Livre d’Heures appartenant a S. A. Bonaventure (Pseudo), ne euty ie Brassed mY le duc d’Arenberg a Bruxelles; Etude iconographique,” ot Y Lent = » Fowess 3 2 MONCON, Remburgn,

Revue de l Art Chrétien, XV, 1904, p. 436 ff. ew Fork and toronto, 1909.

¥ a , Boon, K. G., “De Erfenis van Aelbert van Ouwater,”

Benesch, O., “Ueber einige Handzeichnungen des XV. Nederlandsch Kunsthistorisch Jaarboek, 1, 1947, p.

Jahrhunderts,” der Preussischen Kunstsammlungen, Jahrbuch XLVI, 1925, p. 181 ff. 33" _ ff ad ,

o. ; ——~ “Naar Aanleiding van Tekeningen van Hugo van

—— See also Collections and Exhibitions, Vienna, der Goes en zijn School,” Nederlandsch Kunsthis-

Beschreibender Katalog ...der Albertina. torisch Jaarboek, Ill, 1950-1951, p. 83 ff.

Berger, E., Quellen und Technik der Fresko-, Oel-, und Borenius, T., “Das Wilton Diptychon,” Pantheon, XVII,

Temperamalerei des Mittelalters, 2nd ed., Munich, 1936, p. 209 ff.

IQI2. Borren, C. van den, Guillaume Dufay, son importance

Berkovits, E., “La miniatura ungherese nel periodo degli dans Pévolution de la musique au XV° stécle (Aca-

Angioini,” Janus Pannonius, 1, 1947, p. 67 ff. démie Royale de Belgique, Classe des Beaux-Arts, Bisthoven, A. Janssens de, see Janssens de Bisthoven, A. Mémoires, Il, 2, 1926). . Blanchard, Dom P., Les Heures de Savoie, Facsimiles of Bossche, L. van den, Jeroen Bosch, Diest, 1944.

Fifty-Two Pages from the Hours Executed for Bosschere, J. de, Jéréme Bosch, Brussels, 1947. Blanche of Burgundy, being all that 1s known to sur- —— Quinten Metsys, Brussels, 1907.

vive of a famous Fourteenth-Century Ms., which was Bossert, H. Th., Geschichte des Kunstgewerbes aller burnt at Turin in 1904 (printed for H. Yates Thomp- Zeiten und Volker, Berlin, V, 1932.

son), London, 1910. Bostrém, K., “Un Livre d’Heures d’Utrecht au Musée Blum, R., “Jean Pucelle et la miniature parisienne du National a Stockholm,” Nordisk Tidskrift fér Bok-

XIV° siecle,” Scriptorium, II, 1949, p. 211 ff. och Biblioteksvisen, XXXVI, 1951, p. 156 ff.

——— “Maitre Honoré und das Brevier Philipps des Bouchot, H., see Collections and Exhibitions, Paris, L’Ex-

Schonen,” Zentralblatt fir Bibliothekswesen, LXVI, position des Primitifs Frangats.

1948, p. 225 ff. Brinckmann, A. E., Michelangelo Zeichnungen, Munich,

Bober, H., “The Apocalypse manuscript of the Biblio 1925théque Royale de Belgique,” Revue Belge d’Arché- Brising, H., Quinten Matsys, Essai sur Vorigine de ologie et d’Histoire de [ Art, X, 1940, p. 11 ff. Vitalianisme dans Tart des Pays-Bas, Uppsala, 1909. —— “The Zodiacal Miniature of the ‘Trés Riches Brockwell, M. W., The Pseudo-Arnolfini Portrait: A Case Heures’ of the Duke of Berry; Its Sources and Mean- of Mistaken Identity, London, 1952. ing,” Journal of the Warburg and Courtauld Instt- ———— “A Document Concerning Memling,” Con-

tutes, XI, 1948, p. 1 ff. notsseur, CIV, 1939, p. 186 f.

Bock, E., see Collections and Exhibitions, Berlin, Staat- ——— “The Ghent Altarpiece: The Inscription Obliter-

liche Museen; Die Zeichnungen alter Meister. ated,” Connoisseur, CXXI, 1948, p. 99 ff. Bode, W., “Tonabdriicke von Reliefarbeiten nieder- ——— “‘Hubert van Eyck’; The ‘Hubertist’? Bubble Fi| landischer Goldschmiede aus dem Kreise der Kiinstler nally Deflated,” Connoisseur, CXXX, 1952, p. 111 ff. des Herzogs von Berry,” Amiliche Berichte aus den ——— “A New van Eyck,” Connoisseur, CXXIV, 1949,

koniglichen Kunstsammlungen, XXXVIII, 1916/17, p. 79 £.

col. 315 ff. —— See also Weale, W. H. J. Bodenhausen, E. Freiherr von, Gerard David und seine Brom, G., “Vernieuwing van onze Schilderkunst in de

Schule, Munich, 1905. vroege Renaissance,” Gentsche Bijdragen tot de Kunst-

Bodkin, T., The Wilton Diptych in the National Gallery geschtedenis, VII, 1941, p. 7 ff.

(The Gallery Books, no. 16), London, n.d. Brugmans, H., and Peters, C. H., Oud Nederlandsche Boethius, Gerda, Bréderna van Eyck, Stockholm, 1946. Steden, Leiden, 1909-1911.

516

BIBLIOGRAPHY: AUTHORS Bruyn, E. de, “La Collaboration des Fréres van Eyck Chabeuf, H., “Charles le Téméraire 4 Dijon en janvier

dans le retable de ‘l’Adoration de l’Agneau,’ I,” 1474; L’Entrée et les funerailles,” Mémozres de la Mélanges Hulin de Loo, Brussels and Paris, 1931, p. Société Bourguignonne de Géographie et dHistoire,

89 ff. XVIII, 1902, pp. 83 ff., 257 ff.

Bunim, M. Schild, Space in Medieval Painting and the Champeaux, A. de, and Gauchery, P., Les Travaux dart

Forerunners of Perspective, New York, 1940. exécutés pour Jean de France, Duc de Berry, Paris, Burger, F., Die deutsche Malerei vom ausgehenden 1894. Mittelalter bis zum Ende der Renaissance (Hand- Champion, P., Histoire poétique du quinziéme siécle, buch der Kunstwissenschaft), Berlin-Neubabelsberg, Paris, 1923.

1913. — Vie de Charles d’Orléans, Paris, 1911.

Burger, W., Abendlindische Schmelzarbeiten, Berlin, — See also Orléans, Charles d’.

7930. _ ; Chastel, A., “La Rencontre de Salomon et de la Reine de

——— Die Malerei in den Niederlanden, Munich, 1925. Saba dans liconographie médiévale,” Gazette des

—— Roger van der Weyden, Leipzig, 1923. Beaux-Arts, ser. 6, XXXV, 1949, p. 99 ff. Burroughs, A., Art Criticism from a Laboratory, Boston, Chatelet, A., “A propos des Johannites de Haarlem et du

1938. | retable peint par Geertgen tot Sint Jans,” L’Archi-

— “Campin and van der Weyden Again,” Metro- tecture Monastique, Actes et Travaux de la Rencontre

politan Museum Studies, IV, 1933, p. 131 ff. Franco-Allemande des Historiens d’ Art (1951), ‘Jan van Eyck’s Portrait of His Wife,” Mélanges Numero Spécial du ein des Relations Artistiques Hulin de Loo, Brussels and Paris, 1931, p. 66 ff. rance-arvemagne, Niayence, 1951. Bye, A. E., “Illuminations from the Atelier of Jean Clarke, — 7 The Wilton Diptych,” Burlington Maga-

Pucelle,” Art in America, IV, 1916, p. 98 ff. sine, LVIII, 1931, p. 283 ff.

Byvanck, A. W., De middeleeuwsche Boekillustratie in de Clemen, P., “Von den Wandmalereien auf den Chors-

noordelijke Nederlanden, Antwerp, 1943. chranken des Kolner Domes,” Wallraf-Richartz JahrREFERRED TO IN THE Notes as “Byvanck, Boekillus- buch, 1, 1924, p. 29 ff.

tratie.” Cockerell, S.C. The Book of Hours of Yolande of

—— La Miniature dans les Pays-Bas septentrionaux, Flanders, London, 1905.

Paris, 1937. Cohen, W., Studien zu Quinten Metsys, Bonn, 1904. | REFERRED TO IN THE Norzs as “Byvanck, Min. Sept.” Colvin, S., Selected Drawings from Old Masters in the

—— Les Principaux Manuscrits a peintures de la Biblio- University Galleries and in the Library of Christ théque Royale des Pays-Bas et du Musée Meermanno- Church, Oxford, Oxford, 1903-1904.

Westreenianum a la Haye, Paris, 1924. Combe, J., Jéréme Bosch, Paris, 1946. _—_— “Aanteekeningen over Handschriften met Minia- Constable, W. G., “A Florentine Annunciation,” Bulle-

turen,” Oudheidkundig Jaarboek, particularly IV tin of the Museum of Fine Arts, Boston, XLII, 1945,

(ser. 3, V, 1925, p. 208 ff.) and IX (ser. 3, X, 1930, p. p. 72 ff. |

93 ff.). . . Conway, W. M., The Van Eycks and Their Followers,

—— “Kroniek der noord-nederlandsche Miniaturen,” New York, 1921 Oudheidkundig Jaarboek, particularly II (ser. 4, IV,

1935, p. 10 ff.) and III (ser 4, IX, 1940, p. 29 ff.) — “A Head of Christ by John van Eyck,” Burlington

ee pees oO Magazine, XXXIX, 1921, p. 253 f.

——— “Les Principaux Manuscrits a peintures conserves us T £ the Tj Ch dans les collections publiques du Royaume des Pays- B nov. Masaniy ° XXVI ime of Charles the Bald,

Bas,” Bulletin de la Société Francaise de Reproduc- urington Magazine, » IQI4-1915, p. 236 ff. tions de Manuscrits & Peintures, XV, 1931. Coosemans, M. E., see Hulin de Loo, G., “Rapport.”

—and Hoogewerff, G. J., La Mimature hollandaise, Coremans, P., “Technische Inleiding tot de Studie van de

The Hague, 1922-1926. Vlaamse Primitieven,” Gentse Bijdragen tot de Kunst-

Camp, G. van, “Le Paysage de la Nativité du Maitre de geschiedenis, XII, 1950, p. 111 ff. Flémalle 4 Dijon,” Revue Belge d’Archéologie et ———,, Gettens, R. J., and Thissen, J., “La Technique des

d’Histoire de l’ Art, XX, 1951, p. 295 ff. ‘Primitifs Flamands’; I, Introduction; II, Th. Bouts, Cartellieri, O. 4m Hofe der Herzége von Burgund, Le retable du Saint Sacrement,” Studies in (Etudes Basel, 1926. (American edition: The Court of de) Conservation, I, 1952, p. 1 ff.

Burgundy, New York, 1929). ———and Janssens de Bisthoven, A., Van Eyck; The

Cennini, Cennino d’Andrea, Cennino d’Andrea Cennini Adoration of the Mystic Lamb, Amsterdam, 1948. da Colle di Val d’Elsa, Il Libro dell’ Arte, vol. II, The ——, Philippot, A., and Sneyers, R., Van Eyck — L’Ado-

Craftsman’s Handbook, D. V. Thompson, Jr., trans., ration de l’Agneau; Eléments nouveaux intéressant

New Haven, 1933. l'histoire de l'art, Brussels, 1951. 517

BIBLIOGRAPHY: AUTHORS ——— See also Collections and Exhibitions, Brussels, Palais ——— “Le Maitre de l’Annonciation d’Aix; des van Eyck

des Beaux-Arts, and Addendum at the end of this a Antonello de Messine,” Revue de l’Art Ancien et

Bibliography. Moderne, LIM, 1928, p. 257 ff.

Cornell, H., Biblia Pauperum, Stockholm, 1925. Deschamps, Eustache, Ocuvres completes, De Queux de —— The Iconography of the Nativity of Christ, Upp- Saint Hilaire and G. Raynaud, eds., Paris, 1878-1903.

sala, 1924. Desneux, J., Rigueur de Jean van Eyck, Brussels, 1951.

Cornette, A. H., De Portretten van Jan van Eyck, Ant- Destrée, Joseph, Hugo van der Goes, Paris and Brussels,

werp and Utrecht, 1947. 1914.

Couderc, C., Les Enluminures des manuscrits du moyen —— Tapissertes et sculptures bruxelloises, Brussels, 1906.

age, Paris, 1927. —— “Ein Altarschrein der Briisseler Schule,” Zeitschrift Creutz, M., see Lier, H. fiir Christlhiche Kunst, V1, 1893, col. 173 ff. Daniels, L. M., Meester Dire van Delft, O. P., Tafel van ——— “Etudes sur la sculpture brabanconne au moyen

den Kersten Ghelove, Antwerp and Utrecht, I, 1939. age, IV,” Annales de la Société d’Archéologie de

David, H., Claus Sluter, Paris, 1951. Bruxelles, XII, 1899, p. 273 ff. —— “Au pays de Claus Sluter,” Annales de Bourgogne, Destrée, Jules, Roger de la Pasture-van der Weyden, Paris

XI, 1939, p. 187 ff. and Brussels, 1930.

Davies, M., National Gallery Catalogues, Early Nether- REFERRED TO IN THE Notes as “Destrée.

landish School, London, 1945. ——— “Altered in the Nineteenth Century? A Problen | “National Gallery Notes, I; Netherlandish Primi- in the National Gallery, London,” The Connoisseur,

tives: Geertgen tot Sint Jans,” Burlington Magazine, LXXIV, 1926, p. 209 ff.

LXX, 1937, p. 88 ff. ——— “Le Retable de Cambrai de Roger da la Pasture,” ——— “National Gallery Notes, II; Netherlandish Primi- Mélanges Hulin de Loo, Brussels and Paris, 1931, p.

_ tives: Petrus Christus,” Burlington Magazine, LXX, 136 ff.

1937, p. 138 ff. Devigne, M., La Sculpture mosane du XII° au XVI? siécle,

——— “National Gallery Notes, III; Netherlandish Primi- Paris and Br ussels, 1932. tives: Rogier van der Weyden and Robert Campin,” ——— “Een nieuw Document voor de Geschiedenis der

| Burlington Magazine, LXXI, 1937, p. 140 ff. Beeldjes van Gérines,” Onze Kunst, XXXIX, 1922,

Debouxthay, P., “A propos de ’Agneau Mystique,” Revue P- 49 ff. . ; .

Belge d’ Archéologie et d’Histoire de l Art, XIII, 1943, ——— ‘Notes sur l’exposition d’art flamand et belge a

p. 149 ff. and XIV, 1944, p. 169 ff. Londres,” I, Oud Holland, XLIV, 1927, p. 65 ff.

Degenhart, B., Antonio Pisanello, Vienna, 1940. ——— “La Peinture ancienne a l’Exposition Internationale Delachenal, R., Histoire de Charles V, Paris, 1909-1931. de Bruxelles, Oud Holland, Lil, 7935» p. 266 ff. Delaissé, L. M. J., “Le Livre d’Heures d’Isabeau de Dimier, L., Les Primitifs francais, Paris, n.d. Baviére,” Scriptorium, IV, 1950, p. 252 ff. ——— “Les Primitifs francais,” Gazette des Beaux-Arts,

— — “Le Livre d’Heures de Mary van Vronensteyn, ser. 6, XVI, 1936, PP. 35 f., 205 ff. chef-d’oeuvre inconnu d’un atelier d’Utrecht, achevé Doerner, M., Malmaterial und seine Verwendung im Bilde,

en 1460,” Scriptorium, Ill, 1949, p. 230 ff. 8th ed., Stuttgart, 1944 (English translation, entitled

, y i. The Materials of the Artist, New York, 1934 and

— “Une Production d’un atelier parisien et le 1949)

Scriptorium, Il, 1948, p. 78 ff. aa an caractére composite de certains Livres d’Heures, Dolfen, C., Codex Gisle, Berlin, 1926.

| toire de | Z ] . Doutrepont, G., La Littérature francaise a la cour des Delen, A. J. J., Histoire e la gravure dans les anciens Ducs de Bourgogne (Bibliothtque du XV¢ siécle, Pays-Bas, Paris, 1924-1935. | VIII), Paris, 1909. Delisle, L., Les Heures dites de Jean Pucelle, manuscrit “Jean Lemaire de Belges et la Renaissance,”

de la collection de M. le Baron Maurice de Rothschild, Académie Royale de Belgique, Classe des Lettres et

Paris, 1910. des Sciences Morales et Politiques, Mémoires, ser. 2,

——- “La Bible de Robert Billyng,” Revue de l’Art XXXII, 1934.

Chrétien, LX, 1910, p. 297 ff. Drost, W., Das ]tingste Gericht des Hans Memling in der

Demonts, L., “Une Collection francaise de primitifs,” Revue Marienkirche zu Danzig, Vienna, 1941. de l Art Ancien et Moderne, LXX, 1937, p. 247 ff. Diilberg, F., Friihhollander, Haarlem, n.d. ——— “Le Maitre de l’Annonciation d’Aix et Colantonio,” Dupont, J., Les Primitifs francais, Paris, 1937.

Mélanges Hulin de Loo, Brussels and Paris, 1931, —— “Hayne de Bruxelles et la copie de Notre-Dame

p. 123 ff. de Graces de Cambrai,” L’ Amour de l’ Art, XVI, 1935,

——— “Le Maitre de l’Annonciation d’Aix et Colantonio,” p. 363 ff.

Revue de l’Art Ancien et Moderne, LXVI, 1934, —— “Que dirons-nous?” De van Eyck a Breughel

p. 131 ff. (special issue of Les Beaux-Arts, November 9, 1935). 518

BIBLIOGRAPHY: AUTHORS Durrieu, P., Heures de Turin, Paris, 1902. —— “Zur Frage der van Eyck-Technik,” Repertorium ——— La Miniature flamande aux temps de la cour de fiir Kunstwissenschaft, XXIX, 1906, p. 425 ff.

Bourgogne, Brussels, 1921. Ernst, R., Beitradge zur Kenntnis der Tafelmaleret Bohmens —— Les Trés-Belles Heures de Notre-Dame du Duce im 14. und am Anfang des 15. Jahrhunderts, Prague,

Jean de Berry, Paris, 1922. TQI2.

——— Les Trés Riches Heures de Jean de France, Duc Evans, Joan, Art in Mediaeval France, 987-1498, London,

de Berry, Paris, 1904. New York and Toronto, 1948. :

— “Les ‘Belles Heures’ de Jean de France Duc de —__ “The Duke of Orleans’ _Reliquary of the Holy | Berry, Gazette des Beaux-Arts, ser. 3, XXXV, 1906, Thorn,” Burlington Magazine, LXXVIII, 1941, p.

p. 265 ff. | 196 ff.

—— “Les Heures du Maréchal de Boucicaut du Musée —— “The Wilton Diptych Reconsidered,” ArchaeologiJacquemart-André,” Revue de l’Art Chrétien, LXIII, cal Journal, CV, 1948 (published 1950), p. 1 ff. 1913, pp. 73 ff., 145 ff., 300 ff.; LXIV, 1914, p. 28 ff. Even, E. Van, “Monographie de Il’ancienne Ecole de

— “Jacques Coene, peintre de Bruges établi A Paris peinture de Louvain,” Messager des Sciences Historisous le régne de Charles VI,” Les Arts Anciens de ques, XXXIV, 1866, p. 1 ff.

Flandre, I, 1905, p. 5 ff. | Faider, P., “Pictor Hubertus; A propos d’un ouvrage

—— “Le Maitre des Heures du Maréchal de Boucicaut,” récent,” Revue Belge de Philologie et d’Histoire, Xl, Revue de l Art Ancien et Moderne, XIX, 1906, p. 401 1933, Pp. 1273 ff.

ff.; XX, 1906, p. 21 ff. Falk, I., Studien zu Andrea Pisano, Hamburg, 1940.

———— “Manuscrits de luxe exécutés pour des princes et Fava, D., Tesori delle biblioteche d'Italia, Emilia e

grands seigneurs francais,” Le Manuscrit, II, 1895, Romagna, Milan, 1932. pp. 82 ff., 97 ff., 130 ff. 145 ff, 162 ff, 178 ff. Fazio, Bartolommeo, Bartholomaei Facii De Viris IlustriDuverger, J., De Brusselsche Steenbickeleren ... met bus (L. Mehus, ed.), Florence, 1745. een Aanhangsel over Klaas Sluter, Ghent, 1933. Fierens-Gevaert, La Peinture en Belgique; les primitifs —— Het Grafschrift van Hubrecht van Eyck en het flamands, Brussels, 1908-1912. Quatrain van hets Gentsche Lam Gods Retabel ——— Les Trés-Belles Heures de Jean de France, Brussels,

( Verhandelingen van de Koninklike Vlaamsche Leyden and Paris, 1924. Academie voor Wetenschapen, Letteren en Schoone . ae .

Kunsten, VI, 4), Antwerp and Utrecht, 1945. ——— and Fierens, P., Histoire de la peinture flamande

eee 7 des origines a la fin du XV° siécle, Paris and Brussels, age?,” Kunst, Maandblad voor Oude en Jonge Kunst, . , , , ; Tractat IV. 161 Antonio Averlino Filaretes a 9i 33; P-ff :Filarete, | ; ; tiberAverlino, die Baukunst, W. von Oettingen, ed., Vienna,

—— “Is Hubrecht van Eyck een legendarisch Person- 1927-1920.

betr Le Werk,” . « Loa .

—— “Huibrecht en Jan van Eyck; Eenige nieuwe 1890.

On) Holland. nak toyn p. et ff. hun Werk, Fischel, L., Ueber die kiinstlerische Herkunft der Frank-

, , furter ‘Paradiesesgartleins, ” Essays in Honor of

—— “Jan van Eyck voor 1422; Nieuwe Gegevens en Georg Swarzenski, Chicago, 1951, p. 85 ff.

Handelingen van het 3° Congres voor . a . 7Hypothesen,” : , Fischer, O., “Die kiinstlerische Allgemeene Kunstgeschiedenis, Ghent, 1936, p. 13 ff. aa Herkunft des Konrad

ar a , 1950.

Dvotk. M. Das Ritsel der Kunst der Britd E Witz,” Pantheon, XXIX, 1942, p. 99 ff.

Manic, 1925 dtsel der Kunst der Briider van Eyck, Focillon, H., Le Petntre des Miracles Notre Dame, Paris, ——— “Die Anfange der hollandischen Malerei,” Jahr- . buch der Kénighch Preussischen Kunstsammlungen, Forster, O. H., Stephan Lochner, Cologne, 1938.

XXXIX, 1918, p. 51 ff. Fourez, L., “Le Roman de la Rose de la Bibliothéque de ——— “Die IJluminatoren des Johann von Neumarkt,” la Ville de Tournai,” Scriptorium, 1, 1946/47, p.

Jahrbuch der Kunsthistorischen Sammlungen des 213 ff. Allerhéchsten Katserhauses, XXII, 1901, p. 35 ff. Francis, H. S., “Two Dutch Fifteenth-Century Panels,” Egbert, D. D., The Tickhill Psalter and Related Manu- Bulletin of the Cleveland Museum of Art, XXXIX,

scripts, Princeton, 1940. 1952, p. 326 ff.

—— “A Sister to the Tickhill Psalter; the Psalter of Fraenger, W., Hieronymus Bosch, Das tausendjahrige

Queen Isabella of England,” Bulletin of the New Reich, Coburg, 1947 (English translation: The

York Public Library, XXXIX, 1935, p. 759 ff. Millennium” of Hieronymus Bosch, Chicago, 1951). —— “The Western European Manuscripts,” The Prince- ——- Die Hochzeit zu Kana, Ein Dokument semitischer | ton University Library Chronicle, Il, 1942, p. 123 ff. Gnosis bet Hieronymus Bosch, Berlin, 1950. Eibner, A., Entwicklung und Werkstoffe der Tafelmalerei, —— Der Tisch der Weisheit, bisher “Die Sieben

Munich, 1928. Todstinden” genannt, Stuttgart, 1951. 519

BIBLIOGRAPHY: AUTHORS ——- “Hieronymus Bosch in seiner Auseindersetzung mit Friedmann, H., “The Symbolism of Crivelli’s Madonna

dem Unbewussten,” Du, Schweizerische Monats- and Child Enthroned with Donor in the National

schrift, XI, 1951, October, p. 7 ff. Gallery,” Gazette des Beaux-Arts, ser. 6, XXXII, Frankenburger, M., “Zur Geschichte des Ingolstadter und 1947, p. 65 ff. Landshuter Herzogsschatzes und des Stiftes Altotting,” Fuhse, F., see Lange, K. Repertorium ftir Kunstwissenschaft, XLIV, 1924, p. Futterer, I., “Zur Malerei des friihen XV. Jahrhunderts im

23 ff. Elsass,” Jahrbuch der Preussischen Kunstsammlungen,

Freeman, M. B., see Rorimer, J. J. XLIX, 1928, p. 187 fff.

Frey, K., Die Handzeichnungen Michelagniolos Buonar- Gabriel, A., Les Rapports dynastiques franco-hongrois au

roti, Berlin, 1909—I9II. moyen-dge, Budapest, 1944.

Friedlander, M. J., Die altniederlindische Malerei, Berlin Gabrielli, N., “Opere di maestri fiamminghi a Chieri nel

(vols, X-XIV, Leiden), 1924-1937. quattrocento,” Bollettino Storico-Bibliografico Subal-

REFERRED TO IN THE Notes as “Friedlander.” pino, XXXVIII, 1936, p. 427 ff. ——— Essays tiber die Landschaftsmaleret und andere Galbraith, V. H., “A New Life of Richard II,” History,

Bildgattungen, The Hague, 1947. XXVI, 1942, p. 223 ff.

——— Van Eyck bis Bruegel, 2nd edition, Berlin, 1921. Gans, E., and Kisch, G., “The Cambyses Justice Medal,”

——— Der Genter Altar der Briider van Eyck, Munich, Art Bulletin, XXIX, 1947, p. 121 ff.

1921. Gaspar, C., and Lyna, F., Les Princitpaux Manuscrits a

—— Hieronymus Bosch, The Hague, 1941. peintures de la Bibliotheque Royale de Belgique, Paris, —— Lucas van Leyden (Meister der Graphik, XIII), 1937-1945:

Leipzig, 1924. Gauchery, P., see Champeaux, A. de.

—— Memling, Amsterdam, n.d. [1950]. Gavelle, E., Cornelis Engelbrechtsz., Lyons, 1929. — “Die Antwerpener Manieristen von 1520,” Jahr- Geisberg, M., Die Anfange des deutschen Kupferstichs buch der Kéniglich Preussischen Kunstsammlungen, und der Meister E. S. (Meister der Graphik, II), 2nd

XXXVI, 1915, p. 65 ff. ed., Leipzig, 1923.

——— “Bernaert van Orley,” Jahrbuch der Kéniglich ——— Die Kupferstiche des Meisters E. S., Berlin, 1924. Preussischen Kunstsammlungen, XXX, 1909, p. 9 ff. ——— Meister Konrad von Soest (Westfalische Kunsthefte, ———— “Eine bisher unbekannte Epiphanie von Geertgen,” II), Dortmund, 1934. Maandblad voor beeldende Kunsten, XXVI, 1950, Gelder, J. G. van, “Het zoogenaamde Portret van Dieric

p. ro ff. Bouts op “Het Werc van den Heilichen Sacrament,’ ”

—— “Die Briigger Leihausstellung von 1902,” Reper- Oud Holland, LXVI, 1951, p. 51 £. torium fir Kunstwissenschaft, XXVI1, 1903, p. 66 ff. Geradon, E. de, see Aru, C.

_ “The Death of the Virgin by Petrus Christus,” Gerson, H., Van Geertgen tot Frans Hals; De NederlandBurlington Magazine, LXXXVIII, 1946, p. 158 ff. sche Schilderkunst, Amsterdam, 1950. —— “A Drawing by Roger van der Weyden,” Old Gerstenberg, K., Hans Multscher, Leipzig, 1928.

Master Drawings, I, 1926, p. 29 f£., pl. 38. | ‘“ . w 9» ae ee » Fes ——— “Ueber ein verschollenes Gemalde von Ouwater,

— Drei niederlandische Maler in Genua,” Zeitschrift Zeitschrift fiir Kungstgeschichte, V, 1936, p. 133 ff.

fiir bildende Kunst, 1927-1928, p. 273 ff. oo, ,New “pte . : . Gettens, R. J.,LX1, and Stout, G. L., Painting Materials,

——— “Flémalle-Meister-Dammerung,” Pantheon, VIII,

| York, 1943.

1931, 353 f. , tot ——— See also Coremans, —— “ZuP.Geertgen Sint Jans,” Maandblad voorP 7—*

beeldende Kunsten, XXV, 1949, p. 187 f. Geyl, P., Eenhetd en Tweeheid in de Nederlanden,

——— “Le Maitre de St.-Gilles,” Gazette des Beaux-Arts, Lochem, 1946.

6 ser., XVII, 1937, p. 221 ff. —— From Ranke to Toynbee; Five Lectures on His-

——— “Der Meister der Katharinen-Legende und Rogier torians and Historiographical Problems (Smith Colvan der Weijden,” Oud Holland, LXIV, 1949, p. 156 ff. lege Studies in History, XXXIX), Northampton,

——— “Neues zu Quentin Massys,” Cicerone, XIX, 1927, Mass., 1992+

p. 1 ff. Gillet, L., La Peinture francaise, moyen dge et renaissance,

—— “A new Painting by van Eyck,” Burlington Paris and Brussels, 1928.

Magazine, LXV, 1934, p. 3 f. Glaser, C., Die altdeutsche Malereit, Munich, 1924.

p. 7 ff. . Del Monte Collection.

——- “Der Rogier-Altar aus Turin,” Pantheon, XI, 1933, Gliick, G., see Collections and Exhibitions, The Hague,

—— “Eine Zeichnung von Hugo van der Goes,” Gobel, H., Wandteppiche, Leipzig, 1923-1934.

Pantheon, XV, 1935, p. 99 ff. Goetz, O., “Der Gekreuzigte des Jacques de Baerze,” ——— See also Hendy, P.; and Collections and Exhibi- Festschrift fur Carl Georg Hetse zum 28. Juni, 1950, tions, Vierhouten, D. G. van Beuningen Collection. Berlin, 1950, p. 158 ff.

520

BIBLIOGRAPHY: AUTHORS Goldschmidt, A., Die Elfenbeinskulpturen aus der Zeit Heimann, A., “Der Meister der ‘Grandes Heures de

1918. VI, 1932, p. 1 ff.

der Karolingischen und Sachsischen Kaiser, Ul, Berlin, Rohan’ und seine Werkstatt,” Stddel-Jahrbuch, VU~

— “Hollandische Miniaturen aus der ersten Halfte Heise, C. G., Der Liibecker Passionsaltar von Hans des 15¢2 Jahrhunderts,” Oudheidkundig Jaarboek, Memling, Hamburg, 1950.

III, 1923, p. 22 ff. —— Norddeutsche Malerei, Leipzig, 1918.

—— “Der Monforte-Altar des Hugo van der Goes,” Heitz, P., Einblattdrucke des ftinfzehnten Jahrhunderts, Zeitschrift fir Bildende Kunst, XXVI, 1915, p. 221 ff. LIX, Strasbourg, 1908 ff. Goris, J.-A., Portraits by Flemish Masters in American Held, J., Diurers Wirkung auf die niederlandische Kunst

Collections, New York, 1949. seiner Zeit, The Hague, 1931.

Graesse, T., see Jacobus de Voragine. — Review of Wehle and Salinger’s Metropolitan Graham, R., “The Apocalypse Tapestries from Angers,” ; Museum Catalogue, ari Bulletin, XXXI, 1949, p. 139 ff.

Burlington Magazine, LXXXIX, 1947, p. 227. Helin, M., . Un Texte inédit sur _Ticonographie des Grodecki, L., “The Jacques Coeur Window at Bourges,” Styles Revue Belge de Philologie et d'Histoire, XV,

Magazine of Art, XLII, 1949, p. 64 ff. H i - _ Pri dliind 7

Gudiol i Cunill, J., Els Primitius (La Pintura Mig-Eval cneys te ane Brie an Ts M. J., A Roger van der

Catalana), Barcelona, 1927—19209. ? ? Weyden Altarpiece,” Burlington Magazine, LXIII

Guiffrey, J. M. J., Inventatres de Jean, Duc de Berry, Paris 1933) P- 53 ft

3 » Ie 6 s Je ’ ? ? Herbert, J. A., The Sherborne Missal, Oxford, 1920.

cuit 94-99. i Marcel P Des ee Le Hermann, H. J., Beschreibendes Verzeichnis der illu-

. > » O.d. Leipzig, 1938.

ul oranisite Paris at » P., La Peinture frangaise; Les minierten Handschriften in Oesterreich, VIII, VII, 3,

eee lohan 2 M., ans Memling in the Hospital Herrad of Landsberg, Hortus deliciarum, A. Straub and

Of OF. fONN al Druges, Faris, 1939. G. Keller, eds., Strasbourg, 1gor.

——— Hans Memling: The Shrine of St. Ursula, Paris, Heubach, D., Aus einer niederlindischen Bilderhand-

6uyot hodevill SGA.F.de. Now schrift 14105 Grisaillen undStrasbourg, FederzeichVilleneuve, G. A. de, Notice sur unvom manu-aa nungen der altflamischen Schule, 1925. scrit francais du XIV° stécle; les Heures du Maréchal Hill, A. G., Organ Cases of the Middle Ages and Renais-

de Boucicaut (pour la Société des Bibliophiles Fran- sance, London, 1883.

cais), Paris, 1889. Holker, C., Meister Conrad von Soest (Beitrige zur Habicht, V. Ds “Giovanni Bellini und Rogier v. d. Westfalischen Kunstgeschichte, VII), Minster, 1921. Weyden,” Belvedere, X, 1931, p. 54 ff. Hoffman, D. M., “A Little Known Masterpiece; Our Lady

Hahnloser, H. R., see Villard de Honnecourt. of the Sanctus,” Liturgical Arts, XVIII, 1950, p. 43 ff. Halkin, L., “LItinerarium Belgicum de Dubuisson- Hoffmann, E., “Die Bucher Ludwigs des Grossen und die Aubenay,” Revue Belge d’Archéologie et d'Histoire Ungarische Bilderchronik,” Zentralblatt fiir Biblio-

de l’ Art, XVI, 1946, p. 47 ff. thekswesen, LIII, 1936, p. 653 ff.

Hall, H. van, Repertorium voor de Geschiedenis der Holter, K.., “Eine Wiener Handschrift aus der Werkstatt Nederlandsche Schilder- en Graveerkunst, The Hague, des Meisters des Zweder van Culenborg,” Oudheid-

1936-1949. nas Jaarboek, ser. 4, VII, 1938, p. 55 ff.

Hannema, D., see Collections and Exhibitions, Vierhouten, Holtzinger, H., see Santi, Giovanni.

D. G. van Beuningen Collection. Hontoy, en Les Miniatures de l’Apocalypse flamande de Harrsen, M., The Nekcei-Lipocz Bible, A Fourteenth- H ans, Pe criptorsum, I, 1946-1947, PB 289 ff ,

Century Manuscript from Hungary in the Library of oogewerff, G. Jey Jan van Scorel, peintre de la renats-

Congress, Washington, 1949. ane na a Hague, 1923. “A Book of Hours for Paris Use,” Die Graphischen ——— De Noord-nederlandsche Schilderkunst, The Hague, Kiinste, new ser., Ill, 1938, p. 91 ff. Heameaan IN THE Nores as “Hoogewerff.” Hartlaub, G. F., Das Paradiesesgartletn von einem ober- See also Byvanck, A. W. )

rheinischen Maler (Der Kunstbrief, 1947). Horstmann, C., The Three Kings of Cologne (Early Hartt, F., “Lignum Vitae in Medio P aradisi: The English Text Society, vol. LXXXV), London, 1886. Stanza d’Eliodoro and the Sistine Ceiling,” Art Houben, W., “Raphael and Rogier van der Weyden,”

Bulletin, XXXII, 1950, p. 115 ff. Burlington Magazine, XCI, 1949, p. 312 ff.

Hatzfeld, H. A, “Literary Criticism through Art and Houtart, M., Quel est état de nos connaissances relativeArt Criticism through Literature,” Journal of Aesthe- ment a Campin, Jacques Daret et Roger van der

tics. and Art Criticism, VI, 1947, p. 1 ff. Weyden? (Communication faite au XXIIJ@ Congrés

(reprinted 1924). 1914.

Heidrich, E., Alt-Niederlandische Maleret, Jena, 1910 de la Fédération Archéologique et Historique), Ghent,

521

BIBLIOGRAPHY: AUTHORS ——— “Jacques Daret, peintre tournaisien du XV¢ siécle,” Huth, H., Kiinstler und Werkstatt der Spatgotik, Augsburg,

Revue Tournaisienne, Ill, 1907, p. 34 f. 1923.

Hugelshofer, W., “Eine Malerschule in Wien zu Anfang —— “A Mediaeval Painting,” The Art Institute of des 15. Jahrhunderts,” Beitradge zur Geschichte der Chicago, Bulletin, XLU, 1948, p. 18 ff. Deutschen Kunst, E. Buchner and K. Feuchtmayr, Ivins, W. M., Jr., Art and Geometry, Cambridge, Mass.,

eds., Augsburg, 1924, I, p. 21 ff. 1946.

Huillet d’Istria, M., “Jean Perréal,” Gazette des Beaux- Jacobus de Voragine, Jacobi a Voragine Legenda Aurea

Arts, ser. 6, XXXV, 1949, pp. 313 ff., 377 ff. vulgo Historia Lombardica dicta, T. Graesse, ed., Huizinga, J., The Waning of the Middle Ages, London, Breslau, 1890.

1924. Jahnig, K. W., “Die Beweinung Christi vor dem Grabe Herbst des Mittelalters, 2nd ed., Munich, 1928; von Rogier van der Weyden,” Zeitschrift fir Bildende

3rd ed., Munich, 1931. Kunst, LI, 1918, p. 171 fff.

rort. 1924 and 1926.

Hulin de Loo, G., Heures de Milan, Brussels and Paris, James, M. R., The Apocryphal New Testament, Oxford,

“a. PT Tops ——— See also Collections and Exhibitions, Cambridge,

ie Berruguete et les Portraits d’Urbin, Brussels, England, Fitzwilliam Museum: London, H.Y. T homp-

; son Collection; and Manchester, John Rylands L1-

——— “An Authentic Work by Jaques Daret, Painted in brary.

1434 Burlington Magazine, XV, 7909s P " a Jamot, P., see Collections and Exhibitions, Paris, Musée de

——— “La Bible de Philippe le Hardi historiée par les l Orangerie. fréres de Limbourc: Manuscrit francais no. 166 de la Janitschek, HL, see Alberti, Leone Battista

Bibliothéque Nationale a Paris,’ Bulletin de la HW. A F , . _

Société d’Histoire et d’Archéologie de Gand, XVI, Janson, H. W., Apes an Ape Lore in the Middle Ages and

ra . XX), London, 1952.

1908, p. 183 ff. the pins (Studies of the Warburg Institute,

Dip tychs by Rogier van - Weyden,” Burlington Janssens de Bisthoven A., and Parmentier, R. A., Le maganine, XLII, 1923, p. 53 , and XLIV, 1924, p. Musée Communal de Bruges (Les Primitifs Flamands,

79 ae a ; . Corpus de la Petnture des Anctens Pays-Bas Méri-

——— ‘La Fameuse Inscription du retable de l'Agneau, dionaux au Quinziéme Siécle, Vol. 1), Antwerp, 1951.

Revue Archéologique, ser. 6., III, 1934, p. 62 ff. See also Coremans. P a Han s Memlinc in Rogier van der Weyden's Jerchel, H., “Die Niederrheinische Buchmalerei der

Studio,” Burlington Magazine, LII, 1928, p. 160 ff. Spitgotik,” Wallraf-Richarte Jahrbuch, X, 1938, p.

—— “Le Portrait du Médailleur par Hans Memlinc: 65 ff. Jean de Candida et non Niccolo Spinelli,” Festschrift Jonge, C. H. de, “Jan van Scorel,” in: Niederlindische fiir Max ]. Friedlander zum 60. Geburtstage, Leipzig, Malerei im XV. und XVI. Jahrhundert, Amsterdam

1927, p. 103 ff. and Leipzig, 1941, p. 209 ff.

——— “Rapport,” Academie Royale de Belgique, Bulle- Josephson, R., “Die Froschperspektive des Genter Altars,”

tins de la Classe des Beaux-Arts, VII, 1925, p. 123. Monatshefte fiir Kunstwissenschaft, VY, 1915, p. ——“Roger van der Weyden,” Biographie Nationale de 198 ff. Belgique, Brussels, XXVH, 1938, col. 222 ff. Kahn, R., Die Graphik des Lucas van Leyden, Strasbourg,

— “Le Sujet du retable des Fréres van Eyck a Gand: 1918. La glorification du Sauveur,” Annuaire des Mustes Kantorowicz, E. H., “The Este Portrait by Roger van der

Royaux des Beaux-Arts de Belgique, Wl, 1940-42, Weyden,” Journal of the Warburg and Courtauld

p. 1 ff. Institutes, III, 1939-1940, p. 165 ff.

—— “Les Tableaux de justice de Rogier van der — “The Quinity of Winchester,” Art Bulletin, Weyden et les tapisseries de Berne,” XIV Congrés XXIX, 1947, p. 73 ff. International d'Histoire de l’ Art, Suisse, 1936, Actes Katzenellenbogen, A. “The Separation of the Apostles,”

du Congres, Basel, 1938, II, p. 141 ff. Gazette des Beaux-Arts, ser. 6., XXXV, 1949, p. 81 ff.

_ “Traces de Hubrecht van Eyck; Empreintes con- Kauffmann, H., “Jan van Eycks ‘Arnolfinihochzeit, ” temporaines en Suisse et Allemagne,” Annuaire des Geistige Welt, Vierteljahresschrift fir Kultur- und Musées Royaux de Belgique, IV, 1943-1944, p. 3 ff. Geisteswissenschaften, IV, 1950, p. 45 ff. —— “Les Trés Riches Heures de Jean de France, Duc ———— “Ein Selbstportrat Rogers van der Weyden auf

de Berry, par Pol de Limbourc et ses fréres,” Bulletin den Berner Trajansteppichen,” Repertorium fiir de la Société d’Histoire et d’Archéologie de Gand, Kunstwissenschaft, XXXIX, 1916, p. 15 ff.

XI, 1903, p. 178 ff. Kehrer, H. C., Die heiligen drei Kénige in Literatur und ——— See also Collections and Exhibitions, Bruges, 1902, Kunst, Leipzig, 1908-09.

Exposition, and Bruges, Renders Collection. Keller, G., see Herrad of Landsberg.

522

BIBLIOGRAPHY: AUTHORS Keller, H., “Die Entstehung des Bildnisses am Ende des —— “Die Wiener Tafelmalerei in der ersten Halfte Hochmittelalters,” “Rémisches Jahrbuch fiir Kunstges- des 14. Jahrhunderts,” Jahrbuch der Kunsthistorischen

chichte, Il, 1939, p. 227 ff. Sammlungen in Wien, new ser., III, 1929, p. 25 ff. Kerber, O., Hubert van Eyck, Frankfort, 1937. Laban, F., “Ein Neuer Roger,” Zeitschrift fir Bildende —— Rogier van der Weyden und die Anfdnge der Kunst, new ser., XIX, 1908, p. 49 ff. neuzeitlichen Tafelmalerei, Kallmiinz, 1936. Labande, L.-H., Les Primitifs francais, Marseille, 1932. ——— “Friihe Werke des Meisters von Flémalle im ——— “Les Miniaturistes Avignonais et leurs oeuvres,”

Berliner Museum,” Jahrbuch der Preussischen Gazette des Beaux-Arts, ser. 3.. XXXVII, 1907, pp.

Kunstsammlungen, LIX, 1938, p. 59 ff. 213 ff., 289 ff.

Kern, G. J., Die Grundziige der linear-perspektivischen ——— Le Palais des Papes et les monuments d’ Avignon Darstellung in der Kunst der Gebriider van Eyck und au XIV® siécle, Marseille, 1925.

threr Schule, Leipzig, 1904. Laborde, A. de, Etude sur la Bible Moralisée illustrée,

—— Die verschollene Kreuztragung des Hubert Paris, IQII—I927. oder Jan van Eyck, Berlin, 1927. —— Les Manuscrits @ peintures de la Cité de Dieu de ——— “Perspektive und Bildarchitektur bei Jan van St. Augustin, Paris, 1909. Eyck,” Repertorium fir Kunstwissenschaft, XXXV, Lafond, P., Hieronymus Bosch, Paris and Brussels, 1914.

1912, p. 27 ff. ais ——— Roger van der Weyden, Brussels, 1912. Kessen, A. van, “De Madonna van Rollin en Maastricht, Lambert, E. “La Vierge & l’Enfant de la Collection

De Maasgouw, LXIII, 1943, p. 2 ff. Mancel a Caen,” Bulletin des Musées Frangats, VII,

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Kaiserhauses, XXX, 1913/14, p. 1 ff. doctoral dissertation), Philippsburg, 1937.

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1940, p. 138 ff. Voorbeelden waaran zij zijn ontleend,” Gentse

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523

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d’ Angers, Paris, 1942. —— “Une Oeuvre inconnue du Maitre de Marie de

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van Eyck en het Quatrain van de Gentsche Altartafel,” Paris, I9Tt. Verzamelde Opstellen (published by the Belgian State ——— Les Joyaux de Venluminure a la Bibliotheque

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Mercier, F., “La Valeur symbolique de J’oeillet dans la REFERRED TO IN THE Notes as “Musp er.” _ peinture du moyen-dge,” Revue de l’Art Ancien et Neurdenburg, E., “Eenige Opmerkingen naar Aanleiding

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Michel, A. Ay ignon, les fresques du Palais des Papes, Niederstein, A., “Die Lukas-Madonna des Rogier van der

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Peters, C. H., see Brugmans, H. REFERRED TO IN THE Notes as “van Puyvelde, PrimiPierron, S., “Le Portrait de Baudouin de Lannoy,” Revue tives.” de [Art Ancien et Moderne, XXXVI, 1914-1919, p. — “Die Flamische Kunst auf der Ausstellung zu

263 ff. Briissel,” Pantheon, XVI, 1935, p. 321 ff.

Pigler, A., “Astrology and Jerome Bosch,” Burlington —— “Jan van Eyck’s Last Work,” Burlington Magazine,

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— éologie, VI, 1867, p. 408 ff. van Eyck,” Pantheon, XIII, 1934, p. 175 ff.

Pinder, W., Die deutsche Plastik des vierzehnten — See also Collections and Exhibitions, Paris, Musée

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Pope, A., An Introduction to the Language of Drawing Queen Mary’s Psalter, see Warner, G. and Painting, Il (The Painter’s Modes of Expression), Rathe, K., “Ein unbeschriebener Einblattdruck und das

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London, 1926. Die Graphischen Kiinste), XLV, 1922, p. 1 ff.

See also Collections and Exhibitions, London, Réau, L., French Painting in the XIVth, XVth and XVIth

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Porcher, J., Les Grandes Heures de Rohan (Les Trésors de Reinach, S., Répertoire de reliefs grecs et romains, Paris,

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——— “The Master of the Encarnacién (Louis Alim- 1925:

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p. 153 ff. Cuno von Falkenstein, Tréves, 1929.

Post, P., “Die Darbringungsminiatur der Hennegauchronik Renders, E., Hubert van Eyck, personnage de légende, Paris

in der Bibliothek zu Briissel,” Jahrbuch fur Kunst- and Brussels, 1933.

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p. 46 ff. Résolus, Brussels, 1950. 527

BIBLIOGRAPHY: AUTHORS : — La Solution du probleme van der Weyden-Flémalle- — “Hennequin de Marville en zijn Atelier te Dijon,”

Campin, Bruges, 1931. Gentsche Buijdragen tot de Kunstgeschiedents, I, 1934,

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——and Lyna, F., “Deux Découvertes relatives a —— “Is Klaas Sluter van Duitsche Afkomst?” Gentsche Van der Weyden,” Gazette des Beaux-Arts, ser. 6, IX, Budragen tot de Kunstgeschiedenis, I, 1935, p. 103 ff.

1933, p. 129 ff. —— “De Kalvarieberg van Champmol,” Gentsche Biy-

Rey, R., Hugo van der Goes, Brussels, 1945. dragen tot de Kunstgeschiedenis, Ill, 1936, p. 31 ff.

Ricci, Seymour de, and Wilson, W. J., Census of Mediaeval — “Klaas Sluter, Nouvelles notes sur ses origines et and Renatssance Manuscripts in the United States and son charactére,” Annales de Bourgogne, V, 1933, P.

Canada, New York, 1935-37. 263 ff., 385 ff.

REFERRED TO IN THE NOTEs AS “de Ricci-Wilson, Cen- ———— “Klaas Sluter Voor zijn vertrek naar Dijon in

sus.” 1385,” Gentsche Bidragen tot de Kunstgeschiedents,

Richardson, E. P., “Rogier van der Weyden’s Cambrai Al- XI, 1945-1948, p. 7 ff.

tar,” Art Quarterly, Il, 1939, p. 57 ff. — “Les Origines de Klaas Sluter,” Annales de BourRichter, G. M., “Pisanello Studies,” Burlington Magazine, gogne, IV, 1932, p. 293 ff.

LV, 1929, pp. 58 ff., 128 ff. — “De ‘Plorants’ van Klaas Sluter te Dijon,” Gent-

Rickert, M., The Reconstructed English Carmelite Missal sche Bijdragen tot de Kunstgeschtedenis, Il, 1935, p.

in the British Museum, Chicago, 1951. 127 ff.

——— “Herman the Illuminator,” Burlington Magazine, —— “De Portaalsculpturen van het Brusselsche Stad-

LXVI, 1935, p. 39 f. huis,” Gentsche Bijdragen tot de Kunstgeschiedents,

——— “The Illuminated Manuscripts of Meester Dirc van I, 1934, p. 123 ff. Delf’s Tafel van den Kersten Ghelove,” Journal of the ——— “De Portaalsculpturen van Champmol,” Gentsche

Walters Art Gallery, X11, 1949, p. 79 ff. Bijdragen tot de Kunstgeschiedenis, IV, 1937, p. 107

—— “The Reconstruction of an English Carmelite Mis- | ff. |

sal,” Burlington Magazine, LXVII, 1935, p. 99 ff. —— “De Rekeningen Betreffende het Atelier van Klaas Ring, G., Beitrage zur Geschichte niederlandischer Bildnis- ater , Gentsche Bijdragen tot de Kunstgeschiedenis,

malerei im 15. und 16. Jahrhundert, Leipzig, 1913. > 1937, P. 15TH.

——-1400-1500, “Roger van der Weyden en Italie,” Revue Arché—— A Century of Frenchoo. Painting, London, .

1949 | ologique, ser. 5, XIX, 1924, p. 88 ff.

REFERRED To IN THE Notes as “Ring, A Century.” Rolland, P., La Peinture murale a Tournat, Brussels, 1946.

“Attempt to Reconstruct a Lost Geertgen Com- —— ies Primitifs tournaisiens, peintres, et sculpteurs, position,” Burlington Magazine, XCIV, 1952, p. 147. Brussels, 1932.

gy» Attempt . ——— to “La Double Ecole Tournai, peinture et sculp——« “An Reconstruct Burlington ”and AEST ;; ; ture,” Mélanges HulinPerréal,” dede Loo, Brussels Paris,

6c ® ° ” e XXV b bd °

Magazine, XCII, 1950, p. 255 ff. 1931, p. 296 ff

An me strian Triptych,” Art Bulletin, 1, ——— “Het Drieluik der Zeven Sacramenten van Rogier 1944, P. ST I. van der Weyden,” Annuatre du Musée Royal des

—— “Beitrdge zur Plastik von Tournai im 15. Jahr- Beaux-Arts @’Anvers. 1042-1 00 ff. hundert,” Belgische Kunstdenkmiler, P. Cl d » N94 NAD Bs 99 uM. n ch « ae € 6 a. enkmaler, P. Clemen, ed., “La Madone italo-byzantine de Frasnes-lez-Buis-

BNICD, 1923s bh P. 209 Ei. senal,” Revue Belge d’Archéologie et d'Histoire de

—— “Primitifs francais,” Gazette des Beaux-Arts, ser. P Art, XVII, 1948, p. 97 ff.

6, XIX, 1938, p. 149 ff. —— “Stéles funeraires tournaisiennes gothiques,” Revue —— “St. Jerome Extracting the Thorn from the Lion’s Belge d’Archéologie et d’Histotre de [ Art, XX, 1951,

Foot,” Art Bulletin, XXVII, 1945, p. 188 ff. p. 189 ff.

Ritz, J. M., see Schnurer, G. Rooses, M., Art in Flanders, New York, 1914. Robb, D. M., “The Iconography of the Annunciation in Rorimer, J. J.. The Metropolitan Museum of Art; Medtthe Fourteenth and Fifteenth Centuries,” Art Bulletin, aeval Tapestries, A Picture Book, New York, 1947.

XVIII, 1936, p. 480 ff. —— “The Museum’s Collection of Mediaeval TapesRobert, C., Die antiken Sarkophag-Reliefs, Berlin, 1890- tries,” The Metropolitan Museum of Art, Bulletin,

191g. new ser., VI, 1947/48, p. 9! ff.

Roggen, D., “André Beauneveu en de ‘Visite’ van Klaas ——— “A Treasury at the Cloisters,” The Metropolitan

Sluter te Mehun-sur-Yévre,” Gentsche Bijdragen tot Museum of Art, Bulletin, new ser., VI, 1947/48,

de Kunstgeschiedenis, II, 1935, p. 114 ff. p. 237 ff.

—— “Het Beeldhouwwerk van het Mechelsche Sche- ———- and Freeman, M. B., “The Nine Heroes Tapestries

penhuys,” Gentsche Bijdragen tot de Kunstgeschie- at the Cloisters,” The Metropolitan Museum of Art,

denis, III, 1936, p. 86 ff. Bulletin, new ser., VIII, 1949, p. 243 ff. 528

BIBLIOGRAPHY: AUTHORS Rosenau, H., “Some English Influences on Jan van Eyck, ——and Wittkower, R., British Art and the Mediter-

with Special Reference to the Arnolfini Portrait,” ranean, Oxford, 1948.

Apollo, XXXVI, 1942. p. 125 ff. Schaefer, J., Les Primitifs francais du XIV® et du XV® Rosenberg, J., “Early Flemish Painting,” The Bulletin of siecle, Paris, 1949.

the Fogg Museum of Art, X, 1943, p. 47 f. Schapiro, M., “Cain’s Jaw-Bone That Did the First —- “A Silverpoint Drawing by the Master of Flémalle Murder,” Art Bulletin, XXIV, 1942, p. 205 ff. Acquired by the Fogg Art Museum,” Art Quarterly, —— ““Muscipula Diaboli,’ The Symbolism of the Mé

XIII, 1950, p. 251. rode Altarpiece,” Art Bulletin, XXVII, 1945, p. 182 ff.

——— See also Collections and Exhibitions, Berlin, Staat- Scharf, A., 4 Catalogue of Pictures and Drawings from

liche Museen. the Collection of Sir Thomas Merton, F.R.S., at Stub-

Rosenwald, L. J. (pref.), see Collections and Exhibitions, bings House, Maidenhead, London, 1950.

Washington, Rosenwald Collection. Scheewe, L., Hubert und Jan van Eyck, thre literarische Rousseau, Th., Jr., “A Flemish Altarpiece from Spain,” Wurdigung bis ins 18. Jahrhundert, The Hague, 1933. The Metropolitan Museum of Art, Bulletin, new ser., ——— “Die Eyck-Literatur (1932-1934),” Zeitschrift fiir

IX, 1951, p. 270 ff. Kunstgeschichte, Ill, 1934, p. 139 ff.

Rowley, G., “Ambrogio Lorenzetti il pensatore,” La Bal- —— “Die neueste Literatur tiber Roger van der Wey-

zana, 1, 1928, no. 5. den,” Zeitschrift fiir Kunstgeschichte, Ul, 1934, p.

Rue, H. Aubert de la, see Aubert de la Rue, H. 208 ff.

Salas y Bosch, X. de, El Bosco en la literatura espafiola, —— Review of O. Kerber, Roger van der Weyden und

Barcelona, 1943. die Anfdnge der neuzeithchen Tafelmaleret in: Zeit-

Salet, F., “Overzicht der Literatur betreffende neder- schrift fir Kunstgeschichte, V, 1936, p. 353 f. landsche Kunst,” Oud Holland, LV, 1938, p. 276. Schenk [zu Schweinsberg], E., “Selbstbildnisse von HuSalin, E., “Copies ou variations anciennes d’une oeuvre bert und Jan van Eyck,” Zeitschrift fur Kunst (Leip-

perdue de Rogier van der Weyden,” Gazette des zig), Ill, 1949, p.4 ff . Beaux-Arts, ser. 6, XI, 7935» p. 15 ff. Schenk, V. W. D., Tussen Duivelgeloof en Beeldenstorm, Salinger, M., “An Annunciation by Gerard David,” The een Studie over Jeroen Bosch en Erasmus van Rotter-

Metropolitan Museum of Art, Bulletin, new ser., IX, dam, Amsterdam, 1946. :

199%) Be 225. . Schild Bunim, M., See Bunim, M. Schild. an A Valencian Retable,” The Bulletin of the Metro- Schilling, R., “A Book of Hours from the Limbourg Atel-

politan Museum, XXXIV, 19309, p. 250 ff. a ,; ,

Seealso alsoWehle Wehle. —— See .

HB ier,” Burlington Magazine, LXXXI, 1942, p. 194 ff. a7 ——— See also Swarzenski, G. owe , ns . ; ; Salomon, R., Opicinus de Canistris (Studies of the War- © also

(von), “Die altesten und die Anburg: Schlosser, Institute,J.I), London, 1936.Medaillen = ? _—e

Sal A. Die Sinnbild 1 Beiworte Mari od tike,” Jahrbuch der Kunsthistorischen Sammlungen alZer, Ay Lite oinnvuder und Deiworle Mariens in der des Allerhéchsten Kaiserhauses, XVIII, 1897, p. 64 ff.

deutschen Literatur und lateinischen Hymnenpoeste , — .

7 dien, Berlin, 1927,dep.Van 324 Sanchez Canton, F. J., “Un gran cuadro derff. Wey- ° yee .

des Mittelalters, Linz, 1893. —— “Armeleutekunst alter Zett reprinted in Prdluden resucitado,” Miscellanea Leo van Puyvelde, Brus- ——— “Zur Kenntnis der kiinstlerischen Ueberlieferung

, H. G, Biog: 279 ff. |

sels, 1949, p. 59 ff. im spaten Mittelalter,” Jahrbuch der Kunsthistorischen

Sander, H. G., “Beitrige zur Biographie Hugos van der Sammlungen des Allerhéchsten Katserhauses, XXIV, Goes und zur Chronologie seiner Werke,” Reperto- 1902, P- 279 rium fir Kunstwissenschaft, XXXV, 1912, p. 519 ff. ——— “Ein Veroneser Bilderbuch und die hofische Sanpere i Miquel, S., Els Trescentistes (La Pintura Mig- Kunst des XIV. Jahrhunderts, Jahrbuch der Kunst-

Eval Catalana), Barcelona, n.d. [1924]. historischen Sammlungen des Allerhéchsten KatserSanti, Giovanni, Federico da Urbino, H. Holtzinger, ed., hauses, XVI, 189 > P. *44 ft

Stuttgart,. .1893. Schmarsow, 7 on vohe Gevllschalt ane svchation +. . arn, Kgl. Sachsische Geselischajt derdor Wissenschajten,

° ; Lo . ipzi I, , No. 2.

Sauer e amon des Kirchengebiudes, 2nd ed. Frei- Abhandlungen der Philologisch-Historischen Klasse,

Saunders, E., English Illumination, FlorenceJ. andM., Paris,San Sch ae ‘Ri - i Sankt Ki un ;F 1928,O.chnirer, G., and Ritz, uimmernis Saxl, F., “A Spiritual Encyclopaedia of the Later Middle po pate (Forschungen zur Volkskunde, 13-15),

Ages,” Journal of the Warburg and Courtauld Insti- Usseicort, 1934-

tutes, V, 1942, p. 82 ff. Schniitgen, W., “Ein niederlandisches Fliigelbild aus ——— “Studien iiber Hans Holbein dJ., I; Die Karls- dem Ende des XV. Jahrhunderts,” Zeitschrift fir ruher Kreuztragung,” Belvedere, IX/X, 1926, p. Christliche Kunst, 11, 1889, col. 49 ff.

139 ff. Schone, W., Dieric Bouts und seine Schule, Berlin, 1938. 529

, BIBLIOGRAPHY: AUTHORS ——— Die grossen Meister der niederlandischen Malerei Steele, R., see Orléans, Charles d’.

des 15. Jahrhunderts, Leipzig, 1939. Stein, W., “Die Bildnisse von Roger van der Weyden,” REFERRED TO IN THE Norzs as “Schone.” Jahrbuch der Preussischen Kunstsammlungen, XLVI, —— “Albert van Ouwater; Ein Beitrag zur Geschichte 1926, p. 1 ff. der hollandischen Malerei des XV. Jahrhunderts,” Steinbart, K., Das Holzschnittwerk des Jakob Cornelisz. Jahrbuch der Preussischen Kunstsammlungen, LXIIl, von Amsterdam, Burg bei Magdeburg, 1937.

1942, p. 1 ff. ——— Konrad von Soest, Vienna, 1946.

——— “Ueber einige altniederlandische Bilder, vor allem Die Tafelgemilde des Jakob Cornelisz. von Amin Spanien,” Jahrbuch der Preussischen Kunstsamm- sterdam. Strasbourg, 1922.

lungen, LVIII, 1937, p. 153 ff. , ours» 19

Scholtens, H. J. J., “Jan van Eyck’s ‘H. Maagd met den Sterling, C., Le Couronnement de la Vierge par Enguer-

Kartuizer’ en de Exeter-Madonna te Berlijn,” Oud rand Quarton, Paris, *939 : ;

Holland, LV, 1938, p. 49 ff. en oan francaise; les peintres du moyen dge, sen canst RVITD, Stuteercan see ie der REFERRED TO IN THE Notes as “Sterling, Les Petntres.” Schryver, A. P. de, and Marijnissen, R. H., De Oorspron- Ree bre j ranganses tes P nie a 7938.

kelijke Plaats van het Lam Gods-Retabel (Les Primi- tifs.” 8

- , , e l Orangerie.

as nea 1, Antwerp, naa des Primuti}s —; nee also Cc ollections and Exhibitions, Paris, Musée Servis a So» Brussels wood artistique des buffets @orgue, Stout, G. L., “One Aspect of the So-Called Mixed Tech-

Shaw, W. A., “The Early English School of Portraiture,” e. Harvard Technical Studies, VU, 1938, p. 59 Burlington Magazine, LXV, 1934, p. 171 fh ——— “A Study of the Method in a Flemish Painting,”

Sherborne Missal, see Herber b J. A. Harvard Technical Studies, I, 1933, p. 181 ff. Shorr, D., “The Iconographic Development of the Pres- See also Gettens, R. J. ae in the Temple,” Art Bulletin, XXVIII, 1946, Straub, A., see Herrad of Landsberg.

——— “The Mourning Virgin and St. John,” Art Bulletin, Strimpel, A., “Hieronymus im Gehause,” Marburger Jahr-

XXII, 1940, p. 61 ff. buch fir Kunstwissenschaft, Il, 1925/26, p. 173 ff.

Simson, O. G. von, “Compassio and Co-redemptio in Suger, Abbot, Abbot Suger on the Abbey Church of St.-

Roger van der Weyden’s Descent from the Cross,” Denis and its Art Treasures, E. Panofsky, ed. and

Art Bulletin, XXXV, 1953, p.9 ff. trans., Princeton, 1946.

Smet, J. J. de, “Notice sur Middelbourg en Flandre,” Mes- Sulzberger, S., “La Sainte Barbe de Jan van Eyck; Détails

sager des Sciences et des Arts de la Belgique, IV, 1836, concernant lhistoire du tableau,” Gazette des Beaux-

p. 333 ff. Arts, ser. 6, XXXIV, 1948, p. 289 ff.

Smital, O., and Winkler, E., Livre du Cuer d’Amours Swarzenski, G., “Miniatures from a Lost Manuscript,” Espris (Vienna, Nationalbibliothek, ms. 2597), O. Bulletin of the Museum of Fine Arts, Boston, XLU,

Smital and E. Winkler, eds., Vienna, 1926. 1944, p. 28 ff.

Smits, K., Iconographie van de Nederlandsche Primitieven, ——— and Schilling, R., Die idluminierten Handschriften

Amsterdam, 1933. . und Einzelminiaturen des Mittelalters und der Renais-

Solms-Laubach, E. Graf zu, “Der MHausbuchmeister,” sance in Frankfurter Besitz, Frankfort-on-the-Main,

Stidel-Jahrbuch, 1X, 1935/36, p. 13 ff. 1929.

Soulier, G., Les Influences orientales dans la peinture tos- Swarzenski, H., The Berthold Missal, New York, 1943.

cane, Paris, 1924. ——— Die lateinischen illuminierten Handschriften des

Speculum humanae salvationis, see Lutz, J. and Per- XIII. Jahrhunderts in den Lindern an Rhein, Main

drizet, P. und Donau, Berlin, 1936.

Spencer, E. P., “The International Style and Fifteenth- —— “A Masterpiece of Bohemian Art,” Bulletin of the Century Illuminations,” Parnassus, XII, 1940, March, Museum of Fine Arts, Boston, L, 1952, p. 64 ff.

p. 30 f. Taylor, F. H., “‘A Piece of Arras of the Judgment’; The

Squilbeck, J., “La Vierge a l’Encrier ou a l’Enfant Ecriv- Connection of Maitre Philippe de Mol and Hugo van

ant,” Revue Belge d’Archéologie et d Histoire de der Goes with the Mediaeval Religious Theatre,”

l’ Art, XTX, 1950, p. 127 ff. Worcester Art Museum Bulletin, 1, 1935-1936, p. 1 ff. Stammler, W., Der Totentanz, Enstehung und Deutung, Thieme, U., and Becker, F., Allgemeines Lextkon der bild-

Munich, 1948. enden Kiinstler, Leipzig, 1910-1950.

Stange, A., Deutsche Malereit der Gotik, Berlin, 1934- REFERRED To IN THE Notes as “Thieme-Becker.”

1938. Thissen, J., see Coremans, P. 530

BIBLIOGRAPHY: AUTHORS Thompson, D. V., Jr., The Materials of Medieval Painting, —— Rogier van der Weyden, Paintings from the Es-

New Haven, 1936. cortal and the Prado Museum, London, 1945.

——— See also Cennini, Cennino d’Andrea. Valentiner, W. R., “Aelbert van Ouwater,” Art Quarterly,

Thompson, Henry Yates, see Yates Thompson, H. VI, 1943, p. 74 ff. Tieschowitz, B. von, Das Chorgestihl des Kélner Domes, —— “Rogier van der Weyden; The “Mass of Saint

Berlin, 1930. Gregory,” Art Quarterly, VII, 1945, p. 240 ff. —

Timmers, J. J. M., “De Achtergrond van de Madonna Vasari, Le opere di Giorgio Vasari, G. Milanesi, ed., Flor-

van Rolin door Jan van Eyck,” Oud Holland, LXI, ence, 1878-1906.

1946, p. 5 ff. Veken, J. van der, “Experimenten met Betrekking tot

Toesca, P., La Pittura e la mintatura nella Lombardia, de van Eyck-Techniek,” Gentsche Bijdragen tot de

Milan, 1912. Kunstgeschiedents, V, 1938, p. 5 ff.

Tolnay, C. de, Hieronymus Bosch, Basel, 1937. Venturi, A., Storia dell’ arte italiana, Milan, 1901-1939. —— History and Technique of Old Master Drawings, Verdam, J., see Verwijs, E.

New York, 1943. Verhaegen, M. le Baron, “Le Polyptyque de Beaune,” Brussels, 1938. Verheyden, P., La Reliure en Brabant, Antwerp, 1935.

— Le Maitre de Flémalle et les Fréres van Eyck, Congres Archéologique de France, XCI, 1928, p. 327 ff.

——— Pierre Bruegel I Ancien, Brussels, 1935. Vermeulen, F. A. J., Handboek tot de Geschiedenis der — Le Retable de Agneau Mystique des Fréres van Nederlandsche Bouwkunst, 1, The Hague, 1928.

Eyck, Brussels, 1938. Verwijs, E., and Verdam, J., Middelnederlandsch Woor-

— “An Early Dutch Panel: A Contribution to the denboek, VII, 1912.

Panel Painting before Bosch,” Miscellanea Leo van Villard de Honnecourt, Kritische Gesamtausgabe des Bau-

Puyvelde, Brussels, 1949, p. 49 ff. hiittenbuches ms fr. 19093 der Pariser Nationalbib——— “Flemish Paintings in the National Gallery of liothek, H. R. Hahnloser, ed., Vienna, 1935. Art,” Magazine of Art, XXXIV, 1941, p. 174 ff. ; Villeneuve, F. G. A. de, see Guyot de Villeneuve.

me ern os Sriies er van Eyck, ene Vitzthum von Eckstadt, G., Die Pariser Mintaturmaleret ner Ja ji uch der Bildenden Kunst, new ser., IX, 1932, von der Zeit des hl. Ludwig bis zu Philipp von Valots

P. 3° , und thr Verhdltnis zur Maleret in Nordwesteuropa, —— “Hugo van der ms as Portrait Painter,” > °9 Uu > °

Sotheby & Co., Catalogue of Important Old Master Florence Drawings, Fine Paintings, etc., Sold June La Regia Galleria dell? Accademia di Firenze (U.on Pro. 8 30, ; 30>1948 194 cacci), Rome, 1936. Sotheby Books & Co., Catalogue ... Illuminated Manu, , scripts and Printed Selected of from the Renowned

Forli Library Formed by Baron Htrace de Landau, Sold Citta di Forli, Mostra di Melozzo e del Quattrocento July 12-13, 1948.

Romagnolo, Forli, 1938. National Gallery, see Davies, M.

The Hague Maidenhead, see Scharf, A. La Collection del Monte, The Hague (G. Glick),

Vienna, 1928. Malvern

Musée Royal de Tableaux, Mauritshuis a la Haye, Descriptive Catalogue of Illuminated Manuscripts in Catalogue Raisonné des Tableaux et Sculptures, The the Library of C. W. Dyson-Perrins (G. Warner),

Hague, 3rd edition, 1935. Oxford, 1920. Royal Library and Museum Meermanno-Westreen- h ianum, see Byvanck, A. W., Les Principaux Manu- Manchester .

scrits. A Descriptive Catalogue of the Latin Manuscripts in ; the John Rylands Library at Manchester (M. R. James)

Houston New York | _ |

Hamburg, see Pauli, G., Zeichnungen ... in der Kunst- Manchester, London, etc., 192t. halle.

Museum of Fine Arts, Houston, Texas, Catalogue of The Pierpont Morgan Library, Exhibition of IMlume

the Edith A. and Percy S. Straus Collection, 1945. nated Manuscripts Held at the New York Public

Library, November 1933 to April 1934. REFERRED TO

Indianapolis IN THE Notes as “Morgan Catalogue, 1934.”

Holbein and His Contemporaries; A Loan Exhibi- Masterpieces of Art (Catalogue of European Painttion .. ., October 22-December 24, 1950, The John ings and Sculpture from 1300-1800), New York

Herron Art Museum, Indianapolis, Ind., 1950. World’s Fair, May to October, 1939.

Kansas City Flemish Primitives, An Exhibition Organized by the William Rockhill Nelson Collection, Kansas City Felgian cowernment April 13-May 9, 1942, New

[two editions, both n. d.]. or (M.Illuminated Knoedler & Co.). _ Manuscripts from the Bibliothéque of London Their Highnesses the Dukes d’ Arenberg, Jacques A Descriptive Catalogue of the Second Series of Fifty Seligmann & Co., New York, 1952. Manuscripts in the Collection of Henry Yates Thomp- Metropolitan Museum, see Wehle and Salinger. son (M. R. James), Cambridge, 1902.

Burlington Fine Arts Club, Exhibition of Illuminated Nordkirchen

Manuscripts, London, 1908. Duke of Arenberg Collection, see New York. Illustrations from One Hundred Manuscripts in the

Library of Henry Yates Thompson, London, 1914. Oxford . One Hundred Manuscripts in the Library of Henry | Catalogue of the Collection of Drawings in the Ash-

Yates Thompson, London, V, 1915. molean Museum (K. T. Parker), Oxford, 1938.

The Library of A. Chester Beatty; Il, A Descriptive Paris ue 08 ue of the Western Manuscripts (E. G. Millar), L’Exposition des Primitifs Francais; La Peinture en

* hk ? ie aoe by Dutch and Flemish Arti France sous les Valots (H. Bouchot), Paris, 1905.

Catalogue of PraWIn gs OY IUCN ANG EMSE ACESS La Collection de Miniatures de M. Edouard Kann

. .. in the British Museum (A. E. Popham), V, Lon- . . don, 1932. (A. Boinet), Paris, 1926.

Sotheby & Co., Catalogue of the Renowned Collection Musée de l'Orangene; De van Eyck a Bruegh el (P.

of Western Manuscripts, the Property of A. Chester Lambotte, pref., P. Jamot, intr.), Paris, 1935. Beatty, Esq., the First Portion, Sold on June 7, 1932. See also Brussels, Cing Siécles d’ Art.

534

BIBLIOGRAPHY: COLLECTIONS AND EXHIBITIONS Musée de l!'Orangerie, Paris; Les Primitifs Flamands, nungen der niederlindischen Schulen (O. Benesch),

5 quin-7 juillet (L. van Puyvelde), Brussels, 1947. Vienna, 1928.

De van Eyck &@ Rubens, Les Maitres Flamands du ;

Dessin (Exhibition at the Bibliothéque Nationale, Vierhouten near Amersfoort, Holland , ,

Paris, 1949). | Catalogue of the D, G. van Beuningen Collection (D. Musée de Orangerie, Paris; Des Maitres de Cologne Hannema, preface by M. J. Friedlander), Rotterdam,

a Albert Direr (G. Bazin, pref., K. Martin, intr.), 1949.

Paris, 1950. Washington

Orangerie des Tuileries; La Nature Morte de l’An- National Gallery of Art, Book of Illustrations, 2nd ed., tiquité &@ nos Jours, avril-juin, 1952 (A. Maiuri, pref., Washington, D. C., 1941.

C. Sterling, ed). National Gallery of Art, Preliminary Catalogue of Bibliothéque de Il Arsenal, see Martin, H., and Paintings and Sculpture, Washington, D. C., 1941.

Lauer, P. Rosenwald Collection; An Exhibition of Recent Ac-

Bibliothéque Ste.-Geneviéve, see Boinet, A. quisitions, National Gallery of Art (E. Mongan, pref-

Petworth ace by L. J. Rosenwald), Washington, 1950.

. , Paintings and Sculpture from the Kress Collection,

Philadelphi . . wpe . Catalogue of the Pere Collection d ene “thine Acquired by the Samuel M. Kress Foundation, 1945-

Baker), London. 1990 contield (C. Hi Collins 1951, Washington, 1951. Worcester

: Th P , P Necti } . The Worcester-Philadelphia Exhibition of Flemish

Phe J ev Johnson Ke Adohie Catalogue of Paint- Painting, February 23-March 12, and March 25-

ings (H. Marceau), Philadelphia, 1941. April 26, 1930. Stockholm

Nationalmuseum; Gyllene Bécker, Iluminerade medeltida handskrifter i dansk och svensk ago, Maj-Sep-

tember 1952 (K. Olsen and C. Nordenfalk). Rererrep SCO TO IN THE Notes as “Stockholm Catalogue.” ADDENDUM Turin The final report on the technical examination of the La Galerie Sabauda de Turin, see Aru, C., and Gera- Ghent altarpiece, referred to on several occasions (see,

don, E. de. €.g., p. 223 and note 207"), appeared after this book had

gone to press: P. Coremans, ed., L’Agneau Mystique au

Twenthe-Enschede Laboratoire, Examen et Traitement (Les Primitifs Fla-

Noord-Nederlandsche Handschriften, 1300-1500, Cata- mands, Contributions a4 lEtude des Primitifs Flamands,

logus van de Tentoonstelling in het Riyksmuseum Vol. II), Antwerp, 1953. The pleasure of comparing the Twenthe-Enschede, December 1952, W. Vogelsang, ed. results of this publication, equally important for the special problem of the Ghent altarpiece and for the understanding

Vienna of Early Netherlandish painting in general, with the opinBeschreibender Katalog der Handzetchnungen in der ions set forth in the present volume must be left to the Graphischen Sammlung der Albertina, Il, Die Zetch- reader.

535

Some marriage rituals, e.g. that of Avignon, actually la prefatta sumersione fatta de propria mano.” Conceivably required the groom to hold the right hand of the bride in this lost composition, the authenticity of which is of course his left; see R. Girard, “Marriage in Avignon in the Second a matter of surmise, is dimly reflected in a “Drowning of Half of the Fifteenth Century,” Speculum, XXVIII, 1953, Pharaoh” by Ludovico Mazzolino of Ferrara (Dublin, Na-

p. 491. tional Gallery of Ireland, no. 606). : Page 284; Notes 284°; fig. 359 Page 203; Note 203 The identification of the Episcopal donor of The Hague To be added to the works of Jan van Eyck transmitted “Lamentation,” also figuring as a visiting Canon in the through more or less trustworthy copies: the Portrait of Antwerp “Seven Sacraments” (fig. 349, left), with Pierre the Infanta Isabella of Portugal, commenced on January 13, de Ranchicourt, Bishop of Arras, finds welcome support in 1429 (1428 old style) and sent to Philip the Good on Feb- a neglected footnote in the catalogue of the Bruges Exporuary 12 of that year. A seventeenth-century drawing pur- sition des Primitifs Flamands of 1902, no. 120*, according porting to be a copy thereof was published by L. Dimier, to which the picture, then ascribed to an unknown master “Un Portrait perdu de Jean van Eyck,” La Renaissance de of ca. 1500, came from the chapel of the Collége d’Arras Vart francais et des industries de luxe, V, 1922, p. 541 f. at Louvain. This college was founded by Pierre de Ranchi(cf. his “Dessin du Portrait d’Isabelle de Portugal par van court’s successor, Nicolas de Ruistre (erroneously referred Eyck,” Bulletin de la Société Nationale des Antiquaires de to as Bishop of Utrecht instead of Atrecht in the earlier France, 1921, p. 116; S. Reinach, “Un Portrait d’Isabelle de literature), who reigned from 1501 to 1509.

g »yappgy ,

Portugal (1429),” Revue Archéologique, ser. 5, 1922, p. P ON 6% & 174), but does not seem to be mentioned in the more ASE 3153 NOtE 310 5 NB. 420

recent literature. Dirc Bouts’ “Entombment” in the London National Gallery, though painted on canvas, must have belonged, prePage 203; Note 203° sumably as the lower portion of the right-hand wing, to

To be added to the works of Jan van Eyck known to us a large trip tych the central panel of which, a “Calvary,” 18 through literary sources: “The Drowning of Pharaoh and P reserved ip an unidentified collection at Florence: Citta

His Hosts in the Red Sea,” apparently not referred to in di Firenze, Mostra d’ Arte Flamminga ¢ Olandese det

. . Secoli XV e XVI, Palazzo Strozzi, Maggio-Ottobre 1947,

any book or article on Jan van Eyck although it was owned Catal rl 9 Fs

by no less illustrious a patroness of the arts than Isabella atalogue, Mlorence, 194° P- 34, NS 29d’Este. Originally the property of a Venetian collector, Note 327° Michele Vianello, this work had been bought, after Vian- The architectural portrait of St. Bavo’s at Haarlem, tradiello’s death in the spring of 1506, by a local nobleman tionally assigned to Geertgen tot Sint Jans, has been cornamed Andrea Loredan who could, however, be per- rectly attributed to one Pieter Gheryts (whose patronymic suaded to cede it to Isabella for one hundred ducats and a was apparently confused with Geertgen’s Christian name) mancia of twenty-five. This transaction was negotiated and dated in 1518. The facts emerged from a long discuswith the help of a Venetian banker, Taddeo Albano, and sion in Oud Holland, L, 1933, the most notable contribuit is from one of his letters, dated June 18, 1506 (A. Luzio, tion being E. H. ter Kuile, “Nog eens: de Maquette van La Galleria det Gonzaga venduta all’ Inghilterra nel 1627- de St. Bavokerk te Haarlem,” p. 152 ff. (see, more recently, 28, Milan, 1913, p. 105 f.), that we learn the following R. Meischke, “Het architectonische Ontwerp in de Nederfacts: first, that the Summersione di Farahone — previously landen gedurende de late Middeleeuwen en de zestiende referred to only by subject so that A. Venturi, “Gian Cristo- Eeuw,” Bulletin von de Kon. Ned. Oudheidkundige Bond, foro Romano,” Archivio Storico dell’ Arte, 1, 1888, p. 150 f., ser. 6, V, 1952, p. 179).

was inclined to believe that it was a relief — was a paint- Except for the case of Isabella d’Este’s “Drowning of ing; second, that this painting was sold and bought as an Pharaoh,” and that of the Avignonese marriage ritual, I authentic work of Jan van Eyck; third, that it changed owe the information condensed in the foregoing Addenda hands (as it would today accompanied by an expertise) to the erudition and generosity of Professor J. G. van together with a likeness “di quel Janes de Brugia che fece Gelder.

536

, INDEX As a rule, notes belonging to text passages referred to by page numbers are not indexed separately; exceptions have, however, been made on various occasions (for instance, where the note, but not the text passage, contains the library signature of a manuscript). For the method of reference, see p. 359.

Aachen. See Aix-la-Chapelle Albrecht of Brandenburg, Cardinal —van Leer Coll.: Book of Hours, p. Abella de la Conca: Christ Appearing Archbishop of Mayence, p. 355 114; note 114° to His Mother (Spanish altarpiece), Albumasar (Abi Ma’Sar), p. 107; note — Mannheimer Coll. (formerly): gold

note 262° 1077 enamel triptych, p. 69; Weyden,

Achilles Leaving the Daughters of Ly- Alexander the Great, dividing his king- Roger van der, Portraits of Philip,

comedes, p. 22; note 22 *. See Cam- dom, p. 98, fig. 114; likened to Duke of Brabant, and Philip, Duke

bridge (Engl), Fitzwilliam Mus., Philip the Good, p. 196 £., note of Nevers (workshop drawings, sarcophagus 197” also attr. to Jan van Eyck, deAckermann aus Bohmen, p. 74 Alexander, Duke of Albany, brother of stroyed), p. 291, notes 200°, 291 *, Adolph II, Duke of Cleves, pp. 91, James III of Scotland, note 335? figs. 382, 383

120; note 106 All Saints picture, pp. 212 £, 216-218 — Rijksmuseum

Adolph, Duke of Cleves and Rave- (general) ; Pp. 209, 212, 216 f. notes PAINTINGS AND DRAWINGS:

Adornes Sie An ectmn p. 3003 will of 209 *, 210° (chori beatorum) ; pp. Anon. (Dutch), memorial tablet of

? ; » pe ’ 9 212, 215, notes 212°, 213 (God as the Lords of Montfoort, p. 92 note 192 ; Lamb); pp. 213-215, notes 213”, Anon. (Flemish), Adoration of the

Aelfric the Grammarian, p. 309 214° (God as single figure in papal Magi (drawing), note 237° Agnelli, Baptiste del, note 278 garb); pp. 213-215, notes 213°”, Anon. (Guelders), altarpiece from Agnes, wife of Emperor Henry III, p. 214? (God as Trinity). See also Roermond, p. 104; notes 125 ‘, 2357

146 Justi Judices Anon. (Guelders), Calvary from St.

Agram. Academy of the Sciences and Alnwick Castle, Duke of Northumber- Walburg’s at Zutphen, pp. 96, 100

an ot Ercole I of Fer- land: Sherborne Missal, note 118 * Ceertgen i ( Sint an Adoration of _a 7, note 1 Alphonso V of Aragon, p. 2; notes 2%, the Magi (replica), p. 329 AenP P a of Nettesheim, note 327 |e 203°. See also Eyck, Jan van, and — Holy Kinship, pp. 327, 329; figs.

of Flémalle, Madonna, pp. 169 f, Weyden, Roger van der. Mon. “4° ne Virgy Vine

1725 fig. 209 Altdorfer, Albrecht (attr.). See Master The Vire - . nen Viesins an

— Ste.-Madeleine: Annunciation. See ; of the Vita Frederict ; See also Master of Ai Avanacaticn

Master of the Aix Annunciation Altichiero, Presentation of Christ,

Aix-la-Chapelle. Cathedral (Treasury): Padua, St. George's Chapel, p. 288 scone ru nes:

r4th cent. reliquary, note 146‘ Altétting. Parish and _ Pilgrimage Brass statuettes from tomb of Isabella — Suermondt Mus.: Hubert or Jan van Church: Goldenes Rossel, pp. 69, _ of Bourbon, note 291

Eyck (after), Bearing of the Cross, 73, 80, 164; text ills. 27, 28 —Royal Academy of Sciences, ms:

note 237? Ambrose, St. p. 262, note 262° (on XVIII (Jacob van Maerlant, Bible

Alatruye, d’, Bartholomew, p. 175 Appearance of Christ to His in Rhymes), p. 98; note 98 “Albani Psalter.” See Hildesheim, St. Mother); p. 335 f. (hymn to Trin- Anaxagoras, p. 10

Godehard ity); p. 281 (on infancy of St. Amnciau (Ancelot) de Cens, note 32”

Albergati, Cardinal Nicholas, pp. 190, John the Baptist); p. 283, note Angelico, Fra, pp. 20, 273, 278. WoRKs:

200 f.; note 203 *; portraits of, figs. 283° (source of inscription in Cortona, Chiesa del Gest, Annun-

263, 264 Roger van der Weyden’s altar- ciation, note 139°; Mensola, S.

Alberti, Leone Battista, pp. 4 £. 9, 11, piece of the Seven Sacraments) Martino, Annunciation, p. 254; 28 (on pictorial space and perspec- Amédée VII of Savoy, note 329* Munich, Alte Pinakothek, Entomb-

tive); p. 16, note 1987 (on char- Amiens. Cathedral, p. 15, text ill. 8 ment (school), pp. 273-275, text acters establishing contact with (Apostle statues); pp. 271, 348 ill. 57; Paris, Louvre, Martyrdom beholder); pp. 249, 288 (on por- (Last Judgment); pp. 77, 79 of SS. Cosmas and Damian, note

traits within historical narratives) (Vierge Dorée) : 281°

Albrecht IJ, King of Germany, note Amsterdam. van Ittersum Coll.: Anon. Angers. Mus. des Tapisseries: Apoc-

304° (Flemish), Lamentation, note alypse of Louis I of Anjou, pp.

Albrecht I, Count of Holland, Bavaria 261 * 38 ff., 87; notes 28°, 38°, 67°; and the Hainaut, pp. 91, 98, 2390. —Prof. Kleinweg de Zwaan Coll.: fig. 25 See also Baltimore, Walters Art Anon. (Dutch), Healing of the Angelus, Johannes, significance Ps es of, Croce, Confirmation of Franciscan , ee , gold ground, symbolical Rule, p. 19; itbidem, Dance of triptych of William van Overbeke 67. 28 6: not S62

Salome, p. 141; ibidem, Stigmati- (wings by follower), pp. 300, | ie 5, an 5» 3203 “ ed oI 7,

zation of St. Francis, p. 63, fig. 86; 338-340, notes 294%, 296%, 338%, Gold Scroll” group of illuminate Padua, Arena Chapel, Annuncia- fig. 455; Ghent, Meeting of David manuscripts, PP. 121123, 125 £.;

tion, p. 93, note 48°; sbidem, and Abigail (mural, destroyed), notes 61°, 122

Lamentation, p. 24, notes 23 *, 24°, note 331°; Haarlem, Koenigs Coll. Golden Legend, p. 38 (general) ; p.

text ill. 26; ididem, Last Supper, (formerly), St. Luke Painting the 213 (feast of All Saints); P. 277,

p. 18; ibidem, Noli me tangere, Virgin (drawing, attr.), note notes 127°, 277°, 278 (Nativity p. 22 f., text ill. 22 334°; Holyrood Palace (on loan to and legend of Araceli) ; note 145

Giovanni di Benedetto da Como, p. 62. National Gallery of Scotland, (Coronation of the Virgin); note

550

INDEX 327° (Holy Kinship) “Grimani Breviary.” See Venice, Biblio- Haartekamp near Haarlem. Mme. von

Gongalvez, Nufio, note 308* teca di San Marco Pannwitz Coll.: Master of the ExGonella, family of Ferrara court jesters, Gros, Jean, p. 295; Portrait of, fig. 369 humation of St. Hubert, Dream of

note 203 * Grunewald, Matthias, p. 345 Pope Sergius and Consecration of

Gonesse. Church: organ decoration, p. Grymestone, Sir Edward, pp. 310, 312, St. Hubert, notes 174 *, 298°; fig.

221 316; Portrait of, fig. 406 3096

Gorhambury. The Earl of Verulam (on Gubbio, S. Francesco, mural represent- Hadrian II, Pope, note 213” (on rep-

loan to National Gall., London): ing translation of Santa Casa, note resentation of Christ as Lamb)

Christus, Petrus, Portrait of Sir 30° Haecht, Willem van, Gallery of

Edward Grymestone, pp. 310, 312, Guelders, school of book illumination, Cornelis van Gheest, New York

316; fig. 406 pp. 100-106 Mrs. Mary van Berg Coll. (for-

Goslar. Town Hall: chandelier, note Guerardus de Hammone, Prior of merly Lord Huntingfield Coll.),

146 * Charterhouse of Genadedal, p. 188 notes 3+, 203°

Gossart, Jan, pp. 342, 352 £., 356. works: Guercino, Francesco, Et in Arcadia Ego, Haeght, Dr. Janne van, note 318°

Madrid, Prado, Deésis, p. 353, note Rome, Galleria Corsini, note 310° Hague, The, Del Monte Coll.: Weyden

220*, fig. 488; Rome, Galleria Guicciardini, Lodovico, p. 273 Roger van der (school) Madonna Doria, Madonna in a Church (after Guido da Siena, Annunciation, Prince- in Half-Length, note 297? jen van Eyck), Pp. 353, note 251 ° ton University, Art Museum, p. __ Mauritshuis

g. 487; Tournai, Mus. Municipal, 132 .

St. Donatian in Half-Length, p. 353 Guigonne de Salins, wife of Chancellor Anon (Dutch), Portrait of Lisbeth

Gothic, High, space concept in, pp. Rolin, pp. 268, 292 f. . van Duivenvoorde, pp. 92, 171; 5-17. See also Romanesque Guillaume de Deguileville. See notes 67 2

Gothic, Late, “Baroque” as opposed Deguileville Memlj - Portrait of a Man to “détente,” pp. 345-348, 356 Guillaume |’Ecossais, Vie et miracles de in Pes, ans, Sortraor am

Gousset, Pierre, book illuminator, note Saint Denis. See Paris, Bib. Na- ye Fayet, Bs 349 |

1722 tionale, ms. lat. 13836 Weyden, Roger van der (attr.),

Gozzoli, Benozzo, pp. 273, 343 Guillaume Machaut. See Machaut Lamentation, p. 284; fig. 359

s. 418, 41 ;

n Vv ; outs. Seé Faris, bib. ationale, . ; .

Gran. Cathedral (Treasury): gold Guillaume ac Sain Fates: Me de Saint — Museum Mleer jaa

Granada, “Coville Red Bouts, Direc ms. fr. 5716 ms, 10 A 14 (Missal of Arnold Lord f ” Guittone d’Arezzo, note 349” of Rummen and Quaebeke), pp.

ralete triptych, pp. 315 f., 321; 36, 98 £, 118; note 36°; fig. 22

—_—— Memline. Hans, Descent from the Haar lem, alleged early school of paint- a B23 (Bibs or Tae ondel),

Cross (after Hugo van der Goes), ing, pp. 242 f£,, 313 f. oe 30 Y 61 yn? ..

p. 347; notes 3382, 342? —Koenigs Coll. (formerly): Goes, ae 35393 ao 30> 47» 127; —-— Weyden, Roger van der, Holy Hugo van der (attr.), St. Luke 8°. E i 3 erly 12° 12, Book

Family and Lamentation, pp. 259- Painting the Virgin (drawing), a “i ‘s) na > 3 ‘ notes | 266, 277-279, 283, 287, 301, 311, note 334°; Weyden, Roger van der vost aay" fig, 128. ” 315-317, 349; notes 2517, 258°, (workshop), Portraits of John, IO Eo (Book of Hours), note

2784, 315%, 3164, 3307 Duke of Brabant, and Louis, Duke ms. 70 , Grand Andély. Church: organ decora- of Savoy (drawings, attr. also to Rov Lib

tion, p. 221 Jan van Eyck) (see Vierhouten, — 0Y¥at +1brary

“Grandes Heures” (du Duc de Berry). van’ Beuningen Coll.); | Weyden, Spe oe EY

See Paris, Bib. Nationale, ms. lat Roger van der (after), Madonna ms: 74,6 34 (Book of Hours), note

919 ? : > meas with the Pear (drawing), note 79. F Bock of H “Grandes Heures de la famille de 257. ™ a 25 ( ook126 of Hours), notes ” . op: ; — Municipal Archives: Geertgen tot 122°,

Rohan.” See Paris, Bib. Nationale, Sint Jans (after?), supposed Self- ms. 131 D 14 (Book of Hours), p.

ms. lat. 9471 ; Portrait (drawing), note 327° 125; notes 114°, 118°, 122°, 125°

Grandisson, John, Bishop of Exeter, __ gt Bavo’'s: Geertgen tot Sint Jans ms. 131 G 3 (Book of Hours), notes

note 20 (attr.), architectural portrait of St. 99°, 175°

Grassi, Giovanni dei, Sketchbook, Bavo’s, note 327° ms. 133 F 8 (Dirc van Delft), note Bergamo, Biblioteca Civica, p. 64; — St, John’s (formerly): Geertgen tot 98°

note 64 Sint Jans, Calvary (destroyed), p. Haincelin de Haguenot, p. 52; note

Gregorius, Magister, p. 180 . 327 61°

Gregory, St. note 333° (Homily on —Teyler Stichting, mz. manuscripts: Haincelin, Jean, note 61°

the Eucharist) ms. 76 (Breviary), pp. 95, 105,129, Hamburg. Kunsthalle: Anon. (Nether-

Gregory IX, Pope, Decreta, note 213° notes 95°, 105°, 129°; ms. 77 landish), Symbolum Apostolicum

(on representation of Christ as (Pontifical), p. 285, note 285 *, (drawings), note 282%. See also Lamb) text ill. 58 Bertram, Master; Francke, Master

551

INDEX — Museum fiir Kunst und Gewerbe, Hohenfurth, altarpiece from. See Isabella of Brittany, Hours of, where-

reliefs from St. Servatius reliquary, Prague, National Gallery abouts unknown, note 259°

note 77° Holbein, Hans, pp. 118, 158, 171, 291. Isabella of Portugal, third wife of

Hammone, Guerardus de. See Guerar- works: Basel, Oeceffentl. Kunst- Philip the Good, pp. 179, 198, 293

dus sammlung, Portrait of the Duc de f., 330, 343; notes 203*, 293 °°;

Handel, George Frederick, Alexander's Berry (after Jean de Cambrai), p. Portrait of, fig. 363

Feast, note 197° 80; London, Nat. Gallery, Am- Isabella of Spain, prospective bride of |

Hannibal, note 1847 bassadors, p. 202 Philip the Good, p. 179

Hapsburg family as owners of London Holbein, Hans the Elder, p. 158 Isabella of Spain (“the Catholic”), Arnolfini portrait by Jan van Eyck, Hollar, Wenzel, engravings after note 259°. See London, Brit. Mus.,

note 203° Leonardo da Vinci, p. 355 ms. Add. 18851

Hauscilt, Lubrecht, Abbot of St. Bar- Holy Kinship, note 3277 Isenbrant, Adriaen, triptych, New tholomew at Bruges, p. 106. See Holyrood Palace (on loan to Nat. York, Metropolitan Mus., note also New York, Morgan Library, Gallery of Scotland, Edinburgh): 218 ©

ms. 785 Goes, Hugo van der, organ shut-__ Isidore of Seville, p. 293 (on Sibyls)

Hayne de Bruxelles, Madonna in Half. ters of Sir Edward Bonkil (Donor’s _Italianism, in 14th cent. painting: p. | Length, Kansas City, W. R. Nelson Portrait, James III of Scotland and 25 (Austria); p. 24, note 26’

Coll., p. 297 £, notes 152°, 297 *; Family, Trinity), pp. 335 f., 338, (Avignon); p. 26 (Bohemia); p. |

text ill. 60 344; figs. 467-469 25 f. (England); pp. 26-27, 29-31

“Hayne, jone peintre,” active at Cam- Honoré, Maitre, pp. 15, 29, 35; note (French and Franco-Flemish art);

brai, note 297 * 15°, See also Paris, Bib. Nationale, p. 24 (Spain). In 15th century

Heda, Willem Claesz., p. 322 ms. lat. 1023 painting: p. 58, note 58* (Bouci-

“Hennessy Hours.” See Brussels, Bib. Honorius of Autun, p. 145 caut Master); pp. 335, 343 (Hugo

Royale, ms. II, 158 Hooch, Pieter de, pp. 236, 280 van der Goes); pp. 43-45, 47-49

Heere, Lucas de, note 215 * Hoogstraaten near Brussels. Church: (Jacquemart de Hesdin); p. 63 f. Heine, Heinrich, note 281° (on Infancy scenes (after Master of (Limbourg brothers); pp. 349-351

Herodias) Flémalle?), p. 161 (Memlinc); pp. 273-275, 281 f,,

Henry V, King of England, pp. 68, Hopfer, Daniel, Portrait of Kunz von 287 f. (Roger van der Weyden).

118; note 116° der Rosen (etching), note 203‘ In 16th cent. painting: pp. 351,

Henry VI, King of England, note 118° Fiouston (Texas). Mus. of Fine Arts, 353-356 Henry II, Emperor of Germany, note Straus Coll.: Weyden, Roger van Iverny, Jacques (attr.), Nine Heroines,

271 * der (replica), Madonna in Half- Castello della Manta (Piedmont), Escorial, ms. Vitr. 17 fig. 375

Henry III, Emperor of Germany. See Length, pp. 296, 317; note 3177; note 281°

Heraclius (Roman emperor), medal pyyerne, Christopher van, note 206* Jacob van Almangien, member of the

of, p. 64 ee humility posture, not favored in French Confraternity of Our Lady at

Herimannus Contractus, hymn : ?and f the attr. to, note 158° ; JacquelineNativity of Holland, Bavaria Heraclius, p. 151 (on oil p ainting) and Franco-Flemish art, p. 128 f. Hertogenbosch, note 357°

Hérinnes, Charterhouse of, notes 248°, Ibycus, note 349 Hainaut, P P. ad 155, 178, 2393

284° Indianapolis. Dr. G. H. A. Clowes notes 155°, 239 217, 264 f. notes 114°"°; fig. 165 56 f., 59, 61-63, 77, 82, 94, 99 £,,

Herkinbald, Count of Bourbon, pp. Coll.: Book. of Hours, pp. 114, 117; Jacquemart de Hesdin, pp. 42-49, 51,

Herlin, Friedrich, note 308° Inghelbrechts, couple, pp. 164, 174. III-I14, IQ E, 149, 159 Ef 262, Herman of Cologne, assistant of Jean See also Master of Flémalle, 304; notes 41°, 42°", 47°", 80°.

Malouel, note 83°merly mek. near11060/61; Tongerloo (for-Paris, eobaile Brussels, an Royale, ms Lh: Bib. Nationale,

Head of Landebere tes 45; note 278? Innsbruck. von Oppolzer Coll. (for- mss. lat. 919, 18014; Paris, RothHesdin, Jacquemart de. See Jacquemart merly): Eyck, Jan van (after), schild Coll., Trés-Belles Heures de

“Heures d’Ailly”” See Paris, Maurice Holy Face, note 187+ Notre Dame; Turin, Mus. Civico,

de Rothschild Coll. See Isaak, Jacques, tombstone of inp.Tournai ay an ditto Royal Library (de“Heures de Savoie.” Portsmouth, Cathedral, 81 stroyed), Cath. Episcopal Library Isabella of Bavaria, wife of Charles VI James IU, King of Scotland, p. 335 f.;

Hildesheim. Cathedral (Treasury): of France, p. 83; note 69°. Hours Portrait of, fig. 467 a Collectarium, note 212° of, whereabouts unknown, note James IV, King of Scotland, p. 335;

— St. Godehard’s (Treasury); Albani 52° Portrait of (as Crown Prince), fig. Psalter, p. 273 Isabella of Bourbon, tomb of in St. 467 a —St. Michael’s: Ascension and Noli Michael’s at Antwerp (destroyed James, Henry, pp. 165, 195; note 348’

me tangere (bronze doors), note excepting effigy in Antwerp James, William, p. 195 f.

225 Cathedral), note 291 ‘ “Jaquelotte.” See Daret, Jacques 552

INDEX Jean le Bon, King of France, pp. 36, 75, Joris de Gavere. See Gavere, Joris de Lagrange, Cardinal, tomb of, Avignon,

170; Portrait of, fig. 28 Joseph, St, pp. 70, 105, 164 f.; note Mus. Calvet, p. 74 Jean d’Arbois, painter from Franche- 125” (role in Infancy scenes) Laib, Conrad, Calvary, Vienna,

Comté, p. 83 Jouvenel des Ursins, Guillaume, Por- Gemaldegalerie, p. 304 f. Jean de Cambrai, pp. 77, 80 f. trait of. See Fouquet Lamentation of Christ, pp. 23 f., 44, Jean de Liége, pp. 77, 81 Juan II, King of Spain, note 259° 50, 261 f.; note 447

Jeanne de Bourbon, wife of Charles V Julian, St., note 234° Lannoy, Baudouin de, p. 197; Portrait of France, p. 42; note 42° Julian the Apostate, pp. 327, 329 of, fig. 260; daughter of, p. 292 Jeanne d’Evreux, wife of Charles IV Jupiter, Birth of. See Paris, Bib. Lannoy, Jeanne de, note 61°. See Balti-

of France, p. 29. Breviary of, see Nationale, ms. fr. 22552 more, Walters Art Gallery, ms. 281 Chantilly, Mus. Condé, ms. lat. Justi judices, p. 216 £.; notes 217°, 227° Laon. Mus. de la Ville: diptych ascribed

1887; Hours of, see Paris, Roth- justice pictures, pp. 217, 247 f£, 253, to Master of the Grandes Heures schild Coll. 264 f., 351 | de Rohan, note 74* Jeanne II de Navarre, pp. 34, 43. See Justus van Ghent. See Ghent, Joos van = Last Judgment, pp. 238, 268-272. See

Paris, Rothschild Coll. Justus of Ravensberg, Annunciation also Commendatio animarum; Man Jeanne de Savoie, daughter of the Duc fresco, Genoa, S. Maria di Castello, of Sorrows, Ostentatio vulnerum;

de Berry, note 3297 note 305” Psychostasia

Jerome, St, pp. 58, 189 f., 249; notes Le Févre de St. Remy, Jean, called 58*, 189%, 249° (iconography); Kammermaister, Sebastian, note 206* “Toison d’Or,” pp. 274 f£. 294;

note 278.7 (on ox and ass in Kane, John, p. 99 notes 2757”

Nativity) Kansas City. W. R. Nelson Coll. Leeuw, Jan de, goldsmith, p. 198 f.;

Joan of Brabant, p. 291; tomb of in PAINTINGS: Anon. (formerly called Portrait of, fig. 265 Carmelites’ Church at Brussels French), Musical Angels, notes 67°, Leeuw, Jan van (the “Good Cook of

(destroyed), note 291 * 221"; Hayne de Bruxelles, Ma- Groenendael”), p. 108. See Brussels, Joan, Queen of Naples, note 26 * donna in Half-Length, p. 297 f., Bib. Royale, ms. II, 138 Johannes Gerson. See Gerson notes 152°, 297°, text ill. 60 Leipzig. F. Becker Coll. (formerly): Johannes Hildesheimensis, p. 64; notes Kepler, Johannes, p. 11 Weyden, Roger van der (after),

64*, 136° keparivys, 6 (logical fallacy known as Christ Bearing the Cross (draw-

“Johannes pointre’ (identical with Jan “the horned man”), note 203° ing), notes 266°, 327°; fig. 391

van Eyck), p. 156 f.; note 165° Kerssenbroeck, Gisela van. See Gisela — Mus. der Bildenden Ktinste, parnt-

John the Baptist, St. pp. 214, 220 van Kerssenbroeck incs: Anon. (German), Nude (exceptional distinction in Ghent Key, Willem, Pieta, Munich, Alte Woman in Domestic Interior, note

altarpiece); p. 281 f., note 281‘ Pinakothek, note 261° 3°; Eyck, Jan van (attr.), Portrait (infancy); p. 281, mote 281° Kinship, the Holy, note 3277 of a Donor, note 203‘; Weyden, | (martyrdom); pp. 44 f£., 327-329, Klosterneuburg. Stiftsmuseum: Anon. Roger van der (after), Madonna, note 45° (life in the wilderness) (Austrian), altarpiece of 1324-1329, note 266” John of Bavaria-Holland, Bishop of pp. 25, 63, text ill, 21; Anon. Lemaire de Belges, Jean, note 334°

Liége, pp. 178, 239, 242, 245; note (Austrian), triptych, note 25° Leningrad. Hermitage: Master of

234° Koberger, Anton, note 2067 Flémalle, Madonna at the Fire-

John the Blind, King of Bohemia, p. 26 Kolberg. Marienkirche: chandelier, note place, pp. 128, 172 f., fig. 211;

John IV, Duke of Brabant, p. 2091; 146 * idem, Trinity, pp. 124 £, 172 £, note 291 ‘; portrait of, fig. 380 | Koninck, Philips de, p. 236 175, 235, 335 £., fig. 210

John the Fearless, Duke of Burgundy, Kottbus. Dr. A. Bum Coll. (formerly): — Public Library: ms. V.3.19 (Bible

pp. 62, 75 £., 81 f£., 83, 86, 118 f£, Book of Hours, pp. 103, 126, 2373 moralisée), note 213"

175, 210, 291; note 83°. Portraits notes 126%, 237°; fig. 127 Lenoncourt, Robert de, Archbishop of of, figs. 94, 378. See also London, Krafft, Adam, Tabernacle in St. Law- Reims, note 131 “

Brit. Mus., mss. Add. 35311, Har- rence’s, Nuremberg, p. 78 Leonardo da Vinci, pp. 158, 256, 350, ley 2897; Paris, Bib. de Arsenal, Krakow. Czartoryski Mus.: ms. 2943 354-356; p. 57 (on aerial perms. 3193; Paris, Bib. Nationale, (Book of Hours), notes 99 *, 1227, spective); p. 341 (on decorum).

ms. lat. Nouv. Acqu. 3055 122°, 241° PAINTING: Leda (after), p. 281. p. 294 note 209” (on pageant based on Castle, note 355°; Ugly Old Man

John I, Duke of Cleves and Ravestein, Kronyk van Vlaenderen, pp. 215, 229; DRAWINGS: caricatures, Windsor

John of Salisbury, Bishop of Chartres, Ghent altarpiece) (engraving after by Wenzel note 146° “Kufic” inscriptions, p. 84; note 84° Hollar), p. 355; Ugly Old Woman

Joinville, le Sieur de, Vie de Saint Louts. (after), Windsor Castle, p. 355 See Paris, Bib. Nationale, ms. fr. Lactantius, p. 293 (on Sibyls) Leopold Wilhelm, Archduke of Aus13568 La Ferté-Milon, Church, Coronation of tria, note 203 * Joos van Cleve. See Master of the the Virgin (relief), pp. 77, 80; text Leucippus, p. 10

Death of the Virgin ill. 37 Leurence Polette, mistress of Robert

Joos van Ghent. See Ghent, Joos van La Tour, Georges de, p. 325 Campin, p. 155

553

INDEX Leyden, Jan van, note 345° — (after), The Magdalen in Half- ms. Harley 2897 (Breviary of John Leyden, Lucas van, pp. 322, 345, 356 Length (two specimens), note the Fearless), notes 62°, 76*, 82°.

Liége. University Library: ms. 35 (Book 275 ° See also London, Brit. Mus., ms. of Hours), pp. 104-106, I11, I14, — (after), Portrait of a Lady, note Add. 35311

notes 104°", 1067, 107°, 112’, 292° ms. Harley 2982 (Book of Hours),

2427 298 * 104 *

118 *, 193*; ms. W.13 (Hours of Master of the Exhumation of St. note 1247 Gysbrecht van Brederode), note Hubert (attr.), Procession, note ms. Kings 5 (Biblia Pauperum), note |

Lievens, Jan, pp. 158, 324 ILLUMINATED MANUSCRIPTS: ms. Royal 1 E IX (Bible erroneously Lille. Mus. des Beaux-Arts: Bouts, Dirc, ms. Add. 7970 (Book of Hours), note called “Bible of Richard II’), p.

Reception of the Elect in Paradise, 263 * 116; notes 116%, 118°

p. 318 ms. Add. 10290 (Chess Book), p. ms. Royal 2 A VIII (Book of Hours), — St. Peter’s: tomb of Louis de Male 108; note 108 * notes 122°" (destroyed), p. 291; note 291‘ ms. Add. 16697 (Book of Hours), ms. Royal 2 A XVIII (“Beaufort

Limbourg brothers. See Malouel, Paul note 59° Hours”), pp. 116 f., 123; notes

etc. ms. Add. 16998 (Book of Hours), 116°, 118°, 122°, 193°; figs.

Limburg-on-the-Lahn. St. George’s: PP. 116 Es 122; notes 116%, 117°; 173) 174

Samson (mural), ‘note 1377 122°, 128°; figs. 170-172 ms. Royal 2 B VII (“Queen Mary’s Lippi, Fra Filippo, p. 278 ms. Add. 18213 (Book of Hours), Psalter”), note 327+ Lisbeth van Duivenvoorde. See Dui- p. 122; notes 122°; figs. 179, 180 ms. Royal 17 E VI (Bible historiale),

venvoorde ms. Add. 18850 (Hours of the Duke note 36?

Lisbon. National Archives: Duarte of Bedford), notes 61 , 66 ms. Sloane 3983 (Astrological treaHours, p. 122; note 1224, fig. 104 ms Add. 18851 (Hours of Isabella of tise), p. 107; note 107°

Liverpool. Walker Art Gallery: Master pain), note 128 , ms. Yates Thompson no. 27 (Hours of Flémalle, Descent from the ms: Ae ‘ 22288 (ire van pel) of Yolande de Flandre), p. 34;

. _ p- 9 +5 Mote go ; ng. Il notes 34°, 44

os ee 6p, ae a ms. Add. 24686 (Tenison Psalter), ms. Yates Thompson no. 57 (“Tay-

notes 1042, 176°, 256%, fig. 230: note 32 mouth Hours”), note 34°

Master of the Virgin among Vir- ms. Add. 29704-29705 (cuttings from OTHER OBJECTS: gins, Descent from the Cross, p. a Carmelite Missal), Pp. 1571185 Madonna of John Grandisson, Bishop

323, fig. 438 notes 114°, 115°, 117", 118°; of Exeter (ivory), note 207;

Livy, pp. 28, 38; note 184? figs. 166, 167, 169 Man of Sorrows (Flemish woodcut), Lochner, Stephan, p. 306. works: ms. Add. 35311 (Breviary of John Pp. 124, note 124", text ill. 44; Cologne, Wallraf-Richartz Mus., the Fearless), notes 62°, 76 » 82", reliquary of Louis of Orléans (“Rel-

Last Judgment, pp. 101, 269 £, 237 ‘. See also London, Brit. Mus., iquary of the Holy Thorn”), pp.

272; Darmstadt, Landesmuseum, ms. Harley 2897 ; 69, 77

Presentation of Christ, p. 288, note ms. Add. 38527 (Spieghel der Maegh- — A. Chester Beatty Coll. (formerly):

5012 den), p. 99 f.; note 99°; fig. 119 “Neville Hours,” p. 116; note Lomellino, Giovanni Battista, note 27 ms. Add. 42131 (Psalter and Hours 116°. Cité de Dieu, see CamLondon. H. Baker Coll. (formerly): of the Duke of Bedford), pp. 116, bridge (Mass.), Philip Hofer Coll. Massys, Quentin, “The Ugly 118; notes 116°, 118°; figs. 176- —Chillingworth Coll. (formerly):

Duchess.” See London, Natl. 178 Master of Flémalle (?), Portrait Gallery ms. Add. 44949 (English 14th cent. of a Musician. See New York,

— Viscount Bearsted of Maidstone Psalter), note 26 Mrs. J. Magnin

(formerly W. H. Samuel): Wey- —- ™5- Arundel 28 (Occleve, De regi- —L. Hirsch Coll.: Goes, Hugo van

den, Roger van der, Portrait of a mine principum), p. 117; note der (follower), Fall of Man, p.

Young Man in Prayer, p. 294 117 347

—Berstl Coll. (formerly): Anon. ms. Domitian A XVII (Psalter of © — Holford Coll. (formerly): Master of

(French), Lamentation, p. 85 Henry VI), note 118° the Death of the Virgin, Holy

— British Museum ms. Egerton 859 (Prayer Book, per- Family. See Lugano, Thyssen Coll.

DRAWINGS: haps of Mary of Cleves), pp. 106, _—Lambeth Palace: ms. 69 (Chichele Anon. (Flemish), Head of the Mag- 128; notes 106,° 128”; figs. 133, Breviary), p. 116 f.; notes 116°,

dalen (rather than the Virgin 134 117°, 118°; fig. 175

Mary), note 299* ms. Egerton 1864 (Genesis), p. 26 — Lady Ludlow: Memlinc, Madonna Eyck, Hubert or Jan (attr.), Betrayal ms. Harley 603 (Psalter), note 13 * in Half-Length, note 296°

of Christ, note 233° ms. Harley 2784 (Book of Hours), — Lady Evelyn Mason (heirs): Master

Weyden, Roger van der (attr.), The note 122° of Flémalle (attr.), St. George on

275°, fig. 384 note 1267 273.

Magdalen in Half-Length, note ms. Harley 2846 (Book of Hours), Horseback, notes 174*, 298°; fig.

554

{

INDEX — Eric Millar Coll.: Book of Hours, p. — The Earl of Powis: Weyden, Roger Louis, Cardinal of Aragon, p. 206 f.

116 f., note 116” van der (workshop), Pzet@ with Louis the Bearded of Bavaria, p. 304 — National Gallery St. Jerome, St. Dominic and Donor, Louis IX, King of France (Saint

PAINTINGS: note 261° Louis). See Paris, Bib. Nationale,

Anon. (Austrian), Trinity, note 67? —Count Seilern Coll, ParnTNes: mss. fr. 5716, 13568, lat. 10525

Anon. (English), The Wilton Massys, Quentin, Madonna Stand- Louis the Great, King of Hungary, Diptych, pp. 118, 130, 264; notes IN’, P. 353 f., note 175; fig. 490; note 26“

118°", fig. 181 Master of Flémalle, Entombment [ouis de Male, Count of Flanders, pp.

Anon. (Flemish), Christ Appearing triptych, pp. 160-162, 165, 235, 40, 75, 210, note 41°; tomb of in

to His Mother, note 2644 298 f., 304, figs. 196, 197. ILL. St. Peter’s at Lille (destroyed), p.

Anon. (Flemish), Portrait of a MANUSCRIPT: Book of Hours, p. 291, note 291 °

Young Man, note 199* 62; note 62 Louis of Orléans, Regent of France,

Bouts, Dirc, Entombment, pp. 315, — Westminster Abbey: Shrine of Ed- pp. 76, 119; notes 55°, 298% See

321; fig. 420 ward the Confessor and Tomb of London, Brit. Mus., Reliquary

— Madonna in Half-Length, pp. 317, Henry Ill, note 20 Louis, Duke of Savoy, p. 291; notes 326; notes 296%, 3437; fig. 426 —H. Yates Thompson Coll. (for- 291 ‘, 300°; portrait of, fig. 381 — Portrait of a Young Man, pp. 316 men'y)) ILL. Bastard of aan Louvain. Mus. de la Ville: Master of

f., 349; note 251; fig. 422 of Jean re no's, Bastar ° ra lige Flémalle (workshop), Trinity with

Christus, Petrus, Portrait of a Donor, heck 95» 307 3) fh0UurS °F. E me Four Angels, p. 175

p. 313; notes 477, 106%, 316° . ye cen’ ote 122 ; Book — St. Peter’s: Bouts, Dirc, Altarpiece — Portrait of Sir Edward Gryme- os , on Tournat, note 31 . of the Sacrament, p. 318 f., figs. stone (on loan). See Corhambury aymout Hours, how London, 427-430; idem, Martyrdom of St.

David, Gerard, Betrothal of St. Brit Muse ous : “te Fle ie Erasmus, p. 318, note 342° Catherine, p. 352; figs. 485, 486 57: der ee Th e Flandre, 1 udlow (Shropshire). Church: Ugly Eyck, Jan van, Portrait of Giovanni ne soiaem, Xates thompson ms. Old Woman, (wood-carved miseri-

Arnolfini and Jeanne Cenami, pp. . . chord), p. 356; line cut, p. 355

39 7» 174, 181, 193, 201-203, 239; Porenzetth Ambrogio , re > 37s 86, Ludolf of Saxony, p. 262; note 2637

244 f., 252, 283, 293, 302, 306; notes 198s Motes 03 > 202°. WORKS: (on Christ’s Appearance to His

1 3,4 . F Siena, Accademia, Annunciation,

208 2 203 02 207 3 NB. 247 p. 19, note 48°; ibidem, Lamenta- Mother)

ban (self-portrait?), p. 198 f., 201, 2 3T > af with £ .S Pal Heiligenthal, . 864 5024 210% fig. 262 our saints, p. 19; Siena,St. Pal.Andrew Baptiz-

— Portrait of a Man in a Red Tur- tion. note 212: ibidem. Madonna Liimeburg. Nicolai-Kirche: Master of

2933 NOTES OO 28? Oe Pubblico, Allegories of Good and ing the Wife of the Proconsul of

—Portrait of “Timotheos” (Gilles 8 Greece. See Master of Heiligenthal Binchois?), pp. 196-201, 222, 290 Bad Government (murals), pp. _ .

) : 1 222, 19, 264, text ill. 18; Siena, S. Lutzschena. Speck von Sternburg Coll.:

f., 310; notes 186 » 206°; fig. 261 Francesco, Martyrdom of Fran- Anon. (Flemish), Group of Jews Geertgen tot Sint Jans, Nativity, p. ciscan Missionaries (mural) defeated by the Church (drawing),

325 f.; Florence, note 278°; fig. 448 maa 4, Roger , of 141; Uffizi, Presentation notes ,108 » 203 31Weyden,

Massys, Quentin, “The Ugly Duch- of Christ, pp. 19, 87 £, 141, text van der, Visitation, pp. 158, 252,

ess’ Hugh ; 9 16; Ee?Paris, 7? 300 f., 315; notesof301; Baker(formerly Coll.), p. London, 355 £3 fig. 403 ill. Louvre, Infancy ” ’ »fig. Tg.311

Master of Delft tri ch note 218° St. John the Baptist (follower), Tugano. Thyssen Coll.

M ¢ the E ad “on ofS note 2814; lost Annunciation, p. PAINTINGS:

hbubert, ° EEX7 umation von af° rSt i b t 48, note 48 * (formerly) Bouts, Dirc, St. John the t. eiubert, Lorenzetti, Pietro, pp. 19, 168; Siena, Baptist. See Cleveland, Mus. of Art

P- 321; notes 298*, 321°; fig. 397 ;

’ 3 . no ,

Mast ‘ € Flémall , (attr ‘ Death Opera del Duomo, Birth of the Christus, Petrus, Madonna in Half-

, ‘the Vis in a . ‘ yy nica Virgin, P. 19, text ill. 17 . Length, p. 313; note 297°

—Madonne . Pe oe = inteticr “Lorenzetti, Ugolino.” See Bulgarini Daret, Jacques, Nativity (formerly (“Salting Madonna”) 8 a6 Lorenzo Monaco, Entombment (attr.), New York, Morgan Library), pp. t 66 6 73, 183 1 Poss: ° oe , Princeton, Art Mus. note 274 | 127, 158; notes 104%, 2781; fig. 233

17 4! 5 44°: fig 203 ° , eee ape Casa, legend of, p. 30; David, Gerard, Crucifixion (after — Portrait of a Gentleman, p. 172; Lorrain, Claude, p. 318 Master of sumale), pp. 176 f, fig. 217 Los Angeles. County Mus.: Christus, * » MOTE 207 5 NE. 229 — Portrait of a Lady, p. 172; fig. 218 Petrus (attr.), Portrait of a Young Eyck, Jan van, Annunciation, p. |

Memlinc, Hans, Portrait of a Young Man, note 311° 192; fig. 253 _

Man in Prayer, note 294” Louis I, Duke of Anjou, pp. 38-40. See Master of the Death of the Virgin,

Weyden, Roger van der (attr.), Angers, Mus. des Tapisseries Holy Family (formerly London, Portrait of a Young Lady, p. 294 Louis II, Duke of Anjou, p. 171. See Holford Coll.), p. 354; fig. 496

259; fig. 316 1156 A 329°

—The Magdalen (fragment), p. Paris, Bib. Nationale, ms. lat. | Memlinc, Hans, St. Veronica, note

555

INDEX Weyden, Roger van der, Madonna in — wings of a triptych (St. John the —and Bellechose, Henri, Martyrdom

a Niche, pp. 146 f., 251 f.; notes Baptist with Heinrich of Werl and of St. Denis, pp. 83-85, 87, 149,

252%, 2587; fig. 306 St. Barbara), pp. 173 f. 255 f, 159, 168; note 160°; fig. 100

— Portrait of a Gentleman, pp. 292, 264; notes 174*, 251°, 252", 265°; Malouel, Pol, Herman and Jehanequin

294; fig. 364 | figs. 212-214 (“Limbourg brothers”), pp. 61-

Luke, Bishop of Tuy, note 18* (ob- Memlinc, Hans, Adoration of the 66, 76, 82 f., 87, 97, 101, 149 f, jecting to “three-nail” Crucifixion) Magi, p. 350; fig. 479 166, 171, 181, 204; 231; 302, 3043 Luke, St., painting the Virgin, p. 253 f. Orley, Bernard van, Madonna Stand- notes 42°, 45; 61°, 62°, 100°.

Luther, Martin, pp. 1, 39; note 3047 ing, p. 352 See Chantilly, Mus. Conde, Tres

Lydgate, John, note 357* Weyden, Roger van der (after), Riches Heures; London, Brit. Mus., Lydwina, St. woodcut in Life of Crucifixion, note 267 * mss. Add. 35311 and Harley 2897;

:t.t

(Schiedam, 1478), p. 256 f. — (formerly Escorial), Descent from random Count Seilern Coll.; Paris, Lyons. Aynard Coll. (formerly): Anon. the Cross, pp. 167, 169, 256-258, Bib. 4. mss. fr. 166, lat. 18014;

a rés-Be $

(Bolognese), Calvary and Noli me 265-267, 274, 276, 288, 293, 298, P. Ny ORs ewes

82 3075 3095 315» Quen373: 3°353; 339)notes 34" 176°, Notre266°; Dame.figs. See251, also., ans, P is, — fangere, Mus. desp.Beaux-Arts: Massys, tin, Madonna Standing (replica), 314, 315 youre, Portrait of John the FearP. 353; note 175” — Madonna Enthroned (“Madonna Mal D Perrins Coll.: Gorl

Duran”), pp. 250, 353} notes 258%, alvern. 3 yson crrins or orle-

Maaseyck, probable birthplace of 297°; fig. 317 oat sewer Pk ; Hours” ? Note Hubert and Jan van Eyck, p. 178; — (workshop), Peta with St. John i 3 2 ones one Convent of St. Agnes, gift of Jan the Evangelist and Donor, note 44, o¢ 5 ;

van Eyck to, note 178° 261 * an oO voa® & PP. 43 see Ted. 326;

Machaut, Guillaume, P- 150 — (formerly attr.), triptych errone- c 1 Owen F ho me wast Ju gment

Maci, Jaquet, note 32 ously called the “Cambrai altar- Manchester. John Rylands Library:

Macinghi-Strozzi, Alessandra, p. 2. piece,” notes 194%, 283°, 285°, . y y: Macon. Siraudin Coll.: Book of Hours, 302? ms. 19 (Apocalypse), p. 38, note note 327° . ; Maelbeke, Nicholas van, Abbot of St. 38 , . ‘ note her (woodcut

Madonna with Writing Christ Child, Martin’s at Ypres, p. 190 f.; altar- rom Buxheim), p. 123 PP. 47 f., 99, 1133 note 48 piece of, see Eyck, Jan van, where- Mander, Carel van, p. 324 f,, notes

Madrid. Lazaro Coll.: Massys, Quentin abouts unknown 243°, 327° (on Geertgen tot Sint (follower), Descent from the Cross Maerlant, Jacob van, Bible in Rhymes, Jans); pp. 243, 314, 320, note

in half-length figures (after Roger p. 98 See Amsterdam, Royal 243* (on Ouwater and “school of

van der Weyden), fig. 395. Cf. Academy of Sciences Haarlem”); note 331° (on Hugo

note 266° Magdalen, the, embracing the Cross, van der Goes); p. 249, note 249° — National Library: ms. Vit 25-5 pp. 26, 267; notes 26%, 51° (on Roger van der Weyden)

(Book of Hours), note 34 Magdeburg. Domgymnasium: _ SS. Manetti, Gianozzo, on Timotheos, note

— Prado Christopher and Anthony (Flem- 197 *

Magi, 8323°,261’,4note62° Gard f L 61, 64,note 70, 286 f.; notes 202

PAINTINGS: ish woodcut), note 118° Manresa. Church: Christ Appearing to

Bosch, Jerome, 1 Adoration of the Magi, Adoration and Meeting of, pp. His Mother (Spanish altarpiece),

~ a cA oO usts, PP- 239, 3573 837 “Mansel Master.” See Master of Jean

tion, Nativity, Adoration of the ,

Bouts, Dire Annunciation, Visita Mahiet. See Maci, Jaquet Mansel _) ia . Maidenhead. Stubbings House, Merton Mantegna, Andrea, p. 111; Madonnas Magi ta £., 201 £.: note 2202: Coll.: Weyden, Roger van der, (Verona, S. Zeno, and Paris, 5 ® ? P P. ; 4 ty 320 Bs 33° 3 Portrait of Guillaume Fillastre, p. Louvre), p. 163; note 163 *

8S. 414~417 292°; fig. 362 Marcello, Benedetto,,Alexander’s Feast, Eyck, Jan292; or note Hubert van (supposedly ° after), Fountain of Life, p. 216: Maitre aux Boquetaux. See Bondol note 197 notes 108 1 5034, 2154 7 ee"? Malet de Berlettes, Thomas, note 61°. Marcia, classical paintress, p. 171

Gossart, Jan, Deésis, p. 353; note See Baltimore, Walters Art Gall., Margaret of Austria, Governor of the

320 7m fig. 488 , , ms. 281 Netherlands, p. 352; inventories of,

Master of Flémalle (after), Annun- Malines, Schepenhuys, carved corbels, p. 201, note 286 *

ciation, pp. 133, 175; note 307‘ p. 81 Margaret of Burgundy, wife of William _ «nit Malouel,ofJean, 83-86,pp. 97, 149, Betrothal the pp. Virgin, 136,155; | 9 VI of Bavaria-Holland, notes 106 ,” 142, 160-162, 165, 169, 304; notes 168, notes 28%, 83°, 84°, 85° 155°, 239° 123+, 2307; fig. 199 Trinity tondo, Paris, Louvre, pp. Margaret of Denmark, wife of James

— SS. James the Great and Clare, p. 73, 84 f., 168 £., notes 160°, 326°, III of Scotland, p. 335 f.; Portrait

161 f.; fig. 200 fig. 101 of, fig. 467 5 556

INDEX Margaret of Flanders, wife of Philip Clemente, Death of St. Ambrose, Master of Augustus and the Sibyl, p.

the Bold of Burgundy, pp. 75, 79; pp. 1, 7, text ill. 1; Washington, 347

Portrait of, text ill. 42 Nat. Gall. (formerly New York, Master of the Banderoles: Descent

Margaret of York, wife of Charles the Henry Goldman Coll.), Annunci- from the Cross (engraving), notes

Bold of Burgundy, p. 330; note ation, p. 254 176°, 266°; Madonna with the

330 * Massonier, Pierre, p. 28 Flower (engraving), note 252*

Marmion, Simon, note 27°; altarpiece Massys, Quentin, pp. 171, 191, 353-356. Master of the Baroncelli Portraits, p.

from St-Omer, Berlin, Kaiser works: Brussels, Mus. Royal des 346

Friedrich Mus., note 292° Beaux-Arts, Madonna Enthroned, Master of the Beaufort Saints, pp. 116,

marriage, symbols and gestures indica- p. 353, fig. 489; London, Nat. Gal- 122, 200; notes 116°, 122°° tive of, pp. 202 f., 283; notes 201 °, lery (formerly London, Hugh Master of the Berlin Passion, Annun-

202°, 203°, 313° Baker Coll.), “The Ugly Duchess,” ciation (engraving), note 129°

Marseille, Comte Demandolx-Dedons p. 355 £, fig. 493; —, Count Seil. Master of Catherine of Cleves. See Coll.: 17th cent. copy after Notre- ern Coll., Madonna Standing, p. Master of the Arenberg Hours Dame de Graces of Cambrai, note 353 £., note 1757, fig. 490; Lyons, Master of the Darmstadt Passion:

297 * Mus. des Beaux-Arts, p. 353, note Adoration of the Magi, Berlin,

Martin V, Pope, note 259° 175°; Madrid, Lazaro Coll., De Kaiser Friedrich Mus. p. 136;

Martin II of Sicily and Aragon, note scent from the Cross in_half- Madonna Enthroned, :bidem, p.

34° length figures (follower, after 306 f. .

Martin, Bishop of Mayo, p. 188 Roger van der Weyden), fig. 395 Master of the Death of the Virgin Martin le Franc, p. 150; note 150°. (see note 266°); Paris, Louvre, (Joos van Cleve?), works: CamSee Paris, Bib. Nat., ms. fr. 12476 Money Changer and Wife, p. 354, bridge (Mass.), Fogg Art Mus., Martini, Simone. See Simone fig. 491; ibidem, Pieta, note 261°; | Portrait of Roger Count BlittersMartins, Nabur, p. 340; note 161°. See —, Mus. Jacquemart-André, Por- wijk-Geldern (2), P. 354, notes

Ghent, Vieille Boucherie trait of an Old Gentleman, p. 294", 354°; Lugano, Thyssen Coll. Marville, Jean de, p. 78 354 £, fig. 492; whereabouts un- (formerly London, Holford Coll.),

Mary, Virgin, embracing the Cross, p. known (Swiss priv. coll.), Ma- Holy Family, p. 354» fig. 496; New

267, 298 f.; note 267° donna Standing, p. 353 f. York, Metropolitan Mus., A oly

Mary of Burgundy, wife of Adolph If Master Bertram. See Bertram Family, P ha ng. 4945 idem

1 . : 1 495; Princeton, Art Museum, St.

of Cleves, pp. 91, 106, 120; note Master E. S., St. John the Evangelist on ory Samy (replica), p. 354, fig.

106°. See London, Brit. Mus., ms. Patmos (engraving), note 45 5. Vi Egerton 859 Master Francke. See Francke Jerome d (at) Wal on. , ‘ ote

Mary of Burgundy, first wife of Master H. L., Last Judgment altarpiece se Be cnn SIONS A BNE

Maximilian I, p. 753 Hours of, see (relief), ; Niederrotweil Church, Mast te Delft, triptych, London, Nat.

Vienna, Nationalbibliothek, ms. note 272 Gallery, note 218°

1857 . Master M. B., Rest on the Flight, into Master of the Duke of Bedford, pp.

Mary of Guelders, née de Harcourt et Egypt (engraving), note 176 61, 103, 121; notes 61°, 242°, 307°. d’Aumale, wife of Renaud IV of Master of 1402, PP. 52-55; 58, 93; note See London, Brit. Mus., ms. 18850;

Guelders, pp. 91, 100-102; Prayer 52°. See Paris, Bib. Nat., mss. fr. Paris, Bib. Nat. ms. fr. 17294

book of, see Berlin, Staatsbibl., 598, 12420 Master of the Edelheer Altarpiece, note ms. germ. 4, 42 Z Master of 1456: Portrait of a Man with 301?

Mary of Savoy, wife of Filippo Maria Wineglass, Paris, Louvre, p. 307 £3; Master of the Ehningen Altarpiece,

Sforza, p. 175 Portrait of a Gentleman, Vienna, Ehningen altarpiece, Stuttgart,

Mary of Scotland, wife of James II, Liechtenstein Gall., p. 307 f. Landesmuseum, notes 263‘, 344‘

P. 335 Master of the Aix Annunciation, An- Master of the Embroidered Foliage, p.

Marzal de Sas, Andres (school of), nunciation triptych (now divided 346; note 266° diptych with Madonna and Calvary between Aix-en-Provence, Ste- Master of the Exhumation of St (“Carrand diptych”), see Florence, Marie Madeleine, Amsterdam, Hubert, note 301 *. works: Haarte| Mus. Nazionale. See also Philadel- Rijksmuseum, Brussels, Mus. Royal _ kamp near Haarlem, Mme. von phia, Penna. Mus. of Art (Johnson des Beaux-Arts, and Vierhouten, Pannwitz Coll., Dream of Pope Coll.), Nativity and Death of the van Beuningen Coll.), pp. 133 f, Sergius and Consecration of St.

Virgin 307 f.; notes 277, 305° Hubert, notes 174 *, 298’, fig. 306;

Masaccio, pp. 20, 166, 278, 281, 350; Master of the Albrecht Altarpiece: An- London, Brit. Mus., Procession

Pieta, Empoli, Collegiata, note nunciation, Berlin, Kaiser Fried- (drawing, attr.), note 298°;—,

274° rich Mus., p. 304 f.; Annunciation, Nat. Gallery, Exhumation of St.

Masmines, Robert de, p. 175; note Vienna, Gemaldegalerie, p. 304 f. Hubert, p. 321, notes 298%, 321 ‘,

294°; Portrait of, fig. 220 Master of the Arenberg Hours, pp. fig. 397

Masolino da Panicale, works: Castig- 103 f., 122, 176 f., 242; notes 102‘, Master of Flémalle, pp. 151-177 and

lione d’Olona, city prospect of 103", 118 *. See Nordkirchen, Duke passim (general); pp. 154-158

, — 557

Jerusalem, p. 235; Rome, S. of Arenberg Coll. (probable identity with Robert

INDEX Campin); pp. 154-158, 168 f., 232, 242, 267, 302, 341, notes 104°, of a Princess (Mary of Savoy?), 254-256, 298-302 (non-identity 176 °, 256°, fig. 230; London, Lady p. 175, fig. 221; Westerloo near with Roger van der Weyden); Evelyn Mason (heirs), St. George Tongerloo, Countess de Mérode pp. 104, 122 f., 176 f£., 232 £, 242 on Horseback (attr.), notes 174%, (formerly), Annunciation triptych

(copied by book illuminators); 298°, fig. 273; —,Nat. Gallery, (“Mérode altarpiece”), pp. 120, pp. 303-307 (influence outside the Death of the Virgin (attr.), p. 133, 136, 142 f£., 164-166, 173 f, Netherlands). works: Aix-en- 175 f.; ibtdem, Madonna in domes- 222, 235, 255, 300, 304 f, 311, Provence, Mus. Granet, Madonna, tic interior (“Salting Madonna”), notes 222”, 305°, fig. 204; wherepp. 169 f., 172, fig. 209; Berlin, pp. 128, 163 f£., 166, 173, 183, 252, abouts unknown, Madonna in Kaiser Friedrich Mus., Adoration 255, notes 174*, 244°, fig. 203; Domestic Interior (allegedly after), of the Magi (after), pp. 158, 160, ibidem, Portrait of a Gentleman, p. 176. See also David, Gerard, 175, fig. 223; tbidem, Calvary p. 172, fig. 217; 2bidem, Portrait of Lugano, Thyssen Coll., Crucifix(attr.), pp. 176, 298 f., 302, notes a Lady, p. 172, fig. 218; —, Count ion; Coter, Colin de, St. Luke 174°, 267°, fig. 398; «bidem, Seilern Coll., Entombment triptych, painting the Virgin Madonna of Humility (attr.), pp. pp. 160-162, 165, 235, 298 f., 304, Master of the Gardens of Love, Great 128, 160, 162, 175, note 252", fig. figs. 196, 197; Louvain, Mus. de la Garden of Love (engraving), note

198; zbidem, Portrait of a Man in Ville, Trinity with Four Angels 203° a Turban (attr.), p. 175; zbidem, (workshop), p. 175; Madrid, Master of Gilbert of Metz, pp. 121,

Portrait of Robert de Masmines Prado, Annunciation (after), pp. 123, 126 | (attr.), pp. 175, 257, 354, note 133, 175, note 307°; ibidem, Be- Master of the Grandes Heures de la

| 294*, fig. 220; ibidem, Vengeance trothal of the Virgin, pp. 136, 142, famille de Rohan, pp. 74, 262; of Tomyris (after), p. 175, fig. 160-162, 165, 169, 304, notes 123’, notes 61° 67°, 74°. See Paris, Bib. 224; Braunschweig, Landesmu- 230°, fig. 199; ibidem, SS. James Nat., ms. lat. 9471

seum, Jael Slaying Sisera (drawing the Great and Clare, p. 161 f., fig. Master of Heiligenthal, St. Andrew

after), p. 175, fig. 225; Brussels, 200; ibidem, wings of a triptych Baptizing the Wife of the Procon-

G. Miller Coll., Madonna of (St. John the Baptist with Hein- sul of Greece, Liineburg, NicolaiHumility (after), pp. 128, 143, 175, rich of Werl, St. Barbara), pp. Kirche, p. 306; note 194°; text ill. fig. 226; —, Mus. Royal des Beaux- 173 f£., 255 f£., 264, notes 174°, 63 Arts, Annunciation (after), note 251°, 252°, 265°, figs. 212-214; Master of the History of St. Joseph, 164°; ibidem, Portraits of Barthol- New York, Kress Foundation (on History of St. Joseph, Antwerp, omew d’Alatruye and Wife (after), loan to the National Gallery, Cathedral, notes 194°, 283‘, 3017 p. 175; Cambridge (Mass.), Fogg Washington), Madonna Enthroned Master of the Holy Blood, Descent

Art Mus., Good Thief (drawing, with SS. John the Baptist, An- from the Cross in half-length figattr.), note 167°; Dijon, Musée de thony, Catherine, and Barbara ures (after Roger van der Weyla Ville, Nativity, pp. 126 f., 136, (follower), note 174*; —, Mrs. J. den), New York, Metropolitan 158-160, 162, 165 f., 278, 2098 f, Magnin Coll. (formerly London, Mus., note 266° 304, 311, notes 123%, 174°, 265°, Chillingworth Coll.), Portrait of a Master of the Holy Kinship (the figs. 201, 202; Frankfort-on-the- Musician (attr.), note 171°, fig. Elder), Holy Kinship, Cologne, Main, Stadelsches Kunstinstitut, 219; —, Metropolitan Mus., Ma- Wallraf-Richartz Mus., note 3277 Good Thief and Centurion, pp. donna in an Apse (after), pp. 175, Master of the Hours of the Maréchal 167 f., 256, 302, figs. 205, 250; 352 f., fig. 222; zbidem, Portrait de Boucicaut, pp. 53-62, 66 f., 74, ibidem, Madonna Standing, pp. of a Man in prayer (attr.), see 77, 84, 88, 92, 101, 103, 118, 121, 169, 257, 354, note 313", fig. 206; Weyden, Roger van der; Dr. E. 132 f., 149 f£., 159 f., 163, 183, 190, ibidem, St. Veronica, pp. 169, 192, Schwarz, Mass of St. Gregory 192, 204, 224, 260; notes 28%, 47°,

fig. 208; tbidem, Trinity, pp. 124 (after), p. 175, notes 175“, 298°, 54°, 56°, 58%, 61°, 92°, 118%, f., 169, 192, 259, fig. 207; Haarte- fig. 227; Paris, Louvre, Sacra Con- 121°, 244°. See Paris, Mus. Jacque-

kamp near Haarlem, Mme. von versazione (drawing after), pp. mart-André

Pannwitz Coll., Dream of Pope 173, 175, 235, 275, 352 f., notes Master of the Housebook, p. 324; note

Sergius and Consecration of St. 2527, 266%, fig. 231; Philadelphia, 324° Hubert (attr.), see Master of the Pennsylvania Mus. of Art (John- Master of Jean Mansel, note 61 ° Exhumation of St. Hubert; Hoog- ‘son Coll.), The Virgin Mary In- Master of the Krainburg Altarpiece, straatten near Brussels, Church, In- terceding with Christ, p. 174, note Lamentation, New York, C. Y.

fancy scenes (after?), p. 161; 294°, fig. 216; Roubaix, Mme. Palitz Coll., note 261 *

Leningrad, Hermitage, Madonna Reboux, Madonna (after the Master of the Legend of St. Barbara, at the Fireplace, pp. 128, 172 f., “Salting Madonna,” London, Nat. pp. 301, 346; altarpiece of Claudio fig. 211; zbidem, Trinity, pp. 124 f., Gall.), p. 163 f£, notes 1647”; de Villa, Cologne, Wallraf-Richartz | 172 £., 175, 235, 335 £, fig. 210; Tournai, St-Brice, Annunciation Mus., p. 301 Liverpool, Walker Art Gallery, (mural, attr.), p. 159; Washington Master of the Legend of St. Catherine

Descent from the Cross triptych (D. C.), Dumbarton Oaks Re- (Pieter van der Weyden?), pp. (after), pp. 167-169, 175 f., 203, search Library and Coll., Portrait 301, 346; Descent from the Cross,

558

INDEX Cologne, Franziskaner-Kloster, note Master of St-Jean-de-Luz, Portraits of Mus. Royal des Beaux-Arts, organ

266°; altarpiece of Claudio de Hugues de Rabutin and Jeanne de decoration from Santa Maria Real

Villa, Cologne, Wallraf-Richartz Montaigu, New York, John D. at Najera, p. 221, note 221”;

Mus., p. 301 Rockefeller, Jr., Coll., note 295* ibidem, Portrait of a Numismatist,

Master of the Legend of St. Godelieve, Master of St. John the Baptist, St. John p. 349, fig. 480; Berlin, Kaiser p- 346; St. Godelieve pentatych, the Baptist in the Wilderness (en- Friedrich Mus., Madonna in Half-

New York, Metropolitan Mus., note graving), note 45° Length, note 349°; zbidem, Portrait

216 *, 218° Master of St. Mark. See New York, of an Elderly Man, p. 349; Bruges,

Master of the Legend of St. Lucy, p. Morgan Library, quadriptych Hopital St-Jean, triptych of Jan

346 £. Master of the Sibyl of Tibur, p. 346 Floreins, p. 350, note 329°; zbidem,

Master of the Legend of St. Magdalen, Master of the Story of Joseph, p. 346 Martyrdom of St. John the Baptist,

p- 346 Master of the Tucher Altarpiece, note 281°; ibidem, Portrait of a

Master of the Legend of St. Ursula, p. p. 304 f. Lady, transformed into the Persian

346; St. Ursula diptych, Bruges, Master of the Utrecht Life of the Sibyl, p. 294; ibidem, Portrait of

Convent of the Black Sisters, note Virgin, note 100° Martin van Nieuwenhove, pp. 295, 346°; Christ Appearing to His Master of the View of Ste-Gudule, p. 349; thidem, Ursula Shrine, p.

Mother, New York, Metropolitan 346 f. 348; Brussels, Mus. Royal des Mus., note 263 * : Master of the Virgin among Virgins, Beaux-Arts, Portrait of an Italian

Master of the Liechtenstein Altarpiece, PP. 323 f£., 326, 329, 345; fig. 438. Gentleman, note 349"; ibidem,

p. 347. See Goes, Hugo van der See Amsterdam, Rijksmuseum; Portrait of William Moreel and (follower), Vienna, Liechtenstein Liverpool, Walker Art Gallery Wife, p. 349, note 294”; ibidem,

Gall. Master of the Vita Friderici, Nativity Sforza triptych (attr.), note 249°;

Master of the Martyrdom of St. Lucy, (formerly attr. to Altdorfer), note Chatsworth, Chatsworth Estates

p. 345 £. 278 * Company, triptych of Sir John

Master of Mary of Burgundy, notes Master of Zweder van Culemborg, pp. Donne of Kidwelly, p. 349 f., fig. 27 341, 263*. See Vienna, Staats- 102 f., 104, 126 f., 242; notes 100”, 476; Copenhagen, National Mu-

;St.>Magloire, bd p.361;°note461°.*See ye

bibliothek, ms. 1857 102“. See Bressanone, Episcopal seum, Portrait of an Italian GentleMaster of the Missel de [’Oratoire de Seminary, ms. C 20 man, note 349°; Danzig, Marien. 8 Matham, Theodore, Portrait of Geert- kirche, Last Judgment, p. 272; Paris, Bib. de l’Arsenal, ms. 623 gen tot Sint Jans (engraving), note Florence, Corsini Gallery, Portrait

Master of Moulins, p. 344 324 4 of an Italian Gentleman, note

Master of Otto van Moerdrecht, p. Matisse, Henri, note 5°, 73 349°; —, Uffizi, Madonna En-

; , Matteo da Viterbo, p. 24 throned (centralA panel 102 f. See Utrecht, Univ. Library, ; y:of .;a

ms. 252 Maupassant, Guy de, p. 53; notes 53°, triptych), p. 349; zbidem, Portrait

74° of de an Narbonne, Italian Gentleman, Master of the Parement it, 0p: note _ 4t, 44 £5 notes 412, 452. See Maximilian I, Emperor of Germany, 349° ibidem, Portrait of BenePP. 43; 44 *3 ‘ PP. 75, 344 detto Portinari, p. 349; Paris, Louvre, Parement de Narrt zbidem, : . . St. honne Medici, family, pp. 2, 189, 274 f.; in- Benedict, note 349°; Frankfort-on-

. ventories of, p. 189 (Eyck, Jan van, the-Main, Stadelsches KunstinstiMaster of the Pearl of Brabant (Dirc SPortrait 4Jo, .;of.a Man, p. 349; t. Jerome), note319; 273* (Entombtut, Bouts the Younger?), p. notes 3 ‘ , ment presumably identical with Granada, Capilla Real, Descent 317°, 319 *. See Bouts, Dirc (attr.), .

é , . that by Roger van der Weyden in from the Cross (after Hugo van Munich, Alte der Pinakothek; Vienna, 73387, .2 e Uffizi), note 313" (Portrait of der Goes), f., ;notes Baron van Elst Coll. ; 2p. 347thtchiyi

M € the Plavine Card a French Lady by Petrus Christus) 342"; Hague, The, Mauritshuis,

aster of the Playing Wards, P. 305 Medici, Cosimo Pater patriae, pp. 275, Lamentation, see Weyden, Roger

Master of the Polling Altarpieces 355 van der; ibidem, Portrait of a Man (Gabriel Angler?), p. 304 Meingre, Geoffroy le, brother of the in Prayer, p. 349; London, Lady Master of the Prayer Book of Mary of Maréchal de Boucicaut, note 55° Ludlow, Madonna in Half-Length, Guelders (“P assion Master )s PP» Meingre, Jean le II. See Boucicaut note 296°; —, Nat. Gallery, Por-

101, 104. See Berlin, Staatsbiblio- Meingre, Jean le III, p. 54 trait of a Young Man in Prayer,

thek, cod. germ. 45 4 Meit, Conrat, p. 74 note 294; Lugano, Thyssen Coll.,

Master of the St. Augustine, p. 346 f. Meleager, p. 24; sarcophagus, see Flor- St. Veronica, note 329°; Madrid,

Master of the St. Erasmus, Man of ence, Ramirez-Montalto Coll. Prado, Adoration of the Magi, p.

Sorrows (engraving), p. 124; text Melbourne, Nat. Gallery: Eyck, Jan 350, fig. 479; Milan, Casa Lam-

ill. 46 van, Madonna (“Ince Hall Ma- pagnano (formerly), Patron Mak-

Master of St. Giles, p. 346 f.; Baptism donna”), pp. 61, 144, 183-185, 191, ing up Accounts with Agent

of Clovis and St. Gregory Convert- 193 f., 199, 203, 222, 252, 259, 305, (attr.), p. 354, note 203° (see also

ing an Arian, New York, Kress 326; notes 203°, 305°; fig. 243 _ Eyck, Jan van); Munich, Alte Foundation (on loan to Nat. Gal- Memlinc, Hans, pp. 266, 330, 347-350; Pinakothek, “Joys of the Virgin,”

_ Tery, Washington), note 347° notes 203°, 298°. works: Antwerp, p. 350; tbidem, St. Jolin the Baptist

359

INDEX in the Wilderness, note 329°; New Moerdrecht, Otto van, Canon of Eyck, Jan van (after), Holy Face,

York, R. Lehman Coll., Portrait of Utrecht Cathedral, p. 102 f. See note 187° a Young Man, p. 349; —, Metro- Utrecht, University Library, ms. Key, Willem, Pieta, note 261°

politan Mus., Portraits of Tommaso 252 Memlinc, Hans, “Joys of the Virgin,”

and Maria Portinari, p. 348, notes ‘“Moerdrecht Master.” See Master of p. 350

294°, 313°; tbidem, Portrait of a Otto van Moerdrecht — St. John the Baptist in the WildYoung Fiancée, p. 349, note 349°, Molanus, Johannes (Jan Vermeulen), erness, note 329°

fig. 477; Paris, Louvre, Portrait of P- 319; note 147° Weyden, Roger van der, Columba an Elderly Lady, p. 349; zhidem, Monaco, Lorenzo. See Lorenzo altarpiece, pp. 70, 135, 249 f£., 254,

| Resurrection (central panel of a Monreale. Cathedral: Christ Healing 259, 266, 284, 286-288, 296, 341, triptych), p. 349; Stuttgart, Lan- the Palsied Man and Last Supper 350; notes 2617, 2957; figs. 352-

desmuseum, Bathsheba, p. 348; (mosaics), p. 17; text ills. 12, 13 356

Turin, Galleria Sabauda, Passion Montaigu, Jeanne de. See Master of — (after?), Descent from the Cross,

of Christ, p. 350; Venice, Ca d’Oro St.-Jean-de-Luz p. 266; fig. 393

(Galleria Franchetti), Portrait of Montauban. Mus. Ingres: Eyck, Jan —Bayrisches Nationalmuseum, PAINr-

an Italian Gentleman, note 349”; van (supposedly after), Portrait of Nos: Anon. (Bavarian) Pahl

Vienna, Czernin Coll., Presentation a Man, note 203° altarpiece, note 82”; , Anon. of Christ (two heads attr. to Roger Montefeltre, Federico, Duke of Urbino, ‘(Franconian), altarpiece from

van der Weyden), note 294%; PP 7, 341 Augustinerkirche, Nuremberg, note

—, Baron van der Elst Coll., Por- Montfoort, Lords of, p. 92. See Am- 10 . . trait of an Italian Gentleman, note sterdam, Rijksmuseum, Anon. 82". ory: Christ above SS.

349°; —, Gemildegalerie, Mad. (Dutch) oan and Paul, note 146°. See also

onna Enthroned, p. 349; —, Montreal. Randall Coll. (formerly L "Re hb , i f 1 Liechtenstein Coll., Madonna in Berne, L. Rosenthal Coll.): Goes, 1. osentha Coll. (former y)s Half-Length, note 347°; Vier- Hugo van der, Female Saint Sitting 8 en tag .

, . , ee Finding of the True Cross (minia-

houten near Amersfoort, van on the Ground (drawing), note ture after Turin-Milan Hours”),

Beuningen Coll. Two Horses 334° note 234 Standing in a Brook, note 349", Moser, Lucas, Tiefenbronn altarpiece, — Staatsbibliothek

fig. 478; Washington, National p. 303 f. ILL. MANUSCRIPTS:

Gallery, Madonna Enthroned, p. Mostart, Jan, notes 243°, 354° cod. gall. 16 (Psalter of Queen Isa349 f£., fig. 481; whereabouts un- ‘Mozart, Wolfgang Amadeus, p. 326; bella of England), note 2027

known, St. Jerome Extracting Alexander's Feast, note 197” clm. 4452 (Cim. 57, Pericope of Thorn from Lion’s Foot, note 249° Miielich, Adelphus, translation of Henry II), note 28:1 *

| » P- 793 ; . 1273

Mendelssohn, Felix, p. 347° Ficino’s Libri de vita, p. 358 clm. 4453 (Cim. 58, Gospels of Otto

Merion near Philadelphia. Barnes Coll.: Mihlhausen (Thuringia). Church: III), note 23°

rae Gerard, Crucifixion, note ae ° Charles "8 and entour- clm. 14045 (Missal il. by P. Criiger),

Michelangelo, pp. 1 f., 261, 318, 342. Miulheim a. d. Ruhr. F. Thyssen Coll. in, oars (Hours of Blanche de

works: Paris, Louvre, Dying Slave (formerly): Christus, Petrus, Savoie), p. 62

(sculpture), p. 168; London, of the Dry Tree, p.note 311 22 a5 2, w ways Nat. clm.Madonna 23261 (Sacramentary),

Gallery, Entombment (painting, Miinster. Westfalisches Landesmuseum: Pri R ht of Wittelsbach

formerly attr.), p. 274; ibidem, Pieta (sculpture), p. 262 — Frince Rupprecht © ttrerspac

y aN . +Baptist cup Mimnzer, P ll. (formerly): Madonna withP. St.274 John the Hieronymus, p. Bouts, 206 f.; noteDirc, Co y): ?St a and four angels (painting, for- 331? John the Baptist at the Jordan, p.

merly attr.), note 218°; Windsor Multscher, Hans: Karg-Altar (relief), 317 Castle, p. 289, Crucifixion (draw- Ulm, Cathedral, pp. 78, 304, text

ing F. 130) ill. 39; Niederwurzbach altar- Nagyszeben. Sce Sibiu

Michelino da Besozzo, note 63° piece, Berlin, Kaiser Friedrich q4jera. Santa Maria la Real, organ Michiel, Marcantonio, p. 354; note Mus., p. 304 f.; tomb of Louis the decoration from. See Memlinc

251° Bearded (model), Munich, Bay- Hans, Antwerp, Mus. Royal d es

Milan. Bibl. Ambrosiana: Geertgen tot risches Nationalmuseum, p. 304 Beaux. Arts ,

Sint Jans, Madonna in Half- Munich. Alte Pinakothek N ee Weyden, ancy. Mus. Municipal: Length, p. 326; fig. 441 PAINTINGS: R d¢D — Principe Trivulzio (formerly), por- Bouts, Direc (attr.), Adoration Oger van Or (after), Descent

tion of Trés-Belles Heures de triptych (“Pearl of Brabant”), p. from the Cross in half-length fig-

Notre Dame. See Turin, Museo 319; figs. 433, 434 ures, Pp. 266; fig. 394 i Civico — (follower), Resurrection, note Nantwich (Engl.). Church: Nativity

Mino da Fiesole, Bust of Niccold 315“ (wood carving), note 278*

Strozzi, Berlin, Kaiser Friedrich David, Gerard, Adoration of the Naples. Museo Nazionale: Lamenta-

Mus., note 175° Magi, p. 351 tion (Italo-Flemish), note 316? 560

INDEX — Priv. Coll. (?): Weyden, Roger van —Mrs. J. Magnin. Coll.: Master of Master of the Holy Blood, Descent

der (after), Pietd2 with St. John Flémalle, Portrait of a Musician, from the Cross in half-length

the Evangelist and Donor, note note 171°; fig. 219 figures (after Roger van der Wey-

261 * — Metropolitan Museum den), note 266°

Nativity, pp. 38, 45 £, 48, 60 £., 94-96, PAINTINGS: Master of the Legend of St. GodeII4, 120, 125-127, 158, 277, 3333 Anon. (Flemish), Madonna in an lieve, St. Godelieve polyptych,

notes 46°, 1257“, 126°, 127°", Aedicula, p. 350; note 146° notes 216°, 218° 1364, 277%, 311°. See also Ox and Anon. (Flemish), St. Gregory trip- Master of the Legend of St. Ursula,

Ass; symbolism (candle) tych, p. 346 . Christ Appearing to His Mother,

Naumburg. Cathedral: Last Supper Anon. (Portuguese), Portrait ‘ af note 263 ,

(relief), p. 18 £.; text ill. 14 Isabella of Portugal, note 293 Memlinc, Hans, Portraits of Tom-

Netze near Wildungen. Church: Anon. Anon. (Rhenish), Nativity, notes maso Portinari and Maria Baron-

(Westphalian, ca. 1370), altarpiece 127%, 311° ; celli-Portinari, p. 348; notes 294",

note 1184 ° , ° Anon. (Spanish), All Saints altar- 313° —

“Neville Hours.” See London, Chester Piece, p. 213; notes 213 . 214 — Portrait of a Young Fiancée, p.

Beatty Coll. (formerly) Bouts, Dirc. Madonna in Half- 349; note 349°; fig. 477

New York. Mr. M. S. Brandt: Anon. Length, p. 317; note 296°; fig. 425 Ouwater, Albert van (attr.), Por(South German or Austrian) — (attr.), Madonna in Half-Length, trait of a Donor, p. 321

still life, note 305° ? notes 296 *, 317° ; Ouwater, Albert van, and Bouts,

.* > 2 , 31 ali-Length, note 321

_Becct oa : Weydea, Roger van der — Portrait of a Man in Prayer, notes ee Movower of), Madonna in (school), Madonna in Half-Length, Bouts Dire and Ouwater, Albert van Patinir, Joachim, triptych, note 218°

note 297 (follower of), Madonna in Half- Weyden, Roger van der (attr.), An-

— Frick Coll.: Anon. _ (Savoy?), Length, note 321° nunciation (“Clugny”), note 2987 ee nod 183 Coll. (£ I Christus, Petrus, Lamentation, pp. — Christ Appearing to His Mother,

Christos, Petrus, Nativity, See 735" 3°95 BB 404 ne ty aaa

New York, Mr. CG. Wildenstein — Portrait of a Carthusian, pp. 188, ch 2 i 5 & 3° - Halt

— uGulbenkian Coll. (formerly): Wey- 3705 fig. note 405 296 _ eaaraa orn fan Vo" y y David, Gerard, Annunciation (for-30) Length,

den, Roger van der, Heads of St. merly Sigmaringen, Gemaldegal-. — (follower), Madonna with St.

Joseph and Virgin Mary (or female erie), p. 352 Paul and a Donor, note 2987 saint), note 266 * oh - — Nativity, note 2787 = Portrait of Francesco d'Este, pp.

— Knoedler s Fopmen ne wns Eyck, Hubert van (attr.), The 272, 291, 294; note 291°; fig. 366 ctrus (attr.), cath oF the Margin. Friedsam Annunciation, pp. 133 f., — Portrait of a Man m Prayer, p. See San Diego (Cal.), Putnam 226, 230-232, 278, 305; fig. 284: 292; notes 154%, 294”; fig. 361

Foundation . text ill. 53 — (attr.), Portrait of a Man in a

— Kress Foundation (on loan to Nat. Eyck, Hubert or Jan van (after), Turban, note 294 Gallery, Washington): Master of Bearing of the Cross, note 237° _ OTHER OBJECTS:

Flémalle (follower), Madonna Endj ; Annunciation (tapestry), pp. 88, ; ;with —diptych with Calvary andtext Last ;51 throned SS. John the Baptist, q t i 6 134, ill. Anthony, Catherine, and Barbara, Judgment, pp. 237 27405 242, 245 Entombment (ivory), p. 23, text ill. note 174 *; Master of St. Giles, Bap- 269, 309; note 242 ; figs. 30; 393 23

tism of Clovis and St. Gregory Ghent, Joos van, Adoration of the Entombment and Last Judgment

Converting an Arian, note 346” Magi, p. 341 £3 fig. 450 (left leaf of ivory diptych), note

— Samuel Kress Coll.: Christus, Petrus, Goes, Hugo van der, Portrait of 2 238°. For other leaf, see Oxford, Portraits of a Donor and Dona- Youn 8 Man in Prayer, notes 294", Ashmolean Mus.

trix, p. 313; note 187° 318°, 332 . — Metropolitan Museum, Cloisters:

— Robert Lehman Coll.: Christus, 7 (attr.), Portrait of a Monk, note Weyden, Roger van der (follower),

332 polyptych, notes 263%, 2777,

es cL Es. a Isenvrant Adriaen, triptych, note 3014; The Nin e Worthies (tapestry), note 313, en 340, = notes 293 » Master of the Death of the Virgin, we. Library 3545 18 4073 Mavi, crak Holy Family, p. 354; fig. 494 ILL. MANUSCRIPTS:

(school), Annu nciation (minia- — Holy Family (replica), p. 354 ms. 19 (Book of Hours), note 1227" ture), note 43 ; Memlinc, Hans, Master of Flémalle (after), Ma- ms. 46 (Book of Hours), p. 121; notes Portrait of a Young Man, p. 349; donna in an Apse, pp. 175, 352 f., 118 *, 121°, 124%, 249°; text ill. 43

Weyden, Roger van der (attr.), fig. 222 | ms.71 (Book of Hours), note 207°

studies for St. John the Baptist in —(attr.), Portrait of a Man in ms. 72 (Psalter of Isabella of AraBerlin St. John altarpiece (draw- Prayer. See Weyden, Roger van gon), p. 22; notes 227, 119°; text

ing), note 278% der ill. 20 561

INDEX ms. 76 (Book ef Hours), notes 114 , into the Persian Sibyl, p. 293 f.; Nordhausen. Museum: tomb slab of

122* fig. 363. See also Master of St- Heinrich von Werther, note 677

ms. 82 (Book of Hours), notes 61°, Jean-de-Luz Nordkirchen. Duke of Arenberg Coll.,

| 121° — Arthur Sachs Coll. See Santa Bar- ILL. MANUscRIPT: Hours of Cathms. 87 (Breviary of Renaud IV of bara (Calif.) erine of Cleves (“Arenberg

Guelders), pp. 100, 102 f., 105, A. Schaeffer Galleries: Anon. (Co- Hours,” unnumbered), pp. 103 f., 108, I15, 119; notes 43%, 100°, logne), The Virgin Mary at the 129, 176 f., 242; notes 103", 114°,

103", 129"; figs. 121-126 Loom, note 131° 118 *, 129”, 167°, 267°; figs. 1209,

ms. 88 (Book of Hours), p. 128; note — Mortimer L. Schiff Coll. (formerly), 130

128% Master of the Exhumation of St. —— (formerly), ILL. MANUSCRIPTS:

ms. 106 (Psalter), note 124° Hubert, Dream of Pope Sergius ms. 68 (Book of Hours), p. 121, ms. 133 (Apocalypse of the Duc de and Consecration of St. Hubert. note 121 °; ms. 78 (Book of Hours),

Berry), note 108* See Haartekamp near Haarlem p. 121, note 121 °. For ms. 79 (Book

ms. 293 (Book of Hours), note 48 * — Dr. UE Schwarz Coll.: Master of of Hours), see New York, Morgan

ms. 331 (Chalons Missal), note 517 Flémalle (after), Mass of St. Library, ms. 866

ms. 359 (Book of Hours), note 61° Gregory, p. 175; notes 175°, 298°; Northampton (Mass.). Smith College,

ms. 374. (Missal for Genoa use), fig. 227 Tryon Art Gallery: Bouts, Dirc note 1222 — A. and E. Silberman Galleries: Wey- (attr.), Portrait of a Young Man

ms. 439 (Book of Hours), p. 121; den, Roger van der (follower), (drawing), note 316°; fig. 423

notes 118°, 121°; fig. 192 Ecce homo, note 302 Nuremberg Chronicle of 1493, note

ms. 453 (Book of Hours), note 61° —Mrs. Jesse Straus Coll.: Bouts, Dirc 2062 ms. 455 (Book of Hours), note 84° (workshop), Madonna i Hialf- Nuremberg. Frauenkirche, portal, p.

ms. 515 (Book of Hours), notes 58’, Length, notes 296° 317 79. See also Master of the Tucher

2378 — Mr. Georges Wildenstein: Christus, Altarpiece 98°; fig. 116 York, Henry Goldman Coll.), p. Krafft. Adam

ms. 691 (Direc van Delft), p. 98; note Petrus, Nativity (formerly New — Lorenzkirche, portal, p. 79. See also

ms. 709 (Gospels of Judith of Niccold i Beonecorse ) Annunciation ~—Town Hall: Examples of Justice

Flanders), note 26 Fiesole, Bandini M 8 f, (destroyed), note 264°

ms. 710 (Berthold Missal), note 22° ) 1 MUS. PP. 120 1, ms. 729 (Psalter of Yolande de Sois- 163 779 3 2 Niccolo di Tommaso, Nativity, Phila- Occleve, Thomas, p. 117. See London, 127°, 2787; fig. 1 delphia, Pennsylvania Mus. of Art Brit. Mus., ms. Arundel 2

sons), p. 140 f.; notes 15%, 23°, a ? del 28 a? 742 , (Johnson Coll.), note 126Italian * Ofhuys, 14th Gaspar, Ni p. 331; note 336° ms. (single leaf, 5 icholas V, Pope, p. 190 oil technique, pp. 2, I51-153, 180; -cent.), note 214 | ‘ icholasNj of Delft, p. 99. See Copen- notes 2°, 152° ms. 743 (Book of Hours), note 48 “bh , oo

‘ agen, Royal Library, ms. Thott, Orcagna (Andrea di Cione), polyp-

ms. 754 (Book of Hours), note 31 > and 0

85 (astrological treatise owned a tych, Florence, S. M. Novella,

e Duc de Berry), pp. 10 ; ’ —

me? a 5 . Berry) é Nicola di Maestro Antonio (attr.), note 271!

108, 111; notes 385, 106 figs 135- Calvary, Venice, Gall. dell’Acca- QOpicinus de Canistris, cleric and

, demia, p. 2353 fig. 292 draughtsman, note 26°

137 | Nicolau, Pedro. See Marzal de Sas Oreithvia 5

ms. 854 (Hours of Alfonso of Cas- Niederwaroldern. Village © Church: 0 y Mh 3 1

tile), note 349 Weyden, Roger van der (allegedly TESTE, NICO Pe 19 , owned by the Duke of Arenberg), note 266? tion (ivory), note 131

ms. 866 (Book of Hours, formerly after), Descent from the Cross, Orléans. Mus. Historique: Annuncia-

p. 104 f.; notes 104°", 249 Niederwildungen. Parish Church: Orley, Bernard van, Pp. 352, 3563

PAINTINGS: altarpiece. See Soest, Conrad of Madrid, Prado, Madonna Stand-

Anon. (Bohemian), diptych for- Nieuwenhove, Martin van, pp. 295, 349 NZ, Pp. 352

brick.athedra Cathedral (T merly owned by F. Lippmann, Nisart, Pedro, St. George on Horse- Osnabruck. (Treasury): notes 67°, 337° back (after Jan van Eyck), Palma Gradual of Gisela van Kerssen-

Master of St. Mark, quadriptych de Mallorca, Museo Arqueold- broeck ( Codex Gisle”), notes (formerly London, Douglas Coll.), gico, note 203°; fig. 272 46 » 125

note 67° Nivelles, Shrine of, note 146 * Ostentatio vulnerum, Pp. 124 f., 263

Daret, Jacques, Nativity (formerly). Nizi¢re, Jean de, p. 51; note 51°. See f.; notes 124, 263 See Lugano, Thyssen Coll. Paris, Bib. Ste.-Geneviéve, ms. 1028 Ottaviani, Cardinal Ottaviano, notes

—Public Library: ms. 28 (Book of nocturnes, pp. 65, 236, 325 2°, 3°

Hours), notes 121°, 126° Noli me tangere, pp. 22 f£., 25, 263; Otto III, German Emperor, pp. 217,

— John D. Rockefeller, Jr. Coll.: Wey- note 22° 318

den, Roger van der, Portrait of _Nonancourt. Church: organ decora- Ottokar I, King of Bohemia, effigy of,

Isabella of Portugal, Transformed tion, p. 221 text ill. 36. See Parler 562

INDEX , Ouwater, Albert van, pp. 242 f., 319- Paganico. S. Michele: Bartolo di Fredi ms.fr. 1950 (Information des 324, 326,Berlin, 3525 notes 239.Friedric * 243 | (school), Last Judgment, note 271° pp. 35, 37; note 35°; fig. works: Kaiser Paolo di Giovanni Fei. See Feiprinces), 17 Mus., Raising of Lazarus, pp. 243, Papeleu, Jean de, pp. 29, 36. See Paris, ms. fr. 2090-2092 (Légende de St.-

320-323, 327, figs. 435, 436; Berlin, Bib. de l’Arsenal, ms. 5059 Denis), p. 29; note 29°

Cee thawing ae of Parentucelli, See Nicholas fr. 2645 Clos de. note 313du Lazarus (drawing after?),Tommaso. note V ms. fr. 2810ms. (Livre des merveilles 320°; Dresden, Kupferstichkab- paris school of painting about 1400, monde), pp. 55, 76, 2443 note 5473

inett, Crucifixion (drawing after?), pp. 82 £., 85 f. fig. 77 a

note 321°; New York, Met. Mus, paris, Bib. de l’Arsenal ms. fr. 2813 (Grandes Chroniques de

Portrait of a Donor (attr.), p. ILL. MANUSCRIPTS: France), pp. 35, 38; note 35°

321; Separation of the Apostles ms. 274 (Dijon Breviary), note 31‘ ms. fr. . 5716 (Guillaume de Sten P. 320; woodcuts (attr.), ms. 565 (Book of Hours), note 122‘ Pathus, Life of St. Louis), p. 29; Ouwater, Albert van, and Bouts, Dirc, ~~ Ps notes 68 2 er oire), PP ms. fr. 9561 (Bible moralisée), notes

one 34 . 623 (Missal of St-Magloi . note 29

in Half. pee *, 43°, 46°

Mus note 21° 125" I d’ Orient) 6, 8

Length, New York, Metropolitan ms. 647 (Book of Hours), notes 48°, ms fe $3 flew des histotres de

Overbeke, William van, and Wife ms. 660 (Breviary), note 128 ® rot ‘note 52: fie et 0

(Johanna de Keysere). See Goes, ms. 664 (Térence des Ducs), pp. 61, ms. fr. 12420 (Boceace de Philippe

Hugo van der, Frankfort-on-the- 76; note 58° le Hardi), pp. 52 £., 150, 171; notes

Main ms. 3193 (Boccace de Jean sans 52 85? tor? be e 5

f., 287, 333; note 2787 3517 (Gauue , ” } . 3

Ox and Ass in Infancy scenes, pp. 277 mee. (G a 7 e Cainey Mira ms. fr. 12476 (Martin le Franc, Oxford, Ashmolean Museum: Anon. cles de Notre Dame), note 327° note toy : des dames), p. 190 Es (Flemish), The Seven Sacraments ms. 5057-5058 (Bible historiale), ms. fr. 13091 (Psalter of the Duc de

(drawings), note 283°; Weyden, Pp. 53, 108; notes 53°"; figs. 57, 58 Berry), p. 41; note 41°; figs. 26, Roger van der (attr.), Head of ms. 5059 (Bible of Jean de Papeleu), 27 St. Joseph (drawing), note 259° PP. 29, 36; note 29°; fig. 4 ms. fr. 13568 (Sieur de Joinville, Life Crucifixion and Descent from the ms.5206 (Jean Mansel, Traités of St. Louis), p. 29; note 29’

Cross (right leaf of ivory diptych), divers), note 203° ms. fr. 15397 (Bible of Jean de Sy), note 238 *. For other leaf, see New ms. 5218 (Quest of the Holy Grail), pp. 38, 40; note 387; fig. 24

York, Met. Mus. note 31 * ms. fr. 17281 (Echecs moralisés), p.

— Bodleian Library — Bib. Mazarine, ILL. MANUSCRIPTS: ms. 35; note 35% ILL, MANUSCRIPTS: 469 (Book of Hours), notes 54’, ms. fr. 22552 (Recueil des histoires de ms.270 A (Bible moralisée), note 55°, 118°, 193°; ms. 491 (Book of Troie), note 172?

46° Hours), note 131°; ms. 6329 ms. fr. 22913 (Cité de Dieu), p. 213;

ms. Canonici Liturg. 118 (19263, (Somme-le-Roy), p. 29, note 29° note 213” Book of Hours), p. 114 f, 117, — Bib. Nationale ms. fr. 23279 (Dialogues de Pierre 120; note 114”; fig. 162 ILL. MANUSCRIPTS: Salmon), pp. 55, 59; note 55°; ms. Clarke 30 = 18392 (Book of ms. fr. 159 (Bible historiale), p. 53; fig. 68.

Hours), note 99“ note 53° ms. gr. 74 (Gospels), note 22°

ms. Douce 144 (Book of Hours), note ms. fr. 166 (Bible moralisée), p. 125; ms. lat. 365 (Commentaries on

56° notes 46°, 62°, 76°, 82°, 125%, Genesis), note 267

ms. Lat. Liturg. f.2 (“York Hours”), 189 5 249 * ms. lat. 403 (Apocalypse), p. 38; p. 116 f.; notes 116°; 193° ms. fr. 167 (Bible moralisée), notes note 38°

ms. Rawlinson G. 185 (“Derby 46° ms. lat. 432 (Commentary on Psalter”), note 26 * ms. fr. 259 (Tite-Live), p. 184; note Psalms), pp. 99, 103; notes 99°,

— Christ Church: Goes, Hugo van der, 184°; fig. 79 103°

note 334 tvins), Pp. 35; note 35 VII), note 26°

Jacob Meeting Rachel (drawing), ms. fr. si (Rational des offices ms. lat. 848 (Missal of Clement —Keble College: Legendary from ms. fr. 598 (Boccace du Duc de ms. lat. 860 (Bruges Missal), note

Regensburg, note 22° Berry), pp. 52 £., 76; notes 52°”, 106 *

53°”; figs. 53, 55, 56 ms. lat. 919 (Grandes Heures du Duc

Pacher, Michael, altarpiece, St. Wolf- ms. fr. 616 (Gaston Phébus, Livre de de Berry), pp. 42, 49 £., 53, 55, 66;

gang, Church, p. 345; note 125° chasse), p. 51 f.; note 51°; fig. 50 notes 34", 42°, 262°; figs. 47, 48, Padua. University: Sala dei Guiganti ms. fr. 823 (Guillaume de Deguille- 49 (originally Sala virorum illus- ville, Pélerinage de vie humaine), ms. lat. 924 (Book of Hours), p. 52;

gy

trium), p. 58; note 58° notes 357°" notes 52°, 129° 563

INDEX ms. lat. 1023 (Breviary of Philip the Martin II of Sicily and Aragon, 203, 224, 235, 253, 268; notes 137 7°,

Fair), pp. 15, 29; note 15°; fig. 2 note 34° 194°, 225°; figs. 244-246

ms. lat. 1052 (Breviary of Charles Geertgen tot Sint Jans, Raising of | V), p. 41; note 41° PAINTING: Lazarus, pp. 327, 330; note 3277; ms. lat. 1156 A (Book of Hours), p. Weyden, Roger van der (after), fig. 442 171; notes 127°, 171° Portrait of John, Duke of Cleves, Malouel, Jean, Trinity, pp. 73, 84 f.,

ms. lat. 1159 (Book of Hours), note Pp. 294 168 f.; notes 160°, 3267; fig. ror 2347 — Bib. Nationale, Cabinet des Es- Malouel, Jean, and Bellechose, Henri, ms. lat. 1161 (Book of Hours), pp. tampes, DRAWING: ms. Oa 11, fol. Martyrdom of St. Denis, pp. 83-85,

73 £., 132, 192; notes 73°, 84°, 85, Eudes IV, Duke of Normandy, 87, 149, 159, 168; note 160°; fig.

132°, 192°; figs. 74-76, 78 Presenting Intercessional Diptych 100

ms. lat. 1364 (Book of Hours), pp. to Pope Clement VI, note 174° Malouel, Pol, Herman or Jehanequin 109, I12, 129; notes 109°, 129°; —Bib. Ste-Geneviéve, mL. MANU- (after), Portrait of John the Fear-

figs. 145, 146 SCRIPTS: ms. 246 (Cité de Dieu), p. less, pp. 82, 171; notes 62°, 82°:

ms. lat. 7330 (astrological treatise), 213; text ill. 66; ms. 1028 (Livre fig. 94

p. 107; note 107” des propriétés des choses), p. 51 f.; Massys, Quentin, Money Lender and

mss. lat. 7331, 7334 (astrological trea- note 51° Wife, p. 354; fig. 491

tises), note 106° — Chalandon Coll. (formerly): Anon. — Pieta, note 261 * ms. lat. 8504 (Book of Kalila and (French), Crucifixion, p. 85 Master of Flémalle (after), Sacra Dimna), pp. 29, 36; note 29”; fig. —Comte Paul Durrieu Coll. (for- Conversazione (drawing), pp. 173,

3 merly): Hours of the Holy Ghost, 175, 235, 275, 352 f.; notes 252’, ms. lat. 8846 (Psalter), p. 13; note note 59° 266°; fig. 231 13 *; text ill. 6 | — W. Gay Coll. (formerly): Christus, Memlinc, Hans, Portrait of an

ms. lat. 8851 (Gospel of Ste.-Cha- Petrus, Portrait of a Lady (draw- Elderly Lady, p. 349

pelle), note 26° ing after), note 310° — Resurrection (central panel of a

ms. lat. 9471 (Grandes Heures de la —E. Kann Coll. (formerly): Book of triptych), p. 349

famille de Rohan), pp. 74, 106; Hours, note 121° Weyden, Roger van der, Annuncia-

notes 43°, 74°°3 figs. 97, 98 — Louvre tion, pp. 252-256, 278, 287, 293,

ms. lat. 9473 (Hours of Louis of 300 f.; notes 251, 300°; figs. 215,

Savoy), note 307 * PAINTINGS AND DRAWINGS: 309, 310. See also Turin, Galleria

ms. lat. 10483-10484 (“Belleville Anon. (Amiens), The Virgin Mary Sabauda, Weyden, Roger van der,

Breviary”), pp. 32-35, 43, 49, 66, as Priest, note 137° text ill. 61 follower

135; notes 27*, 32°, 33°", 34°, Anon. (Austrian), “Vierge a@ l’Ecri- — Bearing of the Body to the Sepul-

47°, 132°; figs. 10-12 toire,” note 67* chre (drawing after), p. 266; notes

ms. lat. 10525 (Psalter of St. Louis), Anon. (erroneously called Avigon- 266°, 327°; fig. 392

pp. 16, 52; text ill. 10 ese), Bearing of the Cross (minia- — Crucifixion (drawing, attr.), note

ms. lat. 10538 (Book of Hours), pp. ture), p. 82 298?

59, 121, 244; notes 54°, 59°, 131°, Anon. (Avignonese), Legend of St. — Head of the Virgin Mary (draw-

132°, 1737, 2787, 344°; figs. 70, 72 Andrew, p. 82 ing, attr.), note 296°

ms. lat. 11935 (Bible of Robert Anon. (Burgundian, formerly Paris, — (after?), Madonna with the Billyng), p. 32; notes 27°, 327” Pelletier Coll.), Presentation of Flower, note 252? ms. lat. 13264 (Book of Hours), note Christ, note 194”; text ill. 64 —triptych of Jean de Braque, pp.

122° Anon. (French), Entombment, p. 85 275 £., 299, 319, 349; figs. 333, 334

ms. lat. 13836 (Guillaume l’Ecossais, Anon. (French), Lamentation, p. 85 — The Virgin Mary and St. Peter

Life of St. Denis), note 29* Anon. (French, formerly Biarritz, (drawing, attr.), note 2987 ms. lat. 17294 (Breviary of Salisbury), Beistegui Coll.), Madonna in See also Master of 1456

note 61°, 74° Half-Length, pp. 95, 297 ;

ms. lat. 18014 (Petites Heures du Duc Anon. (French), Portrait of Jean le OTHER OBJECTS: de Berry), pp. 42-49, 63, 66, 70, Bon, pp. 36, 83, 170; note 36°; fig. Christ and the Woman with the Is-

I1Q, 344; motes 28%, 34°, 42°", 28 sue of Blood (ivory), note 22°

43°, 44°, 45°", 119°, 262°; figs. Bouts, Dirc, Hell, p. 318 Parement de Narbonne (silk hang-

30-36 — Lamentation (replica), pp. 301, 316 ing), Ppp. 41, 44-46, 82, 160, 257;

ms. lat. Nouv. Acqu. 3055 (Hours f., 321; note 261 *; fig. 421 note 42°; fig. 29

of John the Fearless), pp. 76, 119- Christus, Petrus (attr.), Pieta, p. 235; Reliquary of the Ordre du Saint

I2I, 123; motes 104°, 114°, note 311° Esprit, p. 69

11g Ve%™94) r399* 9%) rar “7, 213°, David, Gerard, The Lord Blessing, Scepter of Charles V, p. 77

214”; figs. 182-185 p. 351 f.; fig. 482 — Mus. des Arts Décoratifs: Anon.

ms. néerl. 3 (Apocalypse), pp. 110- — Triptych of Jan de Sedano, p. 351; (French?), Last Judgment, p. 260,

112, 134; notes 104", 110%, 11275 fig. 483 notes 61 *, 242°; Anon. (Spanish),

figs. 150-152 Eyck, Jan van, Madonna of Chancel- Christ Appearing to His Mother,

ms. Rothschild 2529, Breviary of lor Rolin, pp. 139, 187, 191-193, note 262°

564

INDEX — Mus. Jacquemart-André, 1LL. MANU- Patinir, Joachim, p. 89. works: Berlin, bolism of right and left; note

scripts: Hours of Jeanne de Savoie, Kaiser Friedrich Mus., Rest on 220* (eulogy on St. John the Bap-

note 34°; Hours of the Maréchal the Flight into Egypt, note 172°; tist)

de Boucicaut, pp. 54-61, 81, 106, New York, Metropolitan Mus., Petworth. Lord Leconfield Coll.: Wey-

121, 159, 183, 190, 218, 267, notes triptych, note 218° den, Roger van der (attr.), Mary 49°, 55°» 56°, 57°, 58", 189°, 218°, Paul, Jean, p. 328 Annunciate and St. James the 241°, 249°, figs. 59-67. PAINTING: Pearl, The, p. 241 Great, note 298* Massys, Quentin, Portrait of an Peckham, John, Archbishop of Canter- “Pfenning, d.” See Laib, Conrad

Old Gentleman, p. 354 f, fig. 492 bury, note 335‘ Phebus, Gaston. See Gaston III Phébus — Notre-Dame: P- 77, text ill. 34 Peiresc, Nicolas C. F. de, note 297 * Philadelphia, Pennsylvania Mus. of Art

ago in trumeau (ontext Palerin, Viator; (Johnson Coll.) transept); p. of15, ill. Jean. tym-See STon . PAINTINGS:

panum relief of Porte St. Etienne, Pelerimage ae e Vie Humaine. See Anon. (Sienese), Madonna of Humil-

south transept); p. 77, text ill. 35 Penthecilea F ity, note 128°

(“Notre-Dame la Blanche’’) Perréal > P. 5? 2 Bosch, Jerome, Adoration of the

— Pelletier Coll. (formerly): Anon. errcal, Jean, note 344 . Magi, note 330°

See Paris, Louvre P. 202 . 2614

(Burgundy), Presentation of Christ. Perseus and Andromeda, Marriage of, David, Gerard, Lamentation, note

— Petit Palais: Daret, Jacques, Presen- PCFSPECUVe, Pp. 377 (definition and Eyck, Jan van (attr.), Portrait of a

tation of Christ, p. 158; fig. 235 correct” construction according Man, note 203°

— Rothschild Colls. to Brunelleschi) ; PP. 59, 193 f, —(attr.), Stigmatization of St. ILL. MANUSCRIPTS: note 194 (“eccentric”); p. 11 f,, Francis, pp. 192, 300, 312; notes

Breviary of Martin II of Sicily and note 12 (curvilinear) ; pp. 166 f,, 192°, 239°; fig. 268

Aragon. See Paris, Bibl. Nat., ms. 223, 231 f. (wide angle) Pp. 166, Goes, Hugo van der (attr.), Madonna

Rothschild 2529 232, 278, 306, Rote 166" (oblique in Half-Length, notes 296° 338°

“Heures d’Ailly,” p. 62 £. notes or “two-point ‘)3 PP. 222 £,, 30 Marzal de Sas, Andres (school),

62°°, 74%, 249° 307, note 305 (“worm’s eye oF Nativity and Death of the Virgin,

Hours of Jeanne d’Evreux, pp. 29- di sotto in st); p. 57 (aerial); p. note 83°

32, 34, 43 £.; notes 27*, 29%, 30°, 9 f. Ga classical antiquity) ; Pp. 12 Master of Flémalle, The Virgin Mary

31", 32%, 34% 44°, 47°, 62%, 132% f. (in early Christian and Caro- Interceding with Christ, pp. 1743

figs. 5,7 lingian art); pp. 17-20 (in Italian note 294™; fig. 216

Hours of Jeanne II de Navarre, pp. 13th and r4th cent. art); P. 37 (in Weyden, Roger van der, diptych 34, 43; notes 32°, 34°°, 44°; figs. Jean Bondol); p. 316 f. (in Dire (Calvary), pp. 249, 285 f. 288;

13, 14 Bouts); p. 310 (in Petrus Chris- figs. 350, 351

portion of Trés-Belles Heures de tus); pp. 7 £, 166, 183 £, 193 f philibert of Savoy, note 329!

Notre Dame (in Jan van Eyck); pp. 333, 336 Philip, Duke of Brabant, note 291‘; PAINTINGS: _ f. (in Hugo van der Goes); p. 166 Portrait of, fig. 382

Eyck, Jan van, Madonna with SS. f. (in Master of F lémalle); _p. Philip the Bold, Duke of Burgundy,

Barbara and Elizabeth of Thur- 29 f. (in Jean Pucelle). See also pp. 62, 75 f., 78 f, 81 £., 83, 86,

ingia Venerated by Jan Vos (fin- “diaphragm arch” QI, 210; note 259°; Portrait of, ished by Petrus Christus), pp. 187- Pescia. S. Antonio: Descent from the text ill. 42. See also Paris, Bib. Nat.,

190, 191, 312 f£.; notes 137°, 193°, Cross (wood sculpture), p. 274 ms. fr. 12420

199°, 266°; fig. 257 Pesellino, Francesco, p. 278. works: Philip the Good, Duke of Burgundy, Weyden, Roger van der (follower), Florence, Uffizi, Martyrdom of pp. 75 £, 149 £., 175, 178 £., 196 £, Portrait of a Young Lady (al- SS. Cosmas and Damian, p. 281; 198, 201, 210, 275 f., 282, 286, 292, legedly a Demoiselle de Villa), p. London, Nat. Gallery, altarpiece, 294, 330, 343 f.; notes 2°, 59°,

300 f.; notes 294°, 3027; fig. 4o1 note 278° 178°, 1977, 2387, 2917*, 300°

— Schloss Coll. (formerly): Weyden, Peter Chrysologus, p. 220 (eulogy on Portraits of, figs. 376, 377. See

Roger van der, David Receiving St. John the Baptist) Brussels, Bib. Royale, ms. 9241; fig. the Cistern Water, pp. 278, 287; Peter Lombard, p. 283 (source of in- 330 fig. 341. For Christus, Petrus, scription in Roger van der Wey- Philip, Duke of Nevers, p. 291; note

Pieta, see Paris, Louvre den’s “Seven Sacraments”) 291 *; Portrait of, fig. 383

Parler, family of artists, p. 77 “Petites Heures” (du Duc de Berry). Philip IH, King of Spain, p. 357 Parma. Bibl. Palatina: ms. pal. 169 See Paris, Bib. Nat., ms. lat. 18014 Philippe le Rouvre, last Capetian Duke (Christ Appearing to His Mother), Petrarch, pp. 28, 58. See also Darm- of Burgundy, p. 75

note 263° stadt, Staatsbibliothek, ms. 101; Philippe van Sint Jans. See Almangien,

Pasture, Rogelet de le (probably iden- Padua, University, Sala det Giganti Jacob van tical with Roger van der Weyden), Petrus Civis Romanus, shrine of Ed- Philostratus, Imagines,. notes 126 i

Pp. 154-157, 254 ward the Confessor and tomb of 310°

Pasture, Maistre Rogier de le (honored Henry III, note 20° Picasso, Pablo, p. 5 at Tournai in 1426), pp. 156 f. Petrus Damianus, note 147° (on sym- Piérart dou Tielt, note 31 *

565

INDEX Piero di Cosimo, p. 2 Uffizi); Memlinc, Hans (New Master of the Death of the Virgin |

| Piero della Francesca, pp. 7, 67, 310, York, Metropolitan Mus.) (attr.), St. Jerome, note 310°. See 325, 341. works: Arezzo, S. Fran- portraiture, pp. 170 f., 354 f. (absence also Vecchietta (attr.) cesco, Dream of Constantine, note of full profile in Early Flemish — University Library: Garrett ms. 47 325°; Florence, Uffizi, Portraits of painting); pp. 294-296 (devotional (Book of Hours), note 527; ms.

Federico Montefeltre and Battista diptychs); pp. 316 £., 348 (Dirc 83 (Durandus of St. Pourcain, Sforza, p. 349; Milan, Brera, Ma- Bouts); pp. 290, 310, 316 f., 348 Liber sententiarum), pp. 32, 343 donna of Federico Montefeltre, p. (Petrus Christus); pp. 194-201, note 32 *

7 f., text ill. 2 331 f. (Jan van Eyck); p. 332 Proclus, p. 12 f.

Piers Plowman, p. 74 (Hugo van der Goes); pp. 170-172 Providence (Rhode Island), John CarPieta, pp. 44, 50, 261 f.; notes 447, 262” (Master of Flémalle and pre- ter Brown Library: ms. 3 (Book Pigouchet, Jean, Heures a lusaige de Eyckian); p. 348 f. (Memlinc); of Hours), p. 121; notes 118%, Rome of 1498, notes 213°, 214° pp. 289-292, 332 (Roger van der 121°; fig. 193

Pilon, Germain, p. 74 Weyden) —Rhode Island School of Design:

Piombo, Sebastiano del, Dead Christ portraiture, architectural, generally Goes, Hugo van der (attr.), Por(drawing F. 21), Paris, Louvre, voided by Jan van Eyck, pp. 137, trait of a Young Man, note 3327

note 261° 231, 346, notes 137°, 193°, 225°. Psychostasia, pp. 269-272; notes 271%,

Pisa. Museo Civico: Anon. (Pisan), Na- INDIVIDUAL SITES AND BUILDINGS: 272*

tivity according to St. Bridget, pp. Amiens, Cathedral, note 137°; Pucelle, Jean, pp. 27, 29-37, 41-43, 45, 45 £., 125; note 126°; fig. 38 Basel, Cathedral, p. 306, note 137°; 47, 63, 66, 135; notes 27°, 41°, 47 *.

Pisanello, Antonio, pp. 272 f., 302, note Bruges, Belfry, p. 347; Bruges, See Paris, Bib. Nat., mss. lat. 304°; Washington, Nat. Gallery, Notre-Dame, p. 346 f.; Brussels, 10483-10484, 11935; —, RothPortrait of a Lady officially attr. to, Notre-Dame-du-Sablon, p. 136, note schild Colls., Hours of Jeanne

p. 82, fig. 92 136°; Brussels, Ste.-Gudule, pp. d’Evreux

Pisano, Andrea: Florence, Baptistry, 283, 346, note 194°; Cologne, Pyramus an? Thisbe, note 349’ Birth and Naming of St. John the Cathedral, pp. 225, 348, note 225°;

Baptist (bronze relief), p. 281 £.; Dijon, Notre-Dame, note 194”; Quarton, Enguerrand, Coronation of ibidem, Martyrdom of St. John Florence, Palazzo della Signoria, the Virgin, Villeneuve-lés-Avignon, the Baptist (bronze relief), note note 32°; Haarlem, St. Bavo’s, note Church, pp. 211 f., 269; notes 49’,

2817 327°; Jerusalem, p. 231, note 231°; 167”

Pisano, Giovanni, p. 342; Pisa, Bap- London, Old St. Paul’s, note 1377; “Quinisexta,” Synod, note 2137 (pro-

tistry, pulpit, Nativity (relief), p. Middelburg, pp. 277, 286; Paris, hibiting representation of Christ

38, note 127° Notre-Dame, p. 347; Saint-Denis, Incarnate in guise of Lamb)

Pisano, Nicola, p. 18; Siena, Cathedral, p. 347; Utrecht, Cathedral, Tower,

pulpit, Massacre of the Innocents p. 323, notes 137%, 1937, 225° Rabelais, Francois, p. 328

(relief), note 24? Portsmouth (Engl.). Catholic Episcopal Rabutin, Hugues de. See Master of

Pizzolo, Niccolo, St. Gregory, Padua, Library: Hours of Blanche of Bur- St.-Jean-de-Luz

Eremitani Chapel (mural), note gundy (“Heures de Savote’), pp. Ranchicourt, Pierre de, Bishop of

305° 34 f., 37; notes 34”, 35°, 55°, Arras, p. 284; note 284° Plato, p. 9 234°; figs. 18, 19 Raphael, pp. 166, 237, 254, 326, 350. Pliny, pp. 2, 53; notes 2", 180°, 249° Pozio, Paolo, note 273° works: London, Bridgewater

Plutarch, notes 197”, 264° Prague. Cathedral: tomb of Ottokar J, House, Madonna, p. 354; Rome,

Polener de Silesia. See Cruger p. 77; text ill. 36 Farnesina, Galatea (mural), p.

Pollaiuolo, Antonio, p. III — Library of Metropolitan Chapter: 281; Rome, Galleria Borghese, EnPonte, Giovanni del, Adoration of the ms. lat. A 7 (De civitate Dez), note tombment, note 266°; Venus

Magi, Brussels, Mus. Royal, note 213° (Marcantonio engraving B. 311),

281 ° — National Gallery: Anon. (Bohemi- p. 281

Pontormo, Jacopo del, Portrait of Cos- an), altarpiece from Hohenfurth, Rapondi, family, note 203° imo de’Medici, Florence, Ufhzi, note 127°; Geertgen tot Sint Jans, Ratgeb, Jerg, p. 345

note 355° Adoration of the Magi, p. 327 Ravenna. S. Vitale: Abraham mosaic,

Ponz, Don Antonio, note 259° — Piaristenkloster, Gospels, note 141° p. 12; text ill. 4 Poortier, Robert, p. 205 — University Library, ms. germ. 1312 Reggio Emilia. Biblioteca Communale: Portinari, family, p. 343; note 203°; (Passionale Cunigundae), note ms. 17 A 133 (Choral), p. 302;

272* 263° note 302°

Portinari, Benedetto, p. 349. See Mem- Prelles, Jeanne de, mother of the Reims. Cathedral: Last Judgment (re-

linc, Hans (Florence, Uffizi) Grand Bdétard de Bourgogne, note lief), p. 348; Madonna from north

Portinari, Tommaso, his wife (Maria 291° transept (relief), p. 146, text ill.

Baroncelli) and children, pp. 272, Presles, Raoul de, p. 28 52; Mariological tapestries, note 331, 3333; notes 3317, 335°. See “Prester John,” note 215 * 131 * Goes, Hugo van der (Florence, Princeton. University, Art Museum: “relief en cabochon,” p. 15

566

INDEX Rembrandt van Rijn, pp. 158, 322, Rolin, Nicholas, Chancellor of Bur- Roger van der (after), Madonna 324, note 340°. worKs: Amster- gundy, pp. 193, 268, 292; note in Half-Length, note 296° dam, Rijksmuseum, Syndics, p. 282 *. See Eyck, Jan van, Madonna, Rubens, Peter Paul, pp. 180, 322, 335

189; New York, Metropolitan Paris, Louvre; Weyden, Roger van Rudolf IV, Archduke of Austria, p. Mus., Old Woman Paring Nails, der, Last Judgment, Beaune; Brus- 170 f.

p- 194 sels, Bib. Royale, ms. 9241 Rummen and Quaebeke, Arnold Lord |

Renaud IV, Duke of Guelders, pp. 91, Romanesque, p. 13 f. (general); pp. of. See Arnold

100, 102 f. See New York, Morgan 134-140, note 135” (symbolical Runkelstein Castle, murals, p. 68

Library, ms. 87 significance in juxtaposition with Rupert of Deutz, note 278* (on NativRennes. Bib. Municipale: ms. 22 (Salis- Gothic); pp. 134-140, 215 f£., 227 f. ity) Lo bury Psalter), note 116° (revival in Eyckian art) Ruusbroeck, Johannes, pp. 108, 331. Reuwich, Erhard, note 324° Rombouts de Doppere, notary of St. See Brussels, Bib. Royale, ms. Reynolds, Sir Joshua, David Garrick Donatian at Bruges, note 347" 19295-19297 between Tragedy and Comedy, Rome. Galleria Doria: Gossart, Jan van, Ryckel, Denis de (“Dionysius the

London, Baron Rothschild Coll., Madonna in a Church (after Jan Carthusian”), Traité des quatre

p. 194 van Eyck), p. 353; note 251” derniéres choses. See Brussels, Bib.

Richard II, King of England, p. 118; — Lateran Museum: Early Christian Royale, ms. 11129 note 118°. See London, Nat. Gall., sarcophagi showing Woman with Rym, Daniel, pp. 119-121. See Balti-

Anon. (English), Wilton Diptych the Issue of Blood, note 22° more, Walters Art Gall., ms. 166

Richier, Ligier, p. 74 , —S. Maria Antiqua: The Three Holy

Richmond. Cook Coll. (formerly): free Mothers (mural), note 327* Saint-Pathus, Guillaume de. See Paris, copy after Roger van der Wey- -—S. Maria in Trastevere: Coronation Bib. Nat. ms. fr. 5716 den’s “Medici Madonna” (Frank- of the Virgin (mosaic), note 1457 Salimbeni brothers, Infancy of the Bapfort-on-the-Main, Stadelsches Kunst- — Vatican Library: Odyssey landscapes, tist, Urbino, S. Giovanni, note 281 *

institut), notes 274°, 275° pp. 9, 12 f., 19; text ill. 3. 1n. MANU- Salmon, Pierre. See Geneva, Bib. Pub-

Riemenschneider, Tilmann, Tomb of scripts: cod. Urb. 603 (Breviary lique et Universitaire, ms. fr. 165; Emperor Henry II, Bamberg, of Blanche de France), note 32°; Paris, Bib. Nat., ms. fr. 23279

Cathedral, note 271 ‘ cod. Vat. lat. 973 (Johannes de San Diego (Calif.). Putnam Foundation, Rigaud, Hyacinthe, Portrait of Presi- Turrecremata), note 213; cod. Petrus Christus (attr.), Death of dent Gueidan as Shepherd, Aix-en- Vat. lat. 1993 (Opicinus de Can- the Virgin, note 311°

Provence, Mus. Granet, p. 194 istris), note 26° San Marino (Calif.). Huntington Art Rijn, Hendrik van, Canon of Utrecht — Vatican, Museo Cristiano: Crucifix- Gallery: Weyden, Roger van der,

Cathedral, pp. 36, 92. See Antwerp, ion (reliquary), note 267° Madonna in Half-Length, p. 295 f.; Mus. Royal des Beaux-Arts, Anon, Rosen, Kunz von der, note 203 * fig. 370

(Utrecht) Rostock. Nicolaikirche: Anon. (Ger- —Hluntington Library: ms. 1149

Ring, Hermann and Ludger, portraits man), Nativity, p. 125 (Book of Hours), note 263 * of Sybils, note 294? Rotterdam. Boymans Mus.: Bosch, San Miniato al Tedesco. Church:

? 2 2 ba 3

Ripaille, Chateau de, Engel-Gros Coll. Jerome, Prodigal Son, note 357°. Descent from the Cross (wood (formerly): Boucicaut Master DRAWINGS: Christus, Petrus (attr.), sculpture), Pp. 274 (attr. to workshop of), Dives and Portrait of a Lady, notes 200°, Sankt Florian. Stiftsmuseum: Anon.

Lazarus, note 54? 310%; Eyck, Jan van (attr.), Por- (Austrian), altarpiece, note 25

Robbia, Luca della. Cantoria, Florence trait of a Lady, identical with the Sant’ Angelo in Formis: Entombment

Cathedral, p. 221 foregoing; Eyck, Jan van (attr.), (mural), note 23

Robiert le pointre, mestre (identical Portrait of a Young Man, note Santa Barbara (Calif.). Arthur Sachs

; porns, ms * Campin?), d Roger van p. der159 Coll.: Anon. (French,8attr.), with Robert 200 ; Weyden, , Lo,An?>

Robinet d’Etampes. pp. 4x, 222 Madonna, p. 266, fig. 385 nunciation, pp. 82, 129; note 139

Pes, PP. 45, 23 Roubaix. Mme. Reboux Coll. (for- Santi, Giovanni, p. 153; notes 2°, 153 Rode, Jan van, benefactor of Louvain merly): copy after Master of Sappho, pp. 53, 58

University, note 774 Flémalle’s “Salting Madonna” Sarpedon, p. 23

“Roermond altarpiece. See Amaster- (London, Nat. Gall.), p. 163 f.; Scheerre, Herman, pp. 115-118, 122,

dam, Rijksmuseum, Anon. notes 164°” 260, 299; notes 116°, 118*°, 122°.

Rogelet de le Pasture. See Pasture Rouen. Bib. de la Ville: ms. 3024 See London, Chester Beatty Coll.

Roger van der Weyden. See Weyden (Book of Hours): pp. 112-115, (formerly), “Neville Hours”; Rogier de le Pasture, Maistre. See 117, 120; notes 104", 112°; 1147, —, Brit. Mus., mss. Add. 16998,

Pasture 122 *, 128°; figs. 154-158 Add. 42131, Royal 1 E IX, Royal

Rogier le peintre, Maistre, p. 155; note —Cathedral: St. Julian and Wife 2 A XVIII; —, Lambeth Palace,

| 155" (window), note 234° ms. 69; —, E. G. Millar Coll., Rogier de Wanebac. See Wanebac — Mus. de la Ville: David, Gerard, Vir- Book of Hours; Oxford, Bodleian “Rohan Hours.” See Paris, Bib. Nat. gin among Virgins, p. 352; fig. 484 Library, ms. Lat. Liturg. f.2

ms. lat. 9471 Roulers. Wyckhouse Coll.: .Weyden, Schickhardt, Wilhelm, p. 11

567

INDEX Scheut, Charterhouse, p. 288; note 288 * Annunciation, p. 128; Paris, Strasbourg. Cathedral: statues looking

Schleissheim. Gemaldegalerie: Anon. Louvre, Bearing of the Cross, p. up spire, p. 78 f.; text ill. 40;

(German), Mariological painting, 48, fig. 46 statues in St. Catherine’s Chapel, note 131° | Simonsz., Albert, painter of Haarlem, p. 77 | Schongauer, Martin, pp. 1, 67, 111, 237, note 243+ — Forrer Coll. (formerly): allegory of 274, 308, 345; note 157°. works: Sisamnes, p. 217 space (12th cent. miniature), note

Death of the Virgin (engraving Sixtus IV, Pope, p. 8 13°

B. 33), note 337°; Nativity (en- Sluter, Claus, pp. 79-81, 84, 139, 162, _— Mus. des Beaux-Arts: Anon. (upper

graving B. 4), note 2787 304 (general); pp. 47, 79 f., 139, Rhenish), Birth of the Virgin, note Schooten, Gerrit van, Commander of 264, 345, text ill. 42 (portal of 129°

327° de Moise) pictorial technique) Schooten, Pieter van, Coadjutor of Snyders, Frans, p. 322 Strauss, Richard, note 2817

Order of St. John at Haarlem, note Champmol); pp. 80, 83, 155 (Puits “Strassburg Manuscript,” p. 151 (on Order of St. John at Haarlem, note Soest, Conrad of. See Conrad of Soest Strigel, Bernhard, Holy Kinship,

327° Soissons, Grand Séminaire (deposited Vienna, Gemaldegalerie, note 327°

Schotten (Hessia). Church: Anon. at Paris, Bib. Nat.), Gautier de Strozzi, Alessandra Macinghi-. See (German), altarpiece, note 61” Coincy, Miracles de Notre Dame, Macinghi

Schreyer, Sebald, note 206° note 32° Strozzi, Niccolo, note 175°

Schwarzrheindorf. Church: Adoration Solage, musician, p. 150 Stubbings House. See Maidenhead of the Lamb (mural), note 212° Solothurn. Museum: Anon. (upper Stuttgart. Landesmuseum: Memlinc, Scorel, Jan, pp. 322, 342. works: Ghent, Rhenish), Madonna with © the Hans, Bathsheba, p. 348. See also

St. Bavo’s, restoration of Ghent Strawberries, note 234° Master of the Ehningen Altarpiece , altarpiece, pp. 223, 225, 228 f., 356, Sorel, Agnés, p. 344; note 294” Suger, Abbot of St-Denis, pp. 14, 68, note 225°; Utrecht, Centraal Mu- Spinelli, Niccolo Forzore, note 349° 70, 142; note 135° seum, Lamentation, note 356°; Speculum humanae Salvationis, pp. gyidas. on Timotheos. note 197? whereabouts unknown (priv. coll.), 134, 175; notes 143°, 261°, 2637”, Suso Hein rich ; f

Fall. of 287+, ; > Pt ®Bib. ._ . ,Man, ae y,note Jean356° de,277", pp. 38, 40.341° See- Paris,

sculpture, interrelation with Early Spira (Speyer), personification of, p. Nat. ms. fr. 1

Flemish painting, pp. 161 f., 169, 146 Iv; at, ms. ft. 15397 1 256 f., 260 f. Stanzioni, Marco, note 151° Sy vis Egranus, note 377

Seghers, Hercules, pp. 236, 324 Stefano da Zevio, p. 67 symbolism, disguised, pp. 140-144. Sellaio, Jacopo del (school), Entomb- statuary, simulated, pp. 161 f., 169 INDIVIDUAL OBJECTS AND MOTIFS:

ment, Florence, Accademia, p. Stavelot. Monastery: reliquary of St. candle and candlestick, opP " 126,

274 Remaclus, note 193? 143 f., 202; notes 126 » 143°,

Senleches, Jacob de, musician, p. 150 Steinbeck, John, p. 53 146", 203°; columbine, PP 146,

Sens, Cathedral, p. 138 Sterne, Lawrence, p. 328 326, 333, 335, note 146°; fruit, p.

Serra, Jaime, Nativities, note 46° Stockem, Cathelyne van, mother-in- 144, note 144 ; glass carafe, p. Shakespeare, William, note 349” law of Roger van der Weyden, p. 144; iris, pp. 141, 146, 333, 3353

Sherborne Missal. See Alnwick Castle, 247 mousetrap, p. 164; north and

Duke of Northumberland Stockem, Ysabelle van, wife of Robert south, PP. 147° f., 208, 231; note

Sibiu (Romania). Bruckenthal Mus.: Campin, p. 247 147 3 orientalizing setting, Pp.

Eyck, Jan van (attr.), Portrait of Stockholm. Nationalmuseum: ms. 132 £; right and left, PP. 147 f,

| a Goldsmith, p. 199; note 199’; fig. 1578 B (north Italian Antiphon- 168, 294 f, motes 147 a ha ? 270 ary), note 46°; ms. 1646 B (Book 2955 ruins, Pp. 33, 135 f.; shoes Siena. Accademia: Anon. (Italo-By- - of Hours), note 102 * discarded, pp. 168, 203, 333; tower, zant.), Birth of St. John the Bap- —Royal Library: ms. A 165 (“Bible p. 132 f, 1373 washing imple.

tist, note 281 * of Queen Christina”), note 41°; ments, p. 137, note 137 5 windows,

Siferwas, Johannes, note 118 * ms. A 226 (Book of Hours), note PP. 132, 138; Y; note 67°. See Sigismund, Emperor of Germany, note 99‘; ms. B 1652 (Decretals of also Marriage; Nativity; Ox and

234° Gregory IX), note 32? Ass; Psychostasia; Romanesque

Sigmaringen. Gemialdegalerie (for- — Sjéstrand Coll.: free copy of Descent ; i. merly): David, Gerard, Annunci- of the Cross by Master of Flémalle, Taddeo di Bartolo, Death of the Virgin, ation. See New York, Metropoli- note 167* Siena, Palazzo Pubblico, Pp. 224

tan Mus. —Statens Historisk Museum: Anon, Talbot, Lady, first wife of Sir Edward

324 2727 Tanagli, family, note 203°

Simone del Conte (or dei Conti), note (Swedish), Last Judgment, note Grymestone, note 313

Simone Martini, pp. 24, 26, 42; note Stockt, Vrancke van der, pp. 277, 346; Tani, family, p. 343; notes 203°, 272 ,

262°. works: Berlin, Kaiser Fried- notes 247%, 263°, 272', 283°‘, Tani, Angelo, p. 272

rich Mus., Lamentation, p. 44, 294, 302? Tavernier, Jean le, Chroniques et con:

note 31°; Brussels, Stoclet Coll., Stoss, Veit, p. 345 quétes de Charlemagne, note 231°

568

INDEX “Taymouth Hours.” See London, Brit. Trebor, musician, p. 150 | Ulm, Cathedral, tympanum of southMus., Yates Thompson ms. 57 Tremoille, Guy de la, note 55° west portal, note 20°. Karg-Altar, Tenison Psalter. See London, Brit. “Trés-Belles Heures de Notre Dame” see Multscher

Mus., ms. Add. 24686 , (du Duc de Berry). See Paris, Uppsala. Univ. Library: ms. C 93 Tenniel, Sir John, p. 356 Rothschild Colls.; Turin, Mus. Civ- (Gospel of Henry III), note 26°;

Terborch, Gerard, p. 322 ico; Turin, Royal Library Anon. (Guelders), Group of FashTerence, pp. 28, 61 “Tres Riches Heures’ (du Duc de ionable Ladies and Gentlemen

Thann (Alsace), Church, tympanum, Berry). See Chantilly, Mus. Condé (drawing), note 100°

note 20* Treves. Cathedral (Treasury): Lec. Urbana (Ill.). University Mus. of

Theodoric of Prague, pp. 40, 77, 170 tionary of Cuno von Falkenstein, European Culture: ms. MEC 423

Theophilus, hymn to Virgin Mary note 2162 (Book of Hours), p. 114; note attr. to, note 132° — Municipal Library: ms. 24 (Codex AT4

Theophilus qui et Rogerus, p. 151 (on Egberti), note 23° Urbino. Palazzo Ducale: Ghent, Joos pictorial technique) Tricht, Jan van (allegedly identical van, Communion of the Apostles,

Thomas Aquinas, pp. 33, 142; notes with Jan van Eyck), note 178° p. 342; fig. 454

136* (on symbolism of Jewish trompe Toeil devices, pp. 78 £., 161 (in Utrecht school of book illumination, Temple); note 147”p. (on161 symbol1 . : Pp. 99-104a, , . sculpture); f. (simulated

ism of right and left) statues); 222 £, 305, 307, note Utrecht. Archiepiscopal Mus.: Geertgen Thomas Occleve. See Occleve ow? (“w orm’s ° eve Ners ective): tot Sint Jans, Man of Sorrows, pp.

Tiberius, medal of, p. 64 note 310° (eye-deceivin vnsects) 326, 3453 fig. 449

“Timotheos,” Portrait of. See Eyck, Jan Troyes, Musée: Anon. (F h), L — Buurkerk, murals, note 323°

van, London, Nat. Gallery ntation p 85 ° renen)> “4 __ Centraal Mus.: Anon. (Utrecht), Timotheos, flute player of Alexander , ; Crucifixion triptych, p. 323, fig.

the Great, p. 197; note 197” Turin. Cappella del Sindone: Holy 437; Scorel, Jan van, Lamentation,

Timotheos of Miletus, p. 196 f.; note Shrou d, note 18 . note 356° 197? — Galleria Sabauda, paintines: Christ- __ [niy. Library: ms. 252 (Nicolaus

| Tinctoris, Johannes, musicologist, p. US) Petrus (attr.), Madonna, notes de Lyra, Postilla in Prophetas), p.

150; notes 150°, 197” 47 » 203 ; Eyck, Jan van (attr.), 102, note 102°; ms. 484 (Utrecht

Titian, p. 23 Stigmatization of St. Francis, pp. Psalter), p. 13, text ill. 5

Toledo. Cathedral (Treasury): gold 300, 312, note 192, fig. 269;

enamels, p. 69 Memlinc, Hans, Passion of Christ, Vaerneweyck, Marcus van, Spieghel

Tolomei, Giorgio Pietro, note 307 p. 350; Weyden, Roger van der der Nederlandsche Audtheydt,

Tom Ring. See Ring (follower), Donor’s Portrait and note 214?

topography. See Portraits, architectural Visitation, Pp. 252, 300 f, 315, Vagewiere, Margaret van, wife of

Tornabuoni, family, p. 343 note 301; figs. 309, 310. DRAW- Peter Bladelin, p. 276

Tornabuoni, Francesca, funeral monu- 1NG: Christus, Petrus (after), Two Valencia. Colegio del Patriarca: Bouts,

ment, note 247 Female Heads (also at > fo Jan Dirc, Calvary triptych (replica),

Torrel, William, effigy of Henry III of van Eyck), Notes 200°, 310 Pp. 321; notes 315°, 316 *

England, note 20* — Museo Civico: portion of Tres- Valenciennes. Bib. Municipale: ms.

Tournai. Bib. de la Ville: ms. 24 (Rules Belles Heures de Notre Dame 240 (231, Miroir d’humilité), note

of the Sisters of the Hostellerie (“Turin-Milan Hours”), pp. 42; 292°

Notre Dame), p. 109, note 109”, 45, 62, 125 f., 232-246, 280, 319, Valentine of Orléans, note 70 ‘. fig. 149; ms. C 1 (Roman de la 325; notes 45°", 46°, 114°, 172°; Valerius Maximus, p. 28; note 264°

Rose), note 31 “ figs. 37, 288, 290, 295, 299, 300 Valéry, Paul, p. 334

—Cathedral: p. 138 (triforium); p. — Royal Library (formerly): portion Vanni, Andrea, note 45” 138, note 137* (murals in tran- of the Trés-Belles Heures de Notre Varagine, Jacobus a, p. 281. See Golden

sept); p. 81, note 92* (tombstone Dame (“Turin-Milan Hours”) de- Legend

of Jacques Isaac) stroyed by fire, pp. 42, 45 f., 189, Varro, p. 293 (on Sibyls) —Grand Séminaire: Missal (unnum- 232-246; note 167°; figs. 287, 289, Vasari, Giorgio, pp. 1, 17, 180, 187,

bered), p. 114; note 114° 294, 296, 297, 298 273; notes 2°, 180%, 310°

— Mus. d’Histoire et d’Archéologie: — Univ. Library: ms. E IV 14 (single Vaudetar, Jean de, pp. 36, 40. See

murals from St.-Quentin, p. 96 leaf inserted in a Bible), p. 274; Hague, The, Mus. Meermanno-

— Mus. Municipal: Gossart, Jan, St. note 273° Westreenianum, ms. 10 B 23

Donatian, p. 353 Turrecremata, Johannes de, note 213*° Vecchietta (attr.), Crucifixion, Engle-

— St.-Brice: Master of Flémalle (?), wood, Mrs. Dan Fellows Platt Coll.

Annunciation (mural), p. 159 Uccello, Paolo, portraits of the (on loan to Art Museum, Prince-

— Ste.-Marie Madeleine: Delemer, Jean, “Fathers of Perspective,” Paris, ton, N. J.), note 310°

Annunciation (sculptures), pp. Louvre, note 198” Veneziano, Domenico. See Domenico

162, 254; note 201 * Udine, Bib. Capitolare: ms. 75 (Sacra- Venice. Bib. di San Marco: Grimani Trajan, Justice of, pp. 217, 264 f. mentary), pp. 212, 215; note 212° Breviary, note 34°, 62°

569

INDEX —Ca d’Oro (Mus. Franchetti), Eyck, — Lamentation, pp. 327-330; fig. Vieure. Church: Colin de Coter, St.

Jan van (after), Calvary, pp. 235, 444; diagram p. 497 Luke Painting the Virgin (after

246, note 104°, fig. 291; Memlinc, Goes, Hugo van der, Fall of Man, Master of Flémalle?), pp. 175, 2543 Hans, Portrait of an Italian Gentle- pp. 338 £., 342; note 329°; fig. 456 fig. 228

man, note 349° — Lamentation, pp. 329, 338-340, Villa, Claudio de, p. 301; notes 300’,

— Galleria dell’Accademia: Nicola di 342, 347; note 261 *; fig. 457 301 °. See Master of the Legend of Maestro Antonio (attr.), Calvary, — St. Geneviéve, p. 338 £.; fig. 458 St. Barbara; Master of the Legend

PP. 2353 fig. 292 Master of the Death of the Virgin, of St. Catherine Verdi, Giuseppe, p. 167 Holy Family, note 354° Villa, Franceschino de, notes 300’, Verdun. Bib. Municipale: ms. 1 (119, Memlinc, Hans, Madonna Enthroned, 301° |

Chronicon S. Vitoni Virdunensis), p. 349 Villa, Oberto de, p. 300; notes 298°,

note 216°; ms. 107 (Breviary of Weyden, Roger van der, Calvary 300", 301°. See Weyden, Roger Marguérite de Bar), p. 31, note triptych, pp. 266 £., 274, 277, 285, van der (follower), Zug (Switzer-

314, fig. 9 293, 299, 302, 315; figs. 322-325 land), Abegg Coll., altarpiece Vermeer, Jan, p. 164 251 f.; note 258+; fig. 307 note 300°. See Weyden, Roger van Verlaine, Paul, p. 73 : — Madonna Standing, pp. 169, 186, Villa, Oberto de, sisters of, p. 300;

Verrocchio, Andrea del, p. 158; funeral — (collaborator), St. Catherine, p. der (follower), Paris, Rothschild

monument of Francesca Torna- 251; note 251‘; fig. 308 Colls., Portrait of a Young Lady buoni (school), note 24 ° See also Master of the Albrecht Villa, Odonnino de, note 301°

Versailes. renafter), Pye, Jan van (sup-Party, altarpiece Villard Honnecourt, posedly Hunting note _ 7; de , note 48° pp. 15, 2543

203° ian des (follones) Ye trip. Villeneuve ls-Avignon. Chapel of In-

Viator, Johannes (Jean Pélerin), De tych, p. 347, fig. 474; Memlinc nocent VI: Anon. (Avignonese), artificialt prospectiva, pp. 166, 3533 Hans, Madonna in Half-Length, Infancy of St. John the Baptist

note 344° note 344 *, See also Master of 1456 (mural), note 281 *

Vich. Mus. Arqueologico: Anon. (Span- __ Nationalbibliothek | — Church: Coronation of the Virgin.

ish), altar frontals showing Last ILL. MANUSCRIPTS: See Quarton

Judgment, notes 271 _ ms. 1199-1202 (Bible), note 102 * Villon, Francois, p. 73; note 223° Vicinio Pallavicino, family, note 82° ms. 1774 (Gradual of Queen Eliza- Vincent of Beauvais, p. 357 Vienna. Albertina: Eyck, Hubert or beth of Bohemia), notes 46°, 1257 Vintler, Nikolaust, owner of Runkel-

Jan (after), Bearing of the Cross ms. 1855 (Hours of Charles VI), stein Castle, p. 68

(drawing), pp. 233, 237, 242, 3503 notes 347, 1277 . Virgil (?), p. 209; note 209 °

fig. 304 ms. 1857 (Hours of Mary of Bur- Visby. Museum: Anon. (Swedish),

, ? > Pp. 24 | gen tol Vivie, Louis, p. 99

— Czernin Coll. : Memlinc, Presenta- gundy), p. 27; note 27° Last Judgment, note 2727

Roo of Christ (two heads attr. to ms. 2597 (Livre du Cuer d’Amour Visch-van der Capelle, de, p. 205 NOger Van Cer wey en), note 294 Espris), p. 3253 notes 27°, 325° Visconti, Bianca Maria, Duchess of

— Didcesan-Museum: Anon. (Aus- ms. 2772 (Bible), p. 237; note 237° Milan 8 trian), Portrait of Archduke vVierhouten near Amersfoort. van Visio Tundali

Rudolf IV, p. 170 f. Beuningen Coll _. pits Px 357

— Baron van der Elst Coll.: Bouts, PAINTINGS AND DRAWINGS: Vi; Sj d 6 Dirc (attr.), Madonna in Half- Anon. (Mosan), triptych, pp. 92 f., Volar. mon Ohelin. q

_ Length, note 317°; Memlinc, Hans, 94, 97, 128 f£., 181; figs. 106, 107 olsin, Maistre Phelippe, note 155 Portrait of an Italian Gentleman, Eyck, Hubert and Jan (attr.), ‘Three Volterra. Cathedral: Descent from the

note 349” Marys at the Tomb, pp. 230-232; Cross (wood sculpture), p. 274 |

— Gemaldegalerie note 222°; figs. 285, 286 Vos, Jan, Prior of Genadedal, pp. 188,

PAINTINGS: Geertgen tot Sint Jans, Madonna of 312s See Christus, Petrus, Berlin, Anon. (Austrian), altarpiece from the Sanctus, note 324 * Kaiser Fr iedrich_~ Mus., Exete . Heiligenkreuz, p. 134; note 67° Memlinc, Hans, Two Horses Stand- Madonna 3 Eyck, Jan van, Paris,

Eyck, Jan van, Portrait of Cardinal ing in a Brook, note 349" Rothschild Cols. Madonna with Albergati, p. 200 f.; note 15473 Weyden, Roger van der (after), SS. B arbara and Elizabeth of

fig. 263 Madonna in Half-Length, note Thuringia

— Portrait of Jan de Leeuw, pp. 198 137° Vostre, Simon, Hours for Lyons use, f., 201, 206; fig. 265 — Portraits of John, Duke of Bra- note 131

—(attr.), Portrait of the Fool bant, and Louis, Duke of Savoy Vrancke van der Stockt. See Stockt

570 |

Gonella, note 203 * (workshop drawings, also attr. to Vriendt, Maximilian de, note 206°

Geertgen tot Sint Jans, History of Jan van Eyck), p. 291; notes 200°, (second quatrain on Ghent altar-

the Remains of St. John the Bap- 291 *; figs. 380, 381 piece)

Pp. 497 ation Bib. Royale, ms. I, 7619

tist, pp. 327, 329; fig. 445; diagram See also Master of the Aix Annunci- Vronensteyn, Mary van. See Brussels,

INDEX Vyd, Jodocus, pp. 206 f., 217, 222, 268; Wernher von Tegernsee, Lied von der Portrait of a Man in Prayer (attr.),

note 206°. See Eyck, Hubert and Maget, p. 127 note 294“; Berlin, Kaiser FriedJan, Ghent, St. Bavo’s, Ghent Werl, Heinrich von, p. 173. See rich Mus., Bladelin or Middelburg altarpiece Master of Flémalle, Madrid, Prado, altarpiece, pp. 126, 136, 166, 265 wings of a triptych f., 276-278, 285-288, 294, 301,

Walafrid Strabo, note 46° (on Nativ- Werthina (Werden), personification of, notes 198 *, 344 *, frontispiece, figs.

ity); note 278* (on Ox and Ass) p. 145 £.; text ill. 54 335-340; zbidem, Last Judgment

Wanebac, Rogier de, p. 155; note 1557 | Westerloo near Tongerloo. Countess de (follower), note 272°; ibidem,

“Warwick Hours.” See Malvern, Dyson Mérode Coll. (formerly): Master Madonna with the Iris (work-

Perrins Coll. of Flémalle, Annunciation trip- shop), p. 296; zbidem, Miraflores

Washington. Dumbarton Oaks Re- tych (“Mérode altarpiece”), pp. altarpiece, pp. 259-266, 277-279, search Library and Coll.: Goes, 129, 133, 136, 142 f£., 164-166, 173 283, 287, 301, 311, 315-317, 349, Hugo van der (attr.), Madonna f., 222, 235, 255, 300, 304 f., 311; notes 251°, 278 ‘ 315% 316 5 330 *, (drawing), note 334°; Master of notes 222 *, 305°; fig. 204 figs. 318-320; ibidem, Pieta with

Flémalle (attr.), Portrait of a Wey, William, note 30° St. John the Evangelist and Donor Princess (Mary of Savoy?), p. 175, Weyden, Corneille van der, son of (workshop), note 261°; ibidem,

fig. 221 Roger van der Weyden, pp. 247, SS. Apollonia and Margaret (?),

— National Gallery 288; note 156” note 266 *; ibidem, St. John the PAINTINGS, DRAWINGS AND BOOK Weyden, Henry van der, master cut- Evangelist (attr.), mote 251°;

ILLUMINATIONS: ler of Tournai, father of Roger van ihidem, St. John altarpiece, P. 261,

.,y,,;é;

Anon. (Austrian), Death of the der Weyden, pp. 157, 247 278-282, 284 f., note 114", figs. Virgin (book ill, Rosenwald Weyden, Henry van der, sculptor of 342-346, diagram p. 280; zbidem,

Coll.), note 337° Louvain, Ppp. 157, 257 Portrait of Charles the Bold Anon. (Franco-Flemish), Madonna, Weyden, Pieter van der, son of Roger (replica), pp. 286, 291, 294, note

note 822 van der Weyden (perhaps identi- 286 *, fig. 379; zbidem, Portrait of a

Anon. (FrancoFlemish, official cal with the Master of the Legend Young Lady, p. 292, fig. 360; —, attr. to Pisanello), Portrait of a of St. Catherine, which see), p. 346 Kupferstichkabinett, Portrait of a Lady, pp. 82, 171; fig. 92 Weyden, Roger van der, pp. 247-302 Burgundian Prince (mutilated

Chr; a and passim (general); 154drawing, workshop), noteHist 291M*; ristus, Petrus, Nativity, pp. 203,pp. 8 168 f ~956, 298-301 ( B Bernisches

o, identity with the Master of Fle- Adoration ofpp. the Magi (tapestry Eyck, Jan van, Annunciation, 59, 2, 311-315, 321, 333; fig. 402 158, 168 f., 254-256, 298-301 (non- erne, Bernisches Histor. Mus., malle); pp. 155, 162, 248 (coat- allegedly based on), note 2877;

1371395 147s 182, 193 f,, 2525 305; ing of statues and reliefs). works: ibidem, Legends of Trajan and note 166° figs. 238, 239; diagram Amsterdam, Mannheimer Coll. Herkinbald (tapestry after), pp.

P. 414 (formerly), Portraits of Philip, 217, 247 £., 253, 364 f£., note 291 *,

Goes, Hugo van der (attr.), SS. Duke of Brabant, and Philip, Duke figs. 387, 388; Boston, Mus. of Fine

George and Margaret (drawing, of Nevers (workshop drawings, Arts, St. Luke Painting the Virgin

Rosenwald Coll.), note 334° also ,attr. Janreplica?), van Eyck, de-163, (replica?) 6 —260, 6 yck,tode pp. 252-254,

Memlinc, Hans, Madonna En. stroyed), p. 291, notes 200%, 291 *, 266, 293, 295 f., note 252’, fig. 313;

throned, p. 349 f.; fig. 481 figs. 382, 383; Antwerp, Mus. Bruges, Mus. Communal, Portrait

Weyden, Roger van der (follower )s Royal des Beaux-Arts, Altar- of Philip the Good en Chapperon Christ Appearing to His Mother, piece of the Seven Sacraments (after), p. 294, fig. 376;—, Rend-

note 263 (executed by assistant), pp. 141, ers Coll. (formerly), Madonna in

— Portrait of a Young Lady, pp. 292, 282-285, 299, 302, note 201°, Half-Length (workshop), p. 295

294; fig. 367 figs. 347-349; ibidem, Annuncia- f., note 296°, fig. 368; Brussels,

See also New York, Kress Foundation tion (attr.), note 298°; ibidem, Bib. Royale, ms. 9241 (Chroniques

OTHER OBJECTS: , Portrait of Jean le Févre de St. du Hainaut), dedication miniature Chalice of Suger, p. 68 Remy (after), notes 275*, 291°; (attr.), pp. 268, 282, 292-294, notes “Widener Morse,” p. 68 ibidem, Portrait of John the Fear- 261 *, 268°, 282°, 286°, 291°, fig. Wassenhove, Joos van. See Ghent, Joos less (workshop), pp. 171, 197, 291, 330;——, Cardon Coll. (formerly),

van notes 171°, 232%, 291°, fig. 378; Portrait of a Young Man (attr.),

Watteau, Antoine, p. 326; Embarque- ibidem, Portrait of Philippe de note 294°; —, Mesdemoiselles Le ment pour l’ile de Cythere, Berlin, Croy, p. 295 f£., fig. 371; zbidem, Maire-Broers, supposed Portrait of

Schlossmuseum, p. 281 Portrait of Philip the Good in a M. Broers (attr.), note 294*; —,

Weimar. Landesmuseum: Ascension of Toupée (after), p. 294, fig. 3773 Mus. Royal des Beaux-Arts, Ma-

Christ (ivory), note 22°; Eyck, Beaune, Hoétel-Dieu, Last Judg- donna in Half-Length (school), Jan van (after?), Cavalcade of the ment, pp. 193, 211, 249, 266, 268— note 297°; ibidem, Pieta with St.

Three Magi (drawing), note 203° 272, 275 f., 282, 285, 293, 340, John the Evangelist and _ the Wenceslas of Brabant, Portraits of, note 216%, figs. 325-329; Berchem Magdalen (workshop), note 261 *,

note 171 * near Antwerp, Abbé de Lescluse, fig. 390; tbidem, Portrait of the 571

INDEX Grand Bdatard de Bourgogne, pp. Man in Prayer, p. 294; —, Brit. note 266*; —, R. Lehman Coll.,

291, 284, note 291°, fig. 365; Mus., The Magdalen in Half- studies for St. John the Baptist in tbidem, Portrait of Laurent Frot- Length (drawings, attr.), note Berlin St. John altarpiece (drawmont, p. 295, fig. 373; Caen, Musée, | 275 *, fig. 384; tbidem, Portrait of ing, attr.), note 278*; —, Metro-

Mancel Coll., Madonna in Half- a Lady (drawing after), note politan Mus., Annunciation known Length, p. 295 f., notes 137°, 343”, 2927; —, Lady Evelyn Mason as “Clugny Annunciation” (attr.), fig. 372; Chicago, Art Institute, (heirs), St. George on Horseback. note 298°; tbidem, Christ ApMadonna in Half-Length (work- See Master of Flémalle (attr.); pearing to His Mother, pp. 259, shop), p. 296; zbidem, Portrait of —, Nat. Gallery, Portrait of a 262-264, 279, 315, 349, note 263, Jean Gros, p. 295 f., fig. 369; Young Lady (attr.), p. 294; fig. 321; zhidem, Madonna in HalfDonaueschingen, Gallery, Ma- ibidem, St. Magdalen (fragment), Length (school), note 296°; donna in Half-Length, p. 296, fig. p. 259, fig. 316; zbidem, Exhuma- thidem, Madonna with St. Paul

374; Douai, Mus. de la Ville, tion of St. Hubert. See Master of and a Donor (follower), note

Descent from the Cross (allegedly the Exhumation of St. Hubert; 298*; ibidem, Portrait of Francesco after), note 266°; Dresden, Ge- —, The Earl of Powis, Pieta with d’Este, pp. 272, 291, 294, note 291°, mialdegalerie, Crucifixion (after), St. Jerome, St. Dominic and a fig. 366; ibidem, Portrait of a Man

note 267‘; —, Kupferstich- Donor (workshop), note 261‘; in Prayer, p. 292, notes 154°, 294™, kabinett, Madonna on a Porch Liuitzschena, Speck von Sternburg fig. 361; zbidem, Portrait of a Man (drawing after), pp. 252, 2096, Coll., Visitation, pp. 158, 252, 300 in a Turban, note 294°; ibidem 301, 341, fig. 386; Enghien, Hé6- f.. 315, notes 301°", fig. 311; (Cloisters), polyptych (follower), pital St-Nicolas, Lamentation Lugano, Thyssen Coll., Madonna notes 263", 2777, 301°; —, John (attr.), note 284°; Escorial, Cruci- in a Niche, pp. 146 £., 251 f., notes D. Rockefeller, Jr. Coll., Portrait fixion, p. 288; notes 285 *, figs. 357, 252°, 258°, fig. 306; zbidem, Por- of Isabella of Portugal Trans358; — (formerly), Descent from trait of a Gentleman, pp. 292, 294, formed into the Persian Sibyl, p.

the Cross, see Madrid, Prado; fig. 364; Madrid, Prado, Cruci- 293 f£., fig. 363; —, E. and A.

Florence, Uffizi, Entombment, pp. fixion (after), note 267°; ibidem, Silberman Galleries, Ecce homo 273-275, 278, 331, note 266°, fig. Descent from the Cross (formerly (follower), note 302°; Nieder331; Frankfort-on-the-Main, Stadel- Escorial), pp. 167, 169, 256-258, waroldern, Village Church, Desches Kunstinstitut, “Medici Ma- 265-267, 274, 276, 288, 293, 2098, scent from the Cross (allegedly donna,” pp. 274-276, 278, 299, fig. 302, 309, 315, 323, 329, 339, 341, after), note 266°; Oxford, Ash332; ibidem, St. John altarpiece 353, notes 176°, 266%, figs. 251, molean Mus., Head of St. Joseph

(workshop), p. 278; Granada, 314, 315; ibidem, Madonna En- (drawing, ttr.), note 259°; | Capilla Real, Holy Family and throned (“Madonna Duran”), pp. ibidem, The Seven Sacraments Lamentation, pp. 259-266, 277- 259, 353, notes 258 *, 297”, fig. 317; (follower?), note 283°; Paris, Bib.

279, 283, 287, 301, 311, 315-317, ibidem, Pieta with St. John the Nationale, Portrait of John I, 349, notes 251%, 258%, 278*, 3157, Evangelist and a Donor (work- Duke of Cleves, in Prayer (after), 3167, 330°; Haarlem, Koenigs shop), note 261 *; ibidem, triptych p. 294; —, Louvre, Annunciation, Coll. (formerly), Madonna with erroneously called the “Cambrai Pp. 252-256, 278, 287, 293, 300 f., the Pear (drawing after?), note altarpiece” (formerly attr.), notes notes 251°, 300°, figs. 215, 309, 252°; Haartekamp near Haar- 194°, 283°%, 285°, 302°; Maiden- 310; tbidem, Bearing of the Body

lem, Madame von Pannwitz head, Stubbings House, Merton to the Sepulchre (drawing, after),

Coll., Dream of Pope Sergius and Coll., Portrait of Guillaume Fillas- p. 266, notes 266°, 327°, fig. 392;

Consecration of St. Hubert, see tre, p. 292, note 292°, fig. 362; ibidem, Crucifixion (drawing, Master of the Exhumation of St. Munich, Alte Pinakothek, Co- attr.), note 298°; zb1dem, Head of

Hubert; Hague, The, del Monte lumba altarpiece, pp. 70, 135, 249 the Virgin Mary (drawing, attr.), Coll., Madonna in Half-Length f., 254, 259, 266, 284, 286-288, 2y6, note 296°; zbidem, Madonna with (school), note 297°; —, Maurits- 341, 350, notes 261%, 295’, figs. the Flower (drawing, after?), note huis, Lamentation (attr.), p. 284, 352-356; ibidem, Descent from the 252°; tbidem, triptych of Jean de fig. 359; Houston (Texas), Mus. Cross (after?), p. 266, fig. 393; Braque, pp. 275 f£., 299, 319, 349, of Fine Arts, Straus Coll., Ma- Nancy, Mus. Municipal, Descent figs. 333, 334; zbidem, The Virgin

donna in. Half-Length (replica), from the Cross in half-length Mary and St. Peter (drawing,

pp. 296, 317, note 317°, fig. 375; figures (after), p. 266, fig. 394; attr.), note 298*; —, Rothschild Leipzig, F. Becker Coll. (for- Naples, Priv. Coll. (?), Pzeta@ with Colls., Portrait of a Young Lady merly), Christ Bearing the Cross St. John the Evangelist and a (allegedly a Demoiselle de Villa), (drawing after), notes 266°, 327°, Donor (after), note 261*; New p. 300 f., notes 294°, 302%, fig. fig. 391; —, Mus. der Bildenden York, Faust Coll., Madonna in 401; —, Schloss Coll. (formerly), Kiinste, Madonna (after), note Half-Length (school), note 297°; David Receiving the Cistern 2667; London, Viscount Bearsted —, Gulbenkian Coll. (formerly), Water, pp. 278, 287, fig. 341; Petof Maidstone (formerly W. H. Heads of St. Joseph and the Virgin worth, Lord Leconfield Coll.

Samuels), Portrait of a Young Mary or Female Saint (attr.), Mary Annunciate and St. James

572

the Great (attr.), note 2987; Phila- St. James’s Church and Ducal piece, pp. 161, 306, notes 298°, delphia, Penna. Mus. of Art (John- Palace, paintings seen by Albrecht 305°; Naples, Mus. Nazionale, son Coll.), Calvary, pp. 249, 285 £, Durer, p. 253; Brussels, Carmel- Holy Family (attr.), p. 306, note

288, figs. 350, 351; Richmond, ite’s Church, Madonna with 137°; Strasbourg, Museum, SS. Cook Coll. (formerly), free copy Donors, p. 266; Brussels, Town Magdalen and Catherine, p. 305 after the “Medici Madonna,” notes Hall, Legends of Trajan and f., note 128° 274°, 275°; Rotterdam, Boymans Herkinbald, pp. 217, 247 f., 253, Wolfenbiittel. Landesbibliothek: cod. Mus., Madonna (drawing), p. 266, 257, 264 f.; Cambrai, St.-Aubert, Helmst. 65 (Gospels), notes 220’,

fig. 385; Roulers, Wyckhuyse triptych, p. 248, notes 194°, 283°", 271 *; Eyck, Jan van, Annuncia-

Coll., Madonna in Half-Length 285°, 297°; Ferrara, Palace of tion (drawing, attr.), notes 200°, (after), note 296°; San Marino Lionello d’Este, triptych described 344°, text ill. 62 (Calif.), Huntington Art Gallery, by Cyriacus of Ancona and Facius, Wolgemut, Michael, pp. 111, 158, 345 Madonna in Half-Length, p. 295 pp. 258, 266, notes 2°", 266°, 273°; Worcester (Mass.). Museum: Anon.

f., fig. 370; Turin, Galleria Genoa, Bathing Woman Spied (Avignonese?), Madonna with St.

Sabauda, Donor’s Portrait and Visi- upon by Two Youths, note 27; Peter of Luxembourg, p. 82 tation (follower), Pp. 252, 300 f., Naples, Palace of Alphonso V of Wiirzburg, Univ. Library: ms. Mp.

315, note 301", figs. 309, 310; Aragon, scenes from the Passion theol. fol. max. 9 (Conrad Bible), Vienna, Czernin Coll., Presenta- (on canvas), described by Facius, note 367 tion (by Memlinc, two heads be- p. 2 f., notes 2°, 260°; Venice, lieved to be painted in by Roger Palazzo Vendramin, Madonna in van der Weyden), note 294”; a Gothic Church, ascribed (per- Yolande Belle. See Ypres, Musée —, Gemaldegalerie, Calvary trip- haps by way of confusion with Jan Yolande de Flandre, p. 34. See London,

tych, pp. 266 f£., 274, 277, 285, 293, van Eyck) by Marcantonio Mi- Brit. Mus., Yates Thompson ms.

299, 302, 315, figs. 322-324; chiel, note 251” 27

ibidem, Madonna Standing, pp. Wiesbaden. Staatsarchiv: miscellaneous “York Hours.” See Oxford, Bodleian

169, 186, 251 f., note 258’, fig. 307; manuscript, pp. 107 f., 111; note Library, ms. Lat. Liturg., f.2

ibidem, St. Catherine (collabora- 107°; fig. 139 Ypres, school of book illumination, pp. tor), p. 251, note 251°, fig. 308; Wilde, Oscar, note 2817 105, 112-115, 118, 122 Vierhouten near Amersfoort, van William VI, Count of Holland, Ba- — Musée: Anon. (Ypres), Madonna of Beuningen Coll., Madonna in Half- varia and the Hainaut, pp. 45, 91, Yolande Belle, pp. 96, 186 Length (after), note 137°; zbidem, 178, 239 £., 242, 245

Portraits of John, Duke of Brabant, William of Kirby, p. 32. See Princeton,

and Louis, Duke of Savoy (work- University library, ms. 83 Zarlino, Giuseppe, on Timotheos, note

shop drawings, also attr. to Jan van William of Sens, note 135” 197

Eyck), p. 291, notes 200°, 291‘, Wilton House. Lord Pembroke: Goes, Zavattari, family of artists, p. 67

figs. 380, 381; Washington, Nat. Hugo van der, Nativity (attr.), Zenale, Bernardino, See Butinone

Gallery, Christ Appearing to His note 337°; fig. 475 Zeno, p. 10

Mother (follower), note 263°; Winckelmann, Joh. Joachim, p. 345 Zeno, Caterino, Venetian ambassador ibidem, Portrait of a Young Lady, Windsor Castle: Goes, Hugo van der, to Persia, note 342" Pp. 292, 294, fig. 367; Zug (Switz- Crucified Christ (drawing, attr.), Zittau. Stadtbibliothek: ms. A VII

erland), Abegg Coll., Calvary note 334° (Missal), note 125 * triptych (follower), pp. 176, 298- Winterthur. Reinhart Coll.: Anon. Zola, Emile, p. 141

302, figs. 399, 400. Whereabouts un- (upper Rhenish), Annunciation, p. Zug (Switzerland). Abegg Coll.: Wey-

known: Madonna in Half-Length 129; note 129°; text ill. 50 den, Roger van der (follower), (fragment, attr.), note 297°; Ma- Wismar. St. Jiirgen: Anon. (German), Calvary altarpiece, pp. 176, 298-

donna on a Grassy Bench (attr.), Nativity, p. 125 302; figs. 399, 400

note 298*; Madonna with the Pear Witte, Emanuel de, p. 236 Zweder van Culemborg, Bishop of (after), note 252*; Portrait of a Witz, Conrad, p. 305 f. works: Utrecht, p. 102; note 104%. See Young Man (attr, sold at Basel, Oeceffentliche Kunstsamm- Bressanone, Episcopal Seminary, Christie’s in 1950), note 292°. See lung, “Heilsspiegel” altarpiece, p. ms. C 20 also Massys, Quentin (follower), 133, note 298°; ibidem, St. Chris) Zweder van Culemborg, chronicler, Descent from the Cross in _half- topher, note 305 *; zbidem, Joachim note 104 * length figure; Master of the Holy and Anna Meeting at the Golden Zwolle. Archaeological Mus.: Missal of

Blood, same subject. woRKS KNOWN Gate, p. 306; Geneva, Mus. the Teutonic Order (unnumTHROUGH LITERARY SOURCES: Bruges, d’Archéologie, St. Peter altar- bered), p. 102; note 102°

573

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11. Dream of Pharaoh; Florence, Baptistry. 12. Last Supper; Monreale, Cathedral.

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17. Pietro Lorenzett, Birth of the Virgin; Siena, Opera del Duomo.

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