Y\^. 8 reference to the type of dazzling gilding seen in the (+/01 Line engraving of e Arrest  For this practice, see Z. Véliz, ‘Wooden and furiously driven”: I. Ragusa and R. monographs by D. Angulo Íñiguez (Seville, present panel. Ceán Bermúdez further relates that there of Christ, from S. Reinach, Panels and 3eir Preparation for Painting Green (trans. and ed.), Meditations on the *7:) and M.L. Martín Cubero (Madrid, Répertoire de peintures were smaller retables by Fernández in the church as from the Middle Ages to the Seventeenth Life of Christ: An Illustrated Manuscript of *€€), the very complete entry by C.R. Century in Spain’ in e Structural the Fourteenth Century (Princeton, *:) , Post in A History of Spanish Painting, vol. du moyen âge et de la well, including one showing the Last Supper. Fernández renaissance, Paris, *%< Conservation of Panel Paintings, ed. K. p. 68$. “We should notice the meekness X (Cambridge, Mass., *$%), pp. €–*6, and began his career in Córdoba, so Ceán Bermúdez’s pos- Dardes and A. Rothe (Los Angeles, **€), of our Lord” and “Hence we read that also D. Angulo Íñiguez, ‘Varias obras de sible observation of the work there may corroborate the pp. 6€–7%. ‘the band’ of soldiers ‘and the tribune’ Alejo Fernández y de su escuela’, Anales de 8 First published in R. Ramírez de Arellano, commanding them, all the servants of the la Universidad Hispalense , , no. 8 (*6*), early date proposed for this panel, prior to the painter’s ‘Ordenanzas de Pintores’, Bolétin de la Jews, rushed violently and all together pp. 7–:6. For documents concerning the move to Seville in $%€. However, despite this tempting Real Academia de Bellas Artes de San like wolves upon a lamb, and laid their painter, including his very detailed will of Fernando , segunda época, vol. *, no. 66 sacrilegious hands irreverently and $78, see J. Gestoso y Pérez, Ensayo en un evidence, the substantial output of Fernández’s work- (*$), pp. 8:–7:; translated in Z. Véliz, ‘3e insultingly upon [him], and they ‘held him’ diccionario des los artí"ces que 1orecieron en shop and the signi&cant number of lost altarpieces Ordenanzas de Córdoba for Regulating by his own permission, for He was held Sevilla desde el siglo XIII al XVIII inclusive , the Profession of Painting’, Hamilton Kerr when he chose, not before, and was thus vol. II (Seville, *%%), pp. 66–67; vol. III whose iconographies are not known caution against a Institute Bulletin, no. 6 (8%%%), p. 6<. taken prisoner by his own free will”: (Seville, *%*), pp. 6%*–86, and especially &rm identi&cation. On the other hand, as two panels 6 As indicated in an unpublished Condition H.J. Coleridge (trans. and ed.), e Hours of the much more thorough Documentos para Report by the Daniele Rossi conservation the Passion taken from the Life of Christ by la historia del arte en Andalucia, vol. , from this altarpiece have survived in good condition, studio dated February 8%8. Ludolph the Saxon (London, €€<), p. <6. pp. 8–88, 66–7% and 7:; vol. 8, pp. <–€; it is possible that more might resurface in the future, 7 3ese observations are drawn from I. Tylers, % P. Silva Maroto, ‘In?uencia de los grabados vol. 6, p. $; vol. 7, p. 7*; vol. :, pp. $6, <*, ‘Tree-ring analysis of paintings from the nórdicos en la pintura Hispano-?amenca’, €–€8; vol. €, pp. €–8%; vol. *, pp. 8–88. perhaps miscatalogued as ‘German’ in a similar way. Sam Fogg Gallery’, London, August 8%$, Archivo español de arte, :, no. 876 (**€), * J. Valverde Madrid, ‘La pintura sevillana en Eventually, the identi&cation of further scenes might pp. *–8. pp. 8<–*%. la primera mitad del siglo XVI ($%–$:%)’, provide &rmer evidence of the exact original context of $ 3e number of sapwood rings for trees  M. McDonald, e Print Collection of Archivo Hispalense , 87, no. <: (*$:), in the Baltic varies between nine and Ferdinand Columbus ($%&&–$')*): A pp. 6–6<. the present impressive work. () thirty-six, with a median value of &=een. Renaissance Collector in Seville, 8 vols. 8% Orto hispalensis: Arte y cultura en la Sevilla Seasoning time (in Netherlandish (London, 8%%7), nos. $, :7, 8*<, €7$, 866<, del Emperador , exh. cat. (Madrid, 8%%), workshops) is estimated to be between two 878%, 8€ and 8%:. pp. 8–6. and &=een years, with the upper range more 8 On Ferdández’s Northern borrowings see 8 For this work see C. Rahn Phillips, likely. See P. Klein, ‘Dendrochronological J.M. Covelo López, ‘La in?uencia de los ‘Visualizing Imperium: 3e Virgin of the Analyses of Netherlandish Paintings’, pintores nórdicos en la estética sevillana Seafarers and Spain’s Self-Image in the Early in Recent Developments in the Technical durante la primera mitad del siglo XVI’, Sixteenth Century’, Renaissance Quarterly , Examination of Early Netherlandish in El emperador Carlos y su tiempo: actas, $€, no. 6 (8%%$), pp. €$–$:. Painting: Methodology, Limitations and IX Jornadas Nacionales de Historia Militar 88 Mateo Gomez, undated. Perspectives, ed. M. Faries and R. Spronk (Madrid, 8%%%), pp. *$€–$*. 86 I am extremely grateful to Frédéric Elsig for (Turnhout, 8%%6), pp. :$–<*. 6 D. Angulo Íñiguez, ‘Bramante et la suggesting the links between the two works : “Carmin "no de borra o lacar sin que en ello Flagellation du Musée du Prado’, Gazette des in a personal communication. entre ningun brasil” : R. Ramírez de Arellano Beaux-Arts, :8 (*$6), pp. $–€. 87 See Angulo Íñiguez *7:, pl. 6€. *$, p. 6€; Véliz 8%%%, p. 6<. 7 3e attribution was &rst proposed in an 8$ “Alexo Hernandez, que en Sevilla hizo < 3e iconographic separation of Christ’s unpublished handwritten essay by I. Mateo muchas obras, y en Córdoba en el betrayal from his healing of Malchus’s Gomez, undated; we are grateful to both monasterio de S. Geronimo el retablo ear becomes established in woodcut Frédéric Elsig and Guillaume Kientz for grande y otros pequeños”: transcribed in illustrations of the Bible a=er $%%. See B.A. further con&rming the attribution to Alejo J.A. Ceán Bermudez, Diccionario historico Roiser, e Bible in print: Netherlandish Fernández in conversation. de los mas ilustres profesores de las Bellas Bible illustration in the sixteenth century $ Reinach *%<, p. 6*<. Artes de Espana (Madrid, €%%), vol. V, (Leiden, **<), nos. 7$8–$6, $<–€, :67–6$ : See the IRR images in J. García-Maíquez pp. 6%7–%$. See also J.R. Lapaz, ‘El “discurso and <%:–%<. A painted panel by a follower and C. Garrido, ‘La Flagelación ($%$–$%)’, de la comparación de la antigua y moderna of Michael Sittow showing Christ’s healing in El trazo oculto: dibujos subyacentes en pintura y escultura” de Pablo de Sepedes’, of Malchus a=er his arrest, which includes pinturas de los siglos XV y XVI , exh. cat., ed. Goya , 8<–€ (**%), pp. $–8<. Peter sheathing his sword and the lantern G. Finaldi, C. Garrido and L. Alba Carcelén 8: “Ls pinturas del grande [retablo ] representan on the ground, is at Campion Hall, Oxford. (Madrid, 8%%:), pp. 86%–6*. varios pasajes de la vida de Cristo y del santo € 3e detail of the extinguished lantern is < Angulo Íñiguez *$6; J.M. Serrera Contreras, doctor [san Jerónimo ]: la del medio es una relatively rare but seems to stem from a ‘Ut pictura, architectura: La arquitectura en cena del Señor [cristo] y está "rmada. El Netherlandish prototype. It is found, for la pintura del Renacimiento en Andalucía’, mérito de estas tablas corresponde a lo mejor example, in the le= wing of the Dreux Budé in La arquitectura del Renacimiento en que se hacia en '$$ tiempo en España, y como triptych of about 7$% (private collection). Andalucía , exh. cat. (**8), pp. 86–76; A. dice el misma Céspedes, la mayor habilidad * “He patiently and benignly receives the Urquízar Herrera, El Renacimiento en la de los pintores de entonces consistía en dorar treacherous embraces and kisses of that periferia: La recepción de los modos italianos y estofar ”: Ceán Bermudez €%%, vol. II, wretch whose feet he had washed just a en la experiencia pictórica del Quinientos p. €<. short time before …. How patiently he cordobés (Córdoba, 8%%), pp. 77–7$, $%–$6. allows himself to be captured, tied, beaten, € For Fernández, see the two existing

€ * 

German or Southern Netherlandish Master

Southern Germany, c. !" The Virgin and Child

Oil and gilding on walnut !#.# cm diameter

$%&'()*)+( With Koetser Gallery, London, by -/ ; Portuguese private collection, follows the alignment of the panel’s grain in relation to before -0"; anonymous sale; Christie’s, London,  July --", lot "0 ; the painted image. # @e diameter of the panel is !#.#cm European private collection, --"–€! in total, but with a broad unpainted edge measuring approximately #.# cm encircling the painted area. @e 234(%*45%( exposure of worm holes around this border (9lled with Autumn exhibition of !ne Flemish, Dutch and Italian Masters , exh. a ground material that becomes clearly visible in the cat., Leonard Koetser, London, €# October– December -/, no. ; A. Stange, Die Deutschen Tafelbilder vor Dürer , vol. I (Munich, -/0), X-radiograph) would suggest that it was planed back to no. 0€, p. /#; H.M. Schmidt, Der Meister des Marienlebens und Sein its current level, possibly to remove integral or applied Kreis ( Dusseldorf, -0"), 9g. /# framing elements, leaving a single trace of the original moulding in the form of a shallow circular groove 9lled with a chalk ground. ! Particles of azurite, black, red and yellow earth pigments and some lead white found in +&):343&), <*4(%3*2= *): 4(+>)3?5( the same area are possibly the remnants of this early @e paint surface survives in excellent condition, with frame. Additionally, there are a series of regularly many of its 9ner details, including the Virgin’s delicate spaced radial grooves running around the unpainted eyelashes and the white highlights individuating the edge, their purpose unknown. petals of the rose, clearly preserved. It has not suBered Extending under the whole of the painted and gilded from over-cleaning and there are only isolated Qake area and clearly visible in the X-radiograph is a cloth losses to the Virgin’s forehead and ear, as well as some of 9ne, regular weave separating the panel from the losses along the very edge of the painted area below ground, a technique popular in the preparation of panel Christ’s feet. Analysis of paint samples taken from the paintings across Austria and southern Germany. R @e area above the Virgin’s head reveals a small loss with ground layer was built up to a considerable thickness in later gilding applied over the remains of an earlier sur- the gilded area and deeply incised to create the textured face, although elsewhere the original gilding would design, its large rays further enlivened through the use appear to be largely intact, and in several areas the paint of a tool rocked over the background in order to form of the 9gures overlaps the gold leaf. € a dense pattern of zigzagged depressions. @is process @e panel is constructed from a single plank of was completed before the panel was painted, since 9gured walnut that at some point in its history has been reserves were leT for both 9gures, which in some areas thinned and cradled diagonally, an orientation which extend across their boundaries. @e underdrawing,

€ U3Y.  Infrared reflectogram of The Virgin and Child

visible in some of the Qesh areas under normal light pronounced triangular fold, but the contour soTened U3Y. € Detail of the wet-in-wet but more clearly with the aid of infrared reQectography, to a curve in the 9nal stages of painting. painting of the Virgin’s was 9rst applied in a 9ne, dry medium, before some Although using a limited palette of colours, the artist eyelashes outlines were reinforced with a 9ne brush loaded with carried out the painting of the panel with great skill U3Y. # a carbon-based liquid (9g. ). Hatching and shading and, in places, with deT and economical brushstrokes. Detail of the rose, outlined is kept to a minimum, and some details received only @e hair of the 9gures was painted wet-in-wet, a treat- over a broad colour and highlighed with lead white cursory treatment in the design stages, including ment also visible in the Virgin’s eyelashes, where a single Christ’s 9ngers and genitalia. A number of adjustments dark line 9rst outlined the eyelids before being drawn were made between the drawn design and the 9nished through to create each lash (9g. €). @e deep green-blue composition but these are all extremely subtle, sugges- of the Virgin’s mantle was painted with what appears to tive of a model being closely followed. @e nose of the be a high grade of azurite pigment, overlaid with mor- Virgin was initially drawn slimmer above the level of dant gilding for the embroidered detailing along the the bridge and the middle 9nger of her proper right hems, while the dress is composed of a thin layer of a hand was increased in thickness and possibly low- brown-red pigment, possibly incorporating red earth. A ered somewhat, while the little 9ngernail of her leT glaze of red pigment, possibly lake, was applied over a hand was 9rst drawn underneath Christ’s elbow, but pale mid tone to give depth of colour to the lips; simi- changed during the painting stages so that the two no larly the petals of the Qower were outlined over a broad longer overlap. @e wrinkles at the front of Christ’s single colour selectively highlighted with lead white neck were suppressed in the paint stages in favour of an (9g. #). @e Qesh tones are remarkably subtle, particu- unplanned placement at the nape of the neck instead, larly in the shadows cast across the Virgin’s neck, and but have become visible again over time. @e nose, chin were delicately feathered over the ground layer, which and ear of Christ were all adjusted slightly, while the was nevertheless leT exposed in areas such as Christ’s rose received only skeletal underdrawing, and the stem knees and thighs, and the forehead of the Virgin, to was painted in freehand. Additionally, the white cloth imbue the skin with a glowing warmth of hue. buckling behind his neck was initially painted with a

€€ €# U3Y. ! Christ was borne by the pure Virgin – and shed his U3Y. R Quentin Matsys Israhel van Meckenhem blood – to redeem our sins. An image of a rose could #e Virgin and Child , c. R #e Virgin in half-length Oil on panel, €€.R cm also act as a visual cue for the recitation for the rosary on the crescent moon , diameter prayer ‘Ave Maria’. c. !"–- Antwerp, Rockoxhuis Hand-coloured engraving, @e panel’s circular format would to a certain extent !€ mm diameter have dictated the design of its decoration, but, unlike B VI.€/.RR.B (fragment) the large majority of round panel paintings, commonly termed ‘tondi’, this feature was carefully considered U3Y. / Robert Campin, known and utilized in order to evoke a magni9cent halo encir- as the Master of Flémalle cling the 9gures. Simultaneously, however, it provides #e Virgin in Glory between visual parallels to images of the Virgin in Glory or the Saint Peter and Saint Augustin , c. !! Virgin of the Immaculate Conception – a vision of the Oil on panel, !0 × # cm Virgin appearing in an aureole of light described in Aix-en-Provence, Musée Granet the Book of Revelation as a woman “clothed with the sun” (Revelation €:). With the exception of a some- what smaller example attributed to Quentin Matsys (9g. !), and an earlier panel by a follower of Robert Campin (formerly G. de Berny collection, Marseilles), few tondi are so explicit in their rendering of such a motif. It can, however, be found on a small number of engraved images from the second half of the 9Teenth century, suggesting that it may have been used more widely by painters of panels than we are able to appre- :(=+%3$43&) *): 3+&)&Y%*$>| ciate today from the few examples that survive (9g. R). @e 9gure of the Virgin holding the infant Christ most pronounced compositional motif, the red rose Its deployment in tandem with the rose Qower is simi- appears at half-length against a gold sunburst of rays which Christ holds dexterously between the thumb and larly rare, but not without precedent, and a comparable alternating between straight, pointed spikes and undu- fore9nger of his leT hand, high in front of the Virgin’s combination of motifs is visible on a panel associated lating, tapered Qames. She wears a deep blue, sleeved chest, draws on themes associated with each of the two with the Master of Flémalle in the Musée Granet, Aix- mantle over a reddish-brown dress with a square neck- 9gures in turn. Its colour, which is visually picked out en-Provence (9g. /), with the Virgin seated before an line, the material of a white chemise undergarment against the darker brick-red of the Virgin’s dress, evokes aureole of raised, gilded rays, holding a rose in her visible at the sides of the neck. A thin black circlet, the blood Christ shed for humankind and, by inference, hand and resting her feet on the crescent moon. 0 touched with dashes of lead tin yellow to imitate gold incites our contemplation of the wider Passion narra- thread, is set on her hair; it has a brooch at its centre, tive. Simultaneously, the Qower’s thornless stem alludes set with six pearls arranged like petals around a cen- to the purity and redemptive nature of the Virgin; fol- =&5%+(=, U&%<*4, U5)+43&) tral ruby. @e Virgin looks down at her son, who lies lowing Saint Ambrose’s claim that roses grew without @e present panel faithfully copies the style and motifs of cradled on a short length of white cloth. With his right thorns in the Garden of Eden but sprouted them fol- a half-length Virgin and Child composition attributed hand Christ takes hold of a lock of the Virgin’s hair, and lowing the Fall, the Virgin was seen by medieval writers to Rogier van der Weyden (!–!/!) and represented in his leT holds a rose Qower with a cut, thornless stem including Saint Bernard of Clairvaux as a ‘rose without by a version known as the ‘Donaueschingen Madonna’, (9g. #). With one eye he looks upwards to his mother, thorns’, symbolic of mankind’s salvation and paradise which recently entered the collection of the Heidelberg but turns the other out slightly towards the viewer. regained. / Physically, the rose punctuates an otherwise Kurpfälzisches Museum (9g. 0). " In his painstaking @e panel’s ornate gilded decoration, coupled with enclosed embrace visually established by Christ’s arms, -0 survey of Rogierian compositions, Dirk de Vos its representation of the Virgin and Child depicted in which are opened in the direction of his mother, and described the Donaueschingen Virgin and Child as an a tender embrace, evokes an intimate celestial vision his playful touching of the Virgin’s hair, providing a cul- isolated replica of a lost Rogierian model, distancing it of which we are being granted a privileged glimpse. Its mination of themes established through both 9gures; from a number of related versions believed to have been

€! €R U3Y. - Rogier van der Weyden #e Virgin and Child , aTer !R! Oil on oak, #.- × €€.- cm Houston, Museum of Fine Arts

U3Y.  Rogier van der Weyden Head of the Virgin , c. !/ Drypoint (silverpoint?) on prepared paper, €.- ×  cm Paris, Musée du Louvre, :.*.Y., 3)'€/!!-recto

in design, and its incompleteness in the areas in which derived from Rogier’s Saint Luke drawing the Virgin Christ’s limbs and body appear on the Donaueschingen (Museum of Fine Art, Boston). - While none of these panel suggest that the draughtsman was working from versions match the Donaueschingen panel’s 9gural a version of the same composition and was speci9cally arrangement precisely, several reproduce a number of the manner with which Christ fondles the Virgin’s lock trying to avoid reproducing the infant. its motifs; the structuring of the hair and exposed ear of of hair, and the size and number of her circlet’s jewels. @e composition of the Donaueschingen panel is the Virgin, the manner in which her mantle folds over @e choice of colours on the two panels diverges subtly, also known through at least two further copies (both the back of her head, and the decoration of her circlet but it remains clear that our artist knew intimately how currently in private hands), but neither reproduces its bear particularly close comparison to a Virgin and Child and why the Donaueschingen Virgin type had been combination of elements as precisely as the present in the Museum of Fine Arts, Houston (9g. -). Such painted, with the tones of the dress and mantle muted version; in both, a white veil is introduced between U3Y. 0 correlations con9rm the place of the Donaueschingen so as to draw our focus to the vibrant representation of the back of the Virgin’s head and her mantle, while Rogier van der Weyden composition amongst the corpus of devotional panels the rose in Christ’s hand. @e delicate introduction of Christ’s right hand is missing its rose. # Moreover, the (attributed to) @e Donaueschingen executed during the late phase of Rogier’s career in colour to the parts of the faces viewed most obliquely, 9gure of the Christ Child has been lowered consider- Virgin and Child Brussels, when the artist seems to have responded to an notably the Virgin’s leT cheek and Christ’s right, both of ably in both compositions, dissipating the sense of Oil on oak, #€ × €R × .R cm physical intimacy between the two 9gures and some- Heidelberg, Kurpfälzisches increased demand for small-scale, private devotional which are touched with red pigment, is a very Rogierian Museum paintings brought about in part by the inQux of earlier concept (it compares closely with both the Houston what confusing the visual logic of the hand with which Byzantine icons to the Low Countries around !R.  and Donaueschingen panels, for instance) and one Christ holds the Virgin’s hair. Where details on our U3Y. " @e Donaueschingen Virgin A tracing of our 9gures overlaid on to a scale repro- that would most likely have been lost were our painter panel diBer from those of the Donaueschingen com- and Child with a tracing of duction of the Donaueschingen panel indicates that working only from drawings. In this respect, it is fortu- position, they seem to have been deliberately altered the present roundel overlaid in red while our artist seems to have reduced Rogier’s compo- nate that an early drawn copy of the Donaueschingen in order to increase the clarity and legibility of the 9g- sition slightly in size, the two versions correlate closely panel (or another version of the same composition) ures’ forms, particularly where they overlap or where in all other ways (9g. ").  @e 9gures’ proportions and survives (9g. ). € It is only partly 9nished, and depicts their visual autonomy is threatened. @e neckline of their positioning in relation to each other are almost just the head and neck of the Virgin, with a reserve leT the Virgin’s red dress was altered subtly and reinforced identical, as are the composition’s many nuanced above her forehead for a central cluster of jewels at the where it meets the chest of the Christ Child, presum- details, such as the rose with its Qower facing to the leT, front of the circlet. Nevertheless, it is almost identical ably to avoid confusion from the overlap between the

€/ €0 U3Y.  of a visually balanced arrangement for the 9gures on a more monumental scale also survive, the grandest of U3Y. € Rogier van der Weyden Master of the Life a format for which they were not originally designed – which are a set of six panels illustrating scenes from #e Virgin and Child , from of the Virgin the Diptych of Philippe round paintings are not known to have been amongst the life of Joseph (measuring between R and / cm #e Virgin and Child , c. !0 De Cröy, c. !/ Rogier’s repertoire – was handled with extreme skill, in diameter respectively) executed by two anonymous Oil on panel, R0 × R.R cm Oil on panel transferred to Berlin, Gemäldegalerie - canvas and relaid on panel, and undoubtedly considered with great care from the Brussels artists around R. !-.R × #.0 cm outset. ! @is process would also help to account for However, few tondi of a scale equal to the present San Marino, Huntington Library the subtle adjustment made to the scale of the 9gures example have survived, so, while it may have been pos- – perhaps undertaken with recourse to a mechanical sible to treat this panel in the same manner as smaller aid – and might, moreover, suggest that the artist was examples, the panel would in reality have been some- working to a strictly de9ned brief with regards to the what unwieldy, and is not likely to have been handled painting’s size. R in the same way. @e self-contained character inherent Such decisions indicate that our painter had intimate to panels of a circular format meant that they could act access to designs executed in Rogier’s workshop, but, emphatically as stand-alone devotional objects, a sup- more importantly, he was able to combine this with a position reinforced by the fact that, like those of the sophisticated and inventive approach to the juxtaposi- Donaueschingen Virgin and Child , the 9gures on our tion of motifs, since the allusion to the Virgin’s purity panel look in opposite directions but do not appear to oBered by the rose is underscored and developed by engage directly with objects outside the composition the inclusion of the gilded aureole. @us the painter – in stark contrast to the manner in which Rogier envis- not only retained the meaning of Rogier’s design, aged the physical and conceptual relationship between but through drawing together thematically concor- the multiple panels of several of his works, particularly of artists active in Cologne during the second half of dant concepts allowed for an expanded iconographic those of the diptychs of Philippe De Cröy (9g. ) and the 9Teenth century – such as the pale, smooth hand- reading. of Jean Gros (Art Institute of Chicago and Musée des ling of the Qesh tones and the dragging of the paint of While round panel paintings or tondi are commonly Beaux-Arts, Tournai). the eyelids, wet-in-wet, in order to form the eyelashes. associated with Italian art of the Renaissance (famous However, Stange’s attribution can no longer be sus- examples having been produced by Filippo Lippi and tained on stylistic grounds since it diverges markedly pale Qesh of the body and the Virgin’s white chemise. Botticelli) images painted in a circular format were also 2&+*23„*43&) *): :*4( from several surviving half-length panels attributed to Similarly, the folds of the swaddling cloth separating produced north of the Alps throughout the 9Teenth When Alfred Stange saw the present painting at the the Master of the Life of the Virgin and his workshop, Christ’s body from the Virgin’s right hand have been and sixteenth centuries. @ey account for a surprisingly Koetser Gallery in -/, and again when it was included which demonstrate that his was an inherently diBerent rendered with a greater graphic quality on our panel large percentage of panel paintings made for the courts in his -/" survey of the work of the Master of the Life pictorial language (9g. €). Although Cologne painters than have those on the Donaueschingen version, which of France between c. ! and !€, and already in this of the Virgin – an anonymous Cologne painter active can be identi9ed with the use of a gilded background, are paler and less well de9ned. While the angular fold early context their format seems to have been the basis between c. !/ and !- – he described it as a work these backgrounds are fairly persistently characterized of the cloth behind Christ’s neck initially reproduced for experimentation and invention. @ey were oTen from “the mature period” of that artist, an attribution by Qat, burnished surfaces decorated with punched the triangular arrangement that so characterizes the painted with imagery on either side, which necessitated that has since been sustained in the surrounding schol- designs, and not by the deeply incised surface visible Donaueschingen panel’s design, its 9nal, more rounded their being handled and turned in the hands. / Round arship. € In the years following the death of Cologne’s on our panel. Indeed, it would have been a time-con- appearance results in a greater emphasis on the two 9g- panels also seem to have been recognized by contem- leading mid-century painter, Stefan Lochner, the city’s suming and costly process to create the surface that ures’ faces, and a strengthened outline for the Virgin’s porary viewers in relation to particular types of image artists, led by the Master of the Life of the Virgin, the is so essential to this tondo’s appearance, and it is not mantle where it falls over her upper arm. @e most painted at a particular scale; over thirty-9ve of the sur- Master of the George Legend and the Master of the one that seems to have found currency with any of fundamental alteration to the Donaueschingen com- viving examples reproduce – typically at between €0 Lyversberg Passion, shiTed their focus away from an Cologne’s more well-de9ned artistic identities. @e position is of course its translation from a rectangular and €- cm in diameter including their integral frames – insular Germanic tradition and dramatically “changed technique was, however, utilized across a large swathe format to that of a circular panel, and the replacement the Virgin breast-feeding the Christ Child aTer a design the city’s artistic appearance” through the uptake of of southern Germany and as far south as Switzerland of a dark backdrop with a gold, textured ground, both associated with the Master of Flémalle (Frankfurt, themes indebted to the Flemish ars nova embodied and the Tyrol during the second half of the 9Teenth processes that would have created a unique set of chal- Städelsches Kunstinstitut), suggesting that the number by Rogier van der Weyden and Dirk Bouts. € Certainly century. €€ It can be found there in various guises and on lenges. @e necessity for the reinterpretation of the originally produced may have been far greater. 0 Many there are a number of super9cial stylistic links between numerous panel paintings to have survived from our Virgin’s lower draperies and body, and the retention of these were turned on lathes " but round paintings of the handling of the paint on our roundel and the work period. Examples of zigzag patterns in chalk grounds

€" €- are widespread across this region; those with sun- or commissions with German painters specializing in the )&4(=  Wood identi9cation analysis undertaken by  @e dimensions of the Donaueschingen although it could also have been a response star-burst patterns are characteristic of south German creation of the kind of tooled and embellished deco- Ian Tyers, August €R. panel are taken from Friedlander, Vol. II, to the fact that tondo panels were oTen painting from around !", and can be found on rative motifs employed so eBectively on our panel’s € Paint sample analysis undertaken by Libby p. "R; the same dimensions were retained by made by lathe turners, a class of craTsman Sheldon for Sam Fogg Gallery, September De Vos ---, p. #/. not widely permitted to work in oak. See H. works associated with Upper Rhenish workshops, in background. @e reuse of patterns from Rogier’s work- €R: report F€#-R. € M.J. Friedländer, Vol. II (Leyden and Verougstraete, Frames and Supports in %*th particular that of the Master of the Drapery Studies. €# shop in southern Germany was extensive and is well # @ese remarks are based in part on verbal Brussels, -/0 ed.), p. !", pl. €-a. and %)th-century Southern Netherlandish Without further physical or documentary evidence, documented; our artist, however, may have been active communication with Ian Tyers, August €R. # A version measuring #".R × €0.R cm was sold Painting (e-book), €R, p.R. ! Paint sample analysis undertaken by Libby at Christie’s, New York, R January -"R, - Bücken and Steyaert €#, pp. 0-–"€. however, precise localization and attribution of our as an independent master by the !0s, a decade in Sheldon for Sam Fogg Gallery, September lot €; another was bought for a private € Autumn Exhibition of Fine Flemish Dutch panel remains impossible, since it oBers little by way of which exact copies of Rogierian compositions by other €R: report F€#-R. Swiss collection at a Fischer Galerie sale, €/ and Italian Old Masters , exh. cat., Leonard R Cloth was not found in the cross sections November --/, lot €. Koetser Ltd, London, October–December €/ personal inQection to its predetermined composition. artists 9rst start to appear. of pigment samples taken from the gilded ! For recent analyses of Rogier’s oeuvre see S. -/, no. ; Stange -/0, no. 0€, p. /#; Schmidt Painters at this date were mobile, and many travelled Important questions concerning the context of area, and would appear to lie beneath the Kemperdick and J. Sander (eds.), #e Master -0", 9g. /#. preparatory ground. @e use of canvas as of Flémalle and Rogier van der Weyden , exh. € Holger-Borchert €, pp. €/B. For painting from workshop to workshop during a period of time this panel’s creation and use remain to be answered. a preparatory aid in south German and cat. (Frankfurt am Main and Berlin, €"); in Cologne at this date see B. Corley, following their apprenticeship, or remained somewhat However, since it would appear to be the only faithful Austrian paintings during this period is L. Campbell and J. van der Stock, Rogier van Painting and Patronage in Cologne %500-%*00 , discussed in Nash, Late Medieval Panel der Weyden %/00–%/)/: Master of Passions , (Turnhout, €); F.G. Zehnder, Kataloge des peripatetic for several years, taking on work in the cen- copy of the Donaueschingen panel known to have Paintings (London, €), p. €€; E. Skaug, (Louvain, €"). Wallraf-Richartz Museums, XI; Katalog der tres they travelled through. €! Nevertheless, the panel’s survived, its re-emergence is of great signi9cance for ‘Not Just Panel and Ground’, in J.H. R Tracings and the mechanical transfer of Altkölner Malerei (Cologne, --). designs in Rogier’s workshop have recently €€ For use in German painting see R. Suckale, close reproduction of the Donaueschingen Virgin and our understanding of the spread of Rogier’s designs to Townsend, T. Doherty, G. Heydenreich and J. Ridge (eds.), Preparation for Painting: been highlighted by Stephan Kemperdick: Deutsche Malerei vor Dürer (Petersberg, Child is a compelling piece of evidence for the recon- artistic centres outside Brussels, and the engagement of #e Artist’s Choice and its Consequences, see Kemperdick and Sander €", €-); see also Claus Grimm and Bernd struction of our artist’s movements, and it is highly likely a wide 9eld of painters with his workshop during the (London, €"), pp. €€–€-. pp. €00–". Konrad, Die Fürstenberg Sammlungen / Charles Joret, La Rose dans l’Antiquité et au / S. Nash, Northern Renaissance Art (Oxford, Donaueschingen; Altdeutsche und that he learnt his trade in Rogier’s Brussels shop (or that second half of the 9Teenth century. @e translation of Moyen Age , (Paris, "-€), pp. €!€-". €"), pp. €#!–#R; Valentine Henderiks, schweizerische Malerei des %*. und %). of Rogier’s son Pieter), or had at the very least spent a pre-existing composition to a circular format, and its 0 I am grateful to Susie Nash for bringing this Albrecht Bouts (%/*%/**–%*/2) (Brussels, €), Jahrhunderts (Munich, --), no. €, p. #€. panel to my attention. pp. €-R–-/, €--, #, ##, ##R; for the Life of €# For Upper Rhenish applications of the €R some time there as a journeyman. Whether he was inventive reinterpretation, is an important example of a " For a discussion of the Donaueschingen Joseph panels see V. Bücken et al., L’Héritage technique, see Spätmittelalter am Oberrhein; born nearby or travelled from farther a9eld, his know- nuanced artistic practice of reuse and experimentation Madonna’s attribution to Rogier van der de Rogier van der Weyden: La peinture à Maler und Werkstätten !R–R€R, exh. cat. Weyden and the thoughts of scholars who Bruxelles %/*0–%*&0 , exh. cat. (Brussels, (Karlsruhe, €), esp. cat. !", pp. €/"–0, ledge and assimilation of Rogier’s designs and tech- during this productive and fruitful period. <% had seen the panel around this time, see D. €#), pp. 0-–"€; for the popularity of €0–0!. nique would have been a desirable asset as he took on de Vos, Rogier van der Weyden: #e Complete round paintings in the Low Countries, see L. €! Nash €", pp. 0-, "". Works (Munich, ---), p. #/. See also De Campbell, National Gallery Catalogues: #e €R Kemperdick and Sander (€"), pp. #-#0, Vos, ‘De Madonna-en-Kindtypologie bij Sixteenth Century Netherlandish Paintings, especially p. #!. Rogier van der Weyden en enkele minder with French Paintings Before %)00 (London, €R See Suckale €-; for the emergence of exact gekende Qémalleske voorlopers’, in Jahrbuch €!), p. €-€. copies, with recourse to dendrochronological der Berliner Museen , #(-0), pp. ##, #-. 0 T.-H. Borchert, Van Eyck to Dürer; Early dating when these copies appear on oak, - Dirk de Vos -0, pp. /–/, especially pp. Netherlandish Painting & Central Europe see Jeltje Dijkstra, Origineel en Kopie: Een #–#!. See also De Vos ---, no. B/, p. #/. %/50–%*50 , exh. cat., Groeninge Museum, onderzoek naar de navolging van de Meester  See M.W. Ainsworth, ‘“À la façon grèce”: Bruges, €, no. , p. €!. See also T.-H. van Flémalle en Rogier van der Weyden, PhD @e Encounters of Northern Renaissance Borchert, Memling; Rinascimento !ammingo thesis, (University of Amsterdam, --), Artists with Byzantine Icons’ in Helen Evans (Milan, €!), pp. !–!#. pp. €-–/". ed., Byzantium: Faith and Power (%&)%–%**+), " Our artist’s use of walnut may provide (New York, €!), pp. R!R-R-#, esp. p. R"/. evidence for the panel’s localization,

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