MaxJ.Friedlander Early Netherlandish Painting...

MaxJ.FriedlanderEarly NetherlandishPainting

Supplements

1 Supplements (Vol. I-XIII)

29 Index of names of artists

35 Table of Concordance

37 Errata

Supplements (Vol. I-XIII)

Following the example of Max J. Friedlander, it seems useful to complete also thenew edition of Hs major work by some supplementary remarks based on infor-mation brought to our knowledge since the publication of the individual volumes.

The additional material is classified according to volumes and within eachvolume according to masters. For each master remarks are given on the individualpaintings referred to by their respective catalogue numbers; these comments arefollowed by recent bibliographical indications which occasionally include newlypublished paintings.

Volume I (1967)

VANEYCK

REMARKS TO THE PAINTINGS

Page Line58 1 Portrait of a Man: Stolen from the Bucharest Museum in 1969, but

again on exhibition in 1972.67 9 Portrait of Margaret of York: Now in a private collection, Switzer-

land.67 3 fr.b. The Art Gallery of Cornelius van der Geest: Now at the Rubenshuis,

Antwerp.

SOME BIBLIOGRAPHICAL INDICATIONS

Monographs: (among others) G. T. Faggin, 'L'Opera completa dei Van Eyck' (Classici dell'Arte),Milan, 1968 ; German edition: A. Chatelet and G. T. Faggin, 'Das Gesamtwerk der Gebriider vanEyck (Klassiker der Kunst), Lucerne/Zurich, 1968; French edition: Idem, 'Van Eyck, Toutl'ceuvre peint' (Les Classiques de I'Art), Paris, 1969; K. S. Egorova, Jan van Eyck, Moscow,1969 (in Russian); E. Trost, 'Jan van Eyck' ( Welt der Kunst), Berlin, 1970.

The Ghent Altarpiece: two extensive studies, L. B. Philip, The Ghent Altarpiece and the Art of Jan vanEyck, Princeton, 1971 (reviews, among others by L. Campbell in Apollo (London), x c v n , 1973,pp. 61-62 ; P. Verdier in Vie des Arts (Montreal), x v m , 1973, p. 84; K. M. Birkmeyer in TheArt Bulletin (New York), LVI, 1974, pp. 285-286; A. Stones in Speculum. A Journal of MedievalStudies (Boston), 1974, pp. 140-142) and E. Dhanens, 'Van Eyck: The Ghent Altarpiece' (Art inContext), London, 1973 (review by L. Campbell in Apollo (London), 1974, p. 295).

See also: E. Dhanens, 'De Meetkundige Harmonie in de Kompositie van het Lam Godsretabelte Gent', in Gentse Bijdragen tot de Kunstgeschiedenis en de Oudheidkunde ( Ghent), xx, 1967, pp. 23-54;P. Meller, 'Zur Ikonograpbie und Entstehung des Genter Altars', in Kunstgeschichtliche Gesellschaftzu Berlin. Sitzungsberichte, N. F. Heft 15, (Oct. 1966-May 1967), pp. 4-10; S. Thalheimer, DerGenter Altar, Munich, 1967 (review by H. Pauwels, in The Burlington Magazine, cxi , 1969, pp.

390-393); L. B. Philip, 'Raum und Zeit in der Vefkiindigung des Genter Altares', in Wallraf-Richartz-Jahrbuch (Cologne), xx ix , 1967, p. 64; H. vonEinem, 'Bemerkungen zur Sinneinheit desGenter Altares', in Miscellanea Jozef Duverger. Bijdragen tot de Kunstgeschiedenis der Nederlanden, 1,

Ghent, 1968, pp. 24.-36 ; A. Ampe, 'De metamorfozen van het authentieke Jan-Van Eyck-kwatrijnop het Lam Gods. Een nieuwe filologische studie', in Jaarboek van het Koninklijk Museum voorSchone Kunsten. Antwerpen, 1069, pp. 7-60 (review by A. Smith in The Burlington Magazine (Lon-

don), cxiv, 1972, p. 562); C. Gottlieb, '"Et ipse stat post parietem nostrum". The Symbolism ofthe Ghent "Annunciation"', in Bulletin des Musies royaux des Beaux-Arts de Belgique (Brussels), x i x ,

1970, pp. 75-100; L. S. Welch, 'The Musical Angels of the Ghent Altarpiece', in University ofCincinnati. Fine Arts Collection (Bulletin), 1971 (Spring), s.p.; J. Goris, Geheim van het Lam Gods

ontsluierd, Kasterlee, 1971; C. Peman, 'Unnouvelessaid'interpretation du quatrain du Polyptyquede l'Agneau mystique a Gand', iajaarboek van het Koninklijk Museum voor Schone Kunsten. Antwer-

pen, 1971, pp. 13-27; E. Dhanens, 'Bijdrage betreffende het Lam-Godsretabel te Gent', in Fest-schrift fiir Wolfgang Kronig. Aachener Kunstblatter, XLI , 1971, pp. 100-108; Idem, 'De Wijze waarop

het Lam-Godsaltaar was opgesteld, in Gentse Bijdragen ..., x x n , 1969-1972, pp. 109-150; Idem,'Bijdrage tot de studie van de repentirs en oude overschilderingen op het Lam-Godsretabel vanHubert en Jan van Eyck', in Bulletin de I'Institut royal du Patrimoine artistique (Brussels), x v , 1975

{Miscellanea in memoriam Paul Coremans), pp. 110-118 ; Idem, 'De Vijd-Borluut fundatie en het

Lam-Godsretabel, 1432-1797' (Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten

van Belgie. Klasse der Schone Kunsten, under press).

The Rolin Madonna: E. Kieser, 'Zur Deutung und Datierung der Rolin-Madonna des Jan vanEyck', in Stadel-Jahrbuch (Munich), N.F.I, 1967, pp. 73-95 (review by E. Bielefeld in Pantheon(Munich), 1969^.431) ;J. Snyder, 'Jan van Eyck and the Madonna of Chancellor Nicolas Rolin',in Oud-Holland (Amsterdam), LXXXII, pp. 163-171; Idem, 'Jan van Eyck and the Madonna ofChancellor Nicolas Rolin. Rectification', ibidem, LXXXIV, 1969, pp. 270-294; M. Felheim andF. W. Brownlow, 'Jan van Eyck's "Chancellor Rolin and the Blessed Virgin'", in Art Journal(New York), x x v m , 1968-9, pp. 22-26, 58 (see also L. B. Bridaham, ibidem, pp. 288-9); Z.Kepinsky, 'Jan van Eyck. La Vierge du Chancelier Rolin et l'Histoire de France' (in Polish withFrench summary), in Rocznik Historii Sztuki (Wroclaw), vn , 1969, pp. 107-161; H. Roosen-Runge, Die Rolin-Madonna des Jan van Eyck. Form undlnhalt, Wiesbaden, 1972; H. Adhe'mar, 'Sur

la Vierge du Chancelier Rolin de van Eyck', in Bulletin de I'Institut royal du Patrimoine artistique

(Brussels), x v (Miscellanea in memoriam Paul Coremans), pp. 9-17.

The Double Portrait of Arnolfini and his Wife: P. H. Schabacker, 'De Matrimonio ad Morgana-ticum Contracto: Jan van Eyck's "Arnolfini" Portrait Reconsidered', in The Art Quarterly (De-troit), xxxv , 1972, pp. 375-398 ; J. Lejeune, 'Jean et Marguerite van Eyck et le roman des Arnol-fini' (Commission communale de l'Histoire de I'Ancien Pays de Liege. Documents et Mimoires, fasc. x i ) ,

Liege, 1972 (review by F. Salet, in Bulletin monumental (Paris), cxxx i , 1973, pp. 173-175, and byJ. J. Servais, in Vie Wallonne (Liege), 1973, pp. 70-76); A. Ampe, 'Aantekeningen bij de Dood-strijd op Jan van Eyck's Arnolfinispieger, iajaarboek van het Koninklijk Museum voor Schone Kun-

sten. Antwerpen, 1973, pp. 193-206; Z. Kepinsky, ' "Arnolfini Couple" or John and Margaret vanEyck as "David and Bethsheba"', in Rocznik Historii Sztuki (Wroclaw), x, 1974, pp. 149-164.

Other paintings: H. F. Pauwels, 'Jan Gossaert en Van Eyck', in Bulletin Museum Boymans-vanBeuningen (Rotterdam), xix, 1968, p. 14-15 ; J. C. Opstelten, 'De Miskende St. Joris van Jan vanEyck', in Oud-Holland (Amsterdam), 1966, pp. 107-110; D. Farmer, 'Further Reflexion on a vanEyck Self-Portrait', in Oud-Holland (Amsterdam), 1968, pp. 159-160; L. Naftulin, 'A Note on theIconography of the Van der Paele Madonna', in Oud-Hollimd (Amsterdam), LXXXVI, 1971, pp.3-8; H. Peters, 'Die Petersburger van Eyck-Fliigel in New York. Diptychon und Tabernakeltiirals Bildfdrm', inKunstgeschichtliche Gesellschaftzu Berlin. Sitzungsberichte, N.F., Heft 15 (Oct. 1966-

May 1967), pp. 14-17; Idem, 'Zum New Yorker "Diptychon" der "Hand G'", in MunusculaDiscipulorum. Kunsthistorische Studien. Hans Kauffmann zum 70. Geburtstag 1966, Berlin, 1968, pp.

235-246; J. L. Ward, 'A New Look at the Friedsam Annunciation', in The Art Bulletin (New

York), t, 1968, pp. 184-187; O. Kerber, 'Jan van Eyck's Madonna am Brunnen', in Pantheon(Munich), x x v m , 1970, pp. 21-31; O. Kerber, 'Hubert van Eycks "Anbetung der Konige", inFestschrift fur Werner Gross, Munich, 1968, pp. 139-153; E. C. Hall, 'Cardinal Albergati, St.Jerome and the Detroit van Eyck', in The Art Quarterly (Detroit), 1968, pp. 2-34; Idem, 'More aboutthe Detroit van Eyck: The Astrolable, the Congress of Arras and Cardinal Albergati', ibidem, 1971,pp. 181-201; G. Kiinstler, 'Jan van Eycks Wahlwort "Als ich kan" und das Fliigelaltarchen in Dres-den', in Wiener Jahrbuch fur Kunstgeschichte, x x v (Festschriftfur Otto Detnus und Otto Piicht), 1972,pp. 107-127; U. Hoffand M. Davies, 'The National Gallery of Victoria, Melbourne' (Les Primitifsjlamands, 1, Corpus de la Peinture des anciens Pays-Bas mhidionaux au XVe siecle, 12), Brussels, 1971,pp. 29-50; C. Peman, 'Contribuci6n al estudio de la iconografia de la "Fuente de Vida" Eyckianadel Museo del Prado', in Miscellanea JozefDuverger. Bijdragen tot de Kunstgeschiedenis der Nederlanden,1, Ghent, 1968, pp. 66-82 (see also two prior studies by J. Bruyn, not mentioned in our 1967 edition:Van Eyck Problemen. 'De Levensbron. Het Werk van een leerling van Jan van Eyck, Utrecht, 1957,and 'A Puzzling Picture at Oberlin: The Fountain of Life', in Allen Memorial Art Museum Bulletin(Oberlin), xvi, 1958, pp. 4-17); (J. Lejeune), Exposition Liege et Bourgogne. Muste de I'Art Walton.Oct. - Nov. 1968, Liege, 1968, pp. 150-163 (review by F. Salet, in Bulletin monumental (Paris), 1969,pp. 356-358; The Frick Collection. An illustrated Catalogue, 1, Paintings, American, British, Dutch,Flemish and German, New York, 1968, pp. 198-208.

Special problems: A. CMtelet, Heures de Turin. Quarante-cinqfeuillets a peintures provenant des TrhBelles Heures dejean de France, due de Berry, Turin, 1967 (review by J. Marrow, in The Art Bulletin(New York), L, 1968, pp. 203-209); R. H. Marijnissen, 'Note sur renluminure eyckienne: ''LaNaissance de saint Jean-Baptiste" des "Heures" de Milan-Turin', in Scriptorium (Ghent), x x m(Miscellanea F. Lyna), 1969, pp. 225-226; L. M. J. Delaiss6, 'The Miniatures Added in the LowCountries to the Turin-Milan Hours and their Political Significance', in Kunsthistorische For-schungen Otto Pa'cht zu seinem 70. Geburtstag, herausgegeben von A. Rosenauer und G. Weber, Salzburg,1972, pp. 135-149.

M. Cammerer-George, 'Eine Italienische Wurzel in der Rahmen-Idee Jan van Eycks', in Kunst-geschichtliche Studienfiir KurtBauch zum 70. Geburtstag von seinen Schulem, Munich/Berlin, 1967, pp.69-76; J. Lejeune, 'Les Van Eyck et le premier paysage lvxewboxagtois',ia Revue beiged'Archiologieet d'Histoire de I'Art (Brussels), x x x v n , 1968, pp. 137-191; D. Coeckelberghs, 'Les Grisailles deVan Eyck', in Gazette des Beaux-Arts (Paris/New York), 6e per., LXXI, 1968, pp. 79-92; J. Vilain,'L' autoportrait cache1 dans la peinture flamande du xv e siecle', in Revue de I'Art (Paris), 1970, pp.53-55 ; M. B. McNamee, 'The Origin of the Vested Angel as a Eucharistic Symbol in FlemishPainting', in The Art Bulletin (New York), LIV, 1972, pp. 263-278; G. Kiinstler,'Vom Entstehendes Einzelbildnisses und seiner friihen Entwicklung in der flamischen Malerei', in Wiener JahrbuchJtir Kunstgeschichte, x x v n , 1974, pp. 20-64: J- L. Ward, 'Hidden Symbolism in Jan van Eyck's"Annunciations'", in The ArtBulletin (New York), LVII, 1975, pp. 196-220.

C. Peman y Pemartin, _/«<»« van Eyck y Espana, Cadiz, 1969 ; J. Snyder, 'The Chronology of Jan vanEyck's Paintings', in Album AmicorumJ. G. van Gelder, The Hague, 1973, pp. 293-297; G. Panhans,'Florentiner Maler verarbeiten ein Eyckisches Bild', in Wiener Jahrbuch fur Kunstgeschichte, x x v n ,1974, pp. 188-198.

W. Stechow, Northern Renaissance Art. 1400-1600. Sources and Documents in the History of Art,Englewood Cliffs, N.J., 1966 (see pp. 3-8); R. W. Scheller, 'Als ich can', in Oud-Holland (Am-sterdam), 1968, pp. 135-137; E. K. J. Reznicek, 'Enkele gegevens uit de vijftiende eeuw over deVlaamse Schilderkunst in Florence', in Miscellanea JozefDuverger. Bijdragen tot de Kunstgeschiedenisder Nederlanden, I, Ghent, 1968, pp. 83-91; A. Ampe and J. Goossens, 'Taal en herkomst van Janvan Eyck', in Wetenschappelijke Tijdingen (Ghent), xx ix , 1970, pp. 81-91; A. Ampe, 'Homonie-men van Jan en Margriet van Eyck', in Jaarboek van het Koninklijk Museum voor Schone Kunsten.Antwerpen, 1973, pp. 189-192.

M. Sonkes, 'Le Dessin sous-jacent chez les Primitifs flamands', in Bulletin de Vlnstitut royal duPatrimoine artistique (Brussels), xu , 1970, pp. 195-223 ; J. R. J. van Asperen de Boer, 'On a RationalAspect of Van Eyck's Painting Technique', in Studies in Conservation (London), XVIII, 1973, pp.93-95 ; L. Loose, 'Infra-rouge en couleurs et positifs en couleurs a partir de selections trichromes',in Bulletin de I'lnstitut royal du Patrimoine artistique (Brussels), xiv, 1973-1974, pp. 13-33.

Bibliography: L. D(evliegher), 'Kroniek', in Handelingen van het Genootschap " Sociiti d'Emulation"te Brugge, ex, 1973, pp. 202-203.

PETRUSCHRISTUS

REMARKS TO THE PAINTINGS

Page Line

82 8 fr. b. St. Eloy: Now in The Metropolitan Museum, New York, LehmanCollection.

83 24 Madonna in Half-Length: In 1973 on loan at the Kunstmuseum,Dusseldorf.

85 18 Virgin, a. Stroganoff collection. Sold at Lepke's, Berlin, 12-13/5/1931, No. 17, and again at Lempertz, Cologne (GoudstikkerCollection, among others), 5/2/1941.


L. Castelfranchi Vegas, 'I Rapporti Italia-Fiandra', in Paragone (Milan), xvn , 1966, May, pp. 9-24,and November, pp. 42-69; G. T. Faggin andE. de Bonnafos, 'Petrus Christus' (Chefs-d'Oeuvre deI'Art. Grands Peintres, 126), Paris, 1968 ; J. L. Ward, 'A New Look at the Friedsam Annunciation',in The Art Bulletin (New York), L, 1968, pp. 184-187; L. B. Gellman, 'The "Death of the Virgin"by Petrus Christus: An Altarpiece Reconstructed', in The Burlington Magazine (London), c x n ,1970, pp. 146-148 ; B. G. Lane, 'Petrus Christus: A Reconstructed Triptych with an Italian Motif,in The Art Bulletin (New York), LII, 1970, pp. 390-393 [Discussion: P. H. Schabacker, ibidem, LIII,1971, pp. 281-282, and B. G. Lane, ibidem, pp. 282-283]; Ch. Sterling, 'Observations on PetrusChristus', in The Art Bulletin (New York), LIII, 1971, pp. 1-26; P. H. Schabacker, 'Petrus Christus'"Saint Eloy" : Problems of Provenance, Sources and Meaning', in The Art Quarterly (Detroit),xxxv , 1972, pp. 103-120; G. Kiinstler, 'Vom Entstehen des Einzelbildnisses und seiner friihenEntwicklung in der Flamischen Malerei', in Wiener Jahrbuch fur Kunstgeschichte, x x v n , 1974, pp.20-64 (see pp. 45-60); P. H. Schabacker, Petrus Christus, Utrecht, 1974 (reviews, among othersby L. Campbell, in The Burlington Magazine (London), c x v n , 1975, pp. 676-677; S. Urbach,'Domus Dei est et Porta coeli. Notes on the Iconography of the Madonna by Petrus Christus inBudapest' (in Hungarian), Academy of Sciences of Hungary, Budapest, 1974, pp. 341-353 ; J. L.Ward, 'A New Look at the Friedsam Annunciation', in The Art Bulletin (New York), L, 1968, pp.184-187.

Volume II (1967)

ROGIER VAN DER WEYDEN

REMARKS TO THE CATALOGUE

No. 13 In the Estate of the late Mrs. John D. Rockefeller.No. 17a Acquired in October 1972 by the Maison d'Erasme, Brussels

(Anderlecht).No. 19 Now in the J. Paul Getty Museum, Malibu, California.No. 33 The Cardon portrait was acquired in 1968 from the Robert Finck

Gallery, Brussels, by Mr. and Mme A. De Witte, Lauwe (nearCourtrai, Belgium).The Indianapolis version is a weaker version, bought from theVetter von der Lilie Collection, Vienna; it is illustrated on Plate 56.

IMITATIONS AND COPIES AFTER ROGIER


No. 97a In 1928, was in the Forster Collection, Zurich.No. 97b In 1956, was in the Gahlen Collection, Diisseldorf.No. 97e In 1951, was sold with a private collection in New York.No. 100 Now in the Landesmuseum, Mtinster i. Westfalen. See Vol. iv,

Note 25. The reverse is a St. Catherine (and not a St. Barbara).No. io6d In 1974, bought by the Groeninge Museum of Fine Arts, Bruges.No. 108b It is not clear if it was No. 108b or No. 109c - both formerly in the

Van Gelder Collection, Uccle-that was, around 1955, in theLyndhurst Collection, Brussels.

No. 109a Subsequently in New York, Wildenstein Gallery. Present locationunknown.

No. 109c See 108b, above.No. iO9g Now in the collection of Dr. H. C. Walter Boveri, Zurich.


An important monograph: M. Davies, Rogier van der Weyden. An Essay, with a Critical Catalogueof Paintings assigned to him and to Robert Campin, London, 1972 (reviews, among others, by P. H.Schabacker in The Art Quarterly (Detroit), xxxv , 1972, pp. 422-425, L. Campbell in Apollo(London), x c v n , 1973, pp. 62-64, J. Bruyn in The Burlington Magazine (London), cxvi , 1974,PP- 539-541. and by Th. H. Feder in The Art Bulletin (New York), LVI, 1974, p. 607. A Frenchedition has been published in Brussels, 1973).

E. de Callatay, 'Van der Weyden, son atelier, et un tableau des Musees royaux', in Bulletin desMusses royaux des Beaux-Arts de Belgique (Brussels), XV, 1966, pp. 247-256 (concerns No. 24);Th. H. Feder, 'A Re-examination through Documents of the First Fifty Years of Roger van derWeyden'sLife, in The Art Bulletin (New York), XLVIII, 1966, pp. 416-431; J. Bruyn, 'EenPortretvan Enguerrand de Monstrelet door Rogier van der Weyden', in Miscellanea Jozef Duverger. Bij-dragen tot de Kunstgeschiedenis der Nederlanden, Ghent, 1968, pp. 92-101; J. L. Ward, 'A NewAttribution for the "Madonna Enthroned" in the Thyssen Bornemisza Collection', in The ArtBulletin (New York), L, 1968, pp. 354-356; S. N. Blum, 'Early Netherlandish Triptychs. A Studyin Patronage' (California Studies in the History of Art, X I I I ) , Berkeley-Los Angeles, 1969 (concernsNo. 38: pp. 17-28, No. 26: pp. 29-36, No. 14: pp. 37-48, and No. 3e: pp. 49-58); A. J. Kant-Vlielander Hein, 'Rogiers "Lezende Magdalena" geconfronteerd met de Heilige Catharina', inMiscellanea I. Q. van Regteren Altena, Amsterdam, 1969, pp. 20-23 and 251-252; M. G. Lanckorons-ka, 'Die Medici-Madonna des Rogier van der Weyden', in Wallraf-Rkhartz-Jahrbuch (Cologne),xxx i , 1969, pp. 25-42; H. Meurer, 'Zwei antique Vorbilder und die Ruckenfigur im Johannes-Altar des Rogier van der Weyden', in Wallraf-Richartz-Jahrbuch, xxx i , 1969, pp. 233-242; M.Sonkes, 'Dessins du xve siecle: Groupe van der Weyden. Essai de catalogue des originaux dumaitre, des copies et des dessins anonymes inspires par son style (Les Primitifs flamands, in . Contri-butions a Yitude des Primitifs flamands, 5), Brussels, 1969; Idem, 'Note sur des procecles de copie enusage chez les Primitifs flamands', in Bulletin de I'Institut royal du Patrimoine artistique (Brussels), XI,1969. PP- 142-152 (concerns No. 125); D. Coekelberghs, 'Les grisailles et le trompe-l'oeil dansl'oeuvre de Van Eyck et de Van der Weyden', in Melanges d'Archiologie et d'Histoire de I'Art offertsau professeur Jacques Lavalleye, Louvain, 1970, pp. 21-34; E. Knauer, 'A Cubiculo Augustorum.Bemerkungen zu Rogier van der Weydens Bladelin-Altar', in Zeitschrift fur Kunstgeschichte(Munich/Berlin), XXXIII , 1970, pp. 332-339; G. Smith, 'The Exterior of the Bladelin Altarpieceand the Master F.V.B.', in Oud-Holland (Amsterdam), LXXXV, 1970, pp. 115-116; M. Sonkes,'Le dessin sous-jacent chez les Primitifs flamands', in Bulletin de I'Institut royal du Patrimoine artistique(Brussels), xn , 1970, pp. 195-225 ; M. Davies, 'Rogier Van der Weyden's "S. Ivo (?)'", in TheBurlington Magazine (London), c x m , 1971, pp. 177-178; G. Martin, 'Rogier van der Weyden: aRecent Discovery', in Apollo (London), x c m , 1971, pp. 458-459 (good colour illustration);D. De Vos, 'De Madonna-en-Kindtypologie bij Rogier van der Weyden en enkele minder ge-kende Flemalleske voorlopers', in Jahrbuch der Berliner Museen, x m , 1971, pp. 60-161; A. Mark-ham-Schulz, 'The Columba Altarpiece and Roger van der Weyden's Stylistic Development', inMunchner Jahrbuch der Bildenden Kunst, 3rd ser., x x n , 1971, pp. 63-116; J. L. Ward, 'A ProposedReconstruction of an Altarpiece by Rogier van der Weyden', in The Art Bulletin (New York),LIII, 1971, pp. 27-35 (concerns Nos. 12 and 36); Idem, 'Letters to the Editor: A Proposed Recon-struction of an Altarpiece by Rogier van der Weyden', ibidem, p. 281; L. Campbell, 'Rogier vander Weyden's "Portrait of a Knight of the Golden Fleece": The Identity of the Sitter', in Bulletindes Musks royaux des Beaux-Arts de Belgique (Brussels), xxi , 1972, pp. 7-16; O. Kerber, 'DieHubertus-Tafeln von Rogier van der Weyden' in Pantheon (Munich), xxx, 1972, pp. 297-299;M. Sonkes, 'Le dessin sous-jacent chez Roger van der Weyden et le probleme de la personnalite'du Maitre de Flemalle', in Bulletin de I'Institut royal du Patrimoine artistique (Brussels), x m , 1971-1972, pp. 161-206; Ville de Caen. Hommage a Bernard Mancel (Caen 1798-Caen 1872). Musie desBeaux-Arts de Caen. Juin-Septembre 1972, pp. 34-35, No. 43 (concerns No. 31); 'Rogier van derWeyden en zijn Tijd. Intemationaal Colloquium 11-12 Juni 1964' (Koninklijke Academic voor Weten-schappen, Letteren en Schone Kunsten van Belgie, Klasse der Schone Kunsten), Brussels, 1974, seeour Volume n, Note 202; A. CMtelet, 'Note sur un autoportrait de Roger van der Weyden',in Bulletin de I'Institut royal du Patrimoine artistique (Brussels), xv (Miscellanea in memoriam PaulCoremans), 1975, pp. 70-77; P. Roberts-Jones, 'La Pieti de van -der Weyden. Reflexion sur lanotion de variante', ibidem, pp. 338-350; N. Veronee-Verhaegen, 'L'Hotel-Dieu de Beaune' (LesPrimitifs flamands, I. Corpus de la Peinture des anciens Pays-Bos miridionaux au XVe siecle, 13), Brussels,1975 (concerns No. 14); P. Hirschfeld, 'Mazene. Die Rolle des Auftraggebers in der Kunst'(Kunstwbsenschaftliche Studien, XL), Berlin-Munich, 1968, pp. 103-113 (concerns No. 14).

J. Mambour, 'Steva de Montefeltre est-elle la donatrice represemee sur le triptyque Sforza?', inBulletin des Musies royaux des Beaux-Arts de Belgique (Brussels), xvn , 1968, pp. 99-110; G. Mulaz-zani, 'Observations on the Sforza Triptych in the Brussels Museum', in The Burlington Magazine(London), c x m , 1971, pp. 252-253.

VRANCKE VAN DER STOCKT


G. Garandente, 'Collections d'ltalie, 1. Sicile' (Les Primitifs flamands, 11. Repertoire des Peinturesfiamandes du XVe siecle), Brussels, 1968, pp. 7-9; C. Harbison, 'A late 15th century Flemish panelattributed to Vrancke van der Stockt', in Allen Memorial Art Museum Bulletin (Oberlin, Ohio),xxx , 1972-1973, pp. 53-62; M. Sonkes, 'Les Dessins du Maitre de la Redemption du Prado, lepr&ume' Vrancke van der Stockt', in Revue des Archiologues et Historiens d'Art deLouvain, vi, 1973,pp. 98-125.

MASTER OF FLEMALLE


No. 74 For the version by Gerard David, Chicago, Epstein Collection,see below under Volume vi, Gerard David, No. 217.

Add. 151 In 1974, was with the art dealer David Carritt, London.Add. 157 Instead of: Pierpont-Morgan Library, New York (not foliated),

read: Guennol Collection, New York (fol. 69 v).


The Flemallesque oeuvre is treated in Davies' monograph on Rogier van der Weyden, see above. Thearticle on the mousetrap in the Merode altarpiece by Zupnick (see Vol. 11, p. 103, Note 159) wasthe object of an animated controversy in the Burlington Magazine (London), c v m , 1966: H. Miles,P- 323 ;J.Jacob, pp. 373-374: C. Eisler, p. 430; M. Schapiro, p. 430; H. Nickel, p. 577.

H. Nickel, 'The Man beside the Gate', in the Metropolitan Museum of Art Bulletin (New York),xxiv, 1966, pp. 237-244 (concerns No. 54); M. S. Frinta, The Genius of Robert Campin, The Hague,1966 ; G. Troescher, 'Die Pilgerfahrt des Robert Campin. Altniederlandische und SiidwestdeutscheMaler in Siidostfrankreich', in Jahrbuch der Berliner Museen, ix, 1967, pp. 100-134; M. S. Frinta,'The Authorship of the Merode Altarpiece', in The Art Quarterly (Detroit), xxx i , 1968, pp.247-265 ; W. S. Heckscher, 'The Annunciation of the Merode Altarpiece. An Iconographic Study',in Miscellanea Jozef Duverger. Bijdragen tot de Kunstgeschiedenis der Nederlanden, Ghent, 1968, pp.37-65 ; J- L.Ward,' A New Attribution...', 1968 : see under van der Weyden, above; Ch. I. Minott,'The theme of the Merode Altarpiece', in The Art Bulletin (New York), LI, 1969, pp. 267-271; A.Nagelmackers, 'Huy au xve siecle d'apres la "Nativite"' du Maitre de Flemalle, in Bulletin de laSociiti royale Le Vieux Liege, vn , 1969, pp. 431-435 ; C. Gottlieb, 'Respiciens per Fenestras: TheSymbolism of the Merode Altarpiece', in Oud-Holland (Amsterdam), LXXXV, 1970, pp. 65-84;J. G. van Gelder, 'Maitre de Fle'malle, Triptych: The Entombment with a Donor and the Resur-rection, Addenda', In Corrigenda and Addenda to the Catalogue of Paintings and Drawings at 56 PrincesGate, London SW7, London, 1971, pp. 15-17; M. Sonkes, 'Le dessin sous-jacent chez Roger van

der Weyden et le probleme de la personnalite' du Maitre de Fl&nalle', in Bulletin de I'lnstitut royaldu Patrimoine artistique (Brussels), x m , 1971-72, pp. 161-206; G. Smith, 'The Betrothal of theVirgin by the Master of Flemalle', in Pantheon (Munich), xxx , 1972, pp. 115-132; L. Campbell,'Robert Campin, the Master of Flemalle and the Master of Merode', in The Burlington Magazine(London), cxvi , 1974, pp. 634-646; G. Kiinstler, 'Vom Entstehen des Einzelbildnisses und seinerfriihen Entwicklung in der flamischen Malerei', in Wiener Jahrbuch Jur Kunstgeschichte, x x v n ,1974, pp. 20-64; B. G. Lane, 'Depositio et Elevatio: The Symbolism of the Seilern Triptych', inThe Art Bulletin (New York), LVII, 1975, pp. 21-30.

Volume III (1968)

DIERIC BOUTS


Supp. 108 Acquired by the Musees royaux des Beaux-Arts de Belgique, andpresently trusted to the Institut royal du Patrimoine artistique,Brussels, for treatment.

Supp. 109 Now with the art dealer H. M. Cramer, The Hague (Catalogue1974, No. 60).

Add. 115 Now in San Francisco, De Young Memorial Museum. CaliforniaPalace of the Legion of Honor.

DIERIC B O U T S FOLLOWERS AND IMITATORS


No. 80 Seems identical with a painting sold at Parke Bernet's, New York,together with the Mrs. M. Meinhard Collection on 4/5th May1951. Later in the Los Angeles County Museum of Art. Presentlocation unknown.

No. 80a Seems to have been at a time with the Wildenstein Galleries,New York. Present location unknown.

No. 83b Now with the art firm Establecimientos Maragall S. A., Barcelona.No. 87 Sold at Christie's, London, November 28th 1975, No. 38.No. 88 Note 70: The third painting mentioned, the Virgin and Child sold

at Parke Bernet's in October 1942, is now in the Museum of Art,Carnegie Institute, Pittsburgh, Pa.


F. A. Lefever, 'De Huisinterieurs in Dirk Bouts' triptiek: Het Laatste Avondmaal (1464-1468)(11 en in) , in Mededelingen van de Geschied- en Oudheidkundige Kring voor Leuven en omgeving, v ia ,1968, pp. 120-132 and 178-189; S. N. Blum, Early Netherlandish Triptych. A Study in Patronage,Berkeley-Los Angeles, 1969, pp. 59-76 (concerns Nos. 8 and 18); R. Van Schoute, 'Le Dessin de

peintre chez Thierry Bouts', in Melanges d'arche'ologie et d'histoire de I'art qfferts au professeur JacquesLavalleye, Louvain, 1970, pp. 327-333 ; Tentoonstelling. Aspecten van de Laatgotiek in Brabant. Leuven.Stedelijk Museum. 11 sept-28 nov. 1971, Louvain, 1971; A. Philippot et N. Veronee-Verhaegen,'La Chute des Damnes de Thierry Bouts au Musee des Beaux-Arts de Lille. La Restauration;Note iconographique', in Bulletin de I'lnstitut royal du Patrimoine artistique (Brussels), x m , 1971-72,pp. 5-29; J. G. van Gelder, 'Der Teufel stiehlt das Tintenfass', in Kunsthistorische Forschungen OttoPa'cht zu seinem 70. Geburtstag, Salzburg, 1972, pp. 173-188 (concerns No. 6 ) ; Dirk Bouts en zijn tijd.Tentoonstelling. Leuven, Sint-Pieterskerk. 12 sept.-j nov. 1975, Louvain, 1975; D. De Vos, 'DeMeester van de Lucialegende, alias Meester van de Rotterdamse Johannes op Patmos. Nieuwe toe-schrijvingen', in Oud-Holland(Amsterdam), xc , I976,.nr. 3 (concerns Nos. 6 and 81).

ALBERT BOUTS


No. 53 (and Note 45 p. 87-88)See below, the remark concerning Add. 124.

No. 55 Later in the collection of Mr. Peter W.Josten; stolen in 1964.Present location unknown.

No. 63c The Editor's addition seems to imply that No. 528 A and No. 541are one and the same painting. In reality, the painting kept inBerlin under No. 528 A is a Christ in profile, probably by the Masterof 1499 and has nothing to do with Bouts' style. No. 528 A was amistake for No. 541, in Friedlander's first (German) edition,mistake repeated in 1938 by Schone, No. 107-7.

No. 63I Now in the Rijksmuseum Twenthe, Enschede, No. Br. IG2, onloan from the collection of M. G. van Heel, Stichting Oudheid-kamer Riessen, Rijssen. The dimensions are 33 X 23,5 cm.

No. 68b Sold in Cologne, at Lempertz' on November 26th 1970, No. 28.Perhaps identical with the painting sold also at Lempertz' onNovember 15th 1972, No. 26.

Add. 124 The three panels represent Christ Bearing the Cross ( I I O X 60 cm),Christ Falling under the Cross ( I I O X 60 cm) and the Erection of theCross (130 x 60 cm) and are preserved in the Cistercian Monasteryof Mehrerau near Bregenz on the Bodensee. See below, Bibliogra-phical Indications.


W. Hugelshofer, 'Aelbert Bouts in der Mehrerau', in Pantheon (Munich), xxvi , 1968, pp. 440-445.

JOOSVAN GENT


P. Rotondi, 'Un' Ipotesi per Giusto di Gand', in Festschrift Ulrich Middeldorf, Berlin, 1968, pp.199-200; Idem, The Ducal Palace of Urbino. Its Architecture and Decoration, New York, 1969 (seep. VII and VIII , recent bibliography); F. Johansen, 'Antike Portaetter af Marcus Tullius Cicero', inMeddelelser fra Ny Carlsberg Glyptothek (Copenhague), xxix, 1972, pp. 120-138; C. H. Clough,'Federigo da Montefeltro's Patronage of the Arts. 1468-1482', in Journal of the Warburg and Court-auld Institute (London), xxxv i , 1973, pp. 129-144.

Volume IV (1969)

HUGO VAN DER GOES


p. 47 Drawing of a female saint, Sir Edward Poynter collection, London:now in New York, Dr. Jacob Hirsch collection.

No. 17a Apparently Inv. No. 967 in the Vienna Gallery, before exchange in

1953-No. 35 Has been since in Mexico City with the Alberto J. Pani collection.Add. 140 See Vol. VII, p. 88, and below, under Quentin Massys, Some

Bibliographical Indications.

Add. 143 Now in Granada, Institute Gomez Moreno.Add. 146 In 1974, the 15 panels preserved were on exhibition in one room in

the Evora Museum, but no reconstruction of the altarpiece wasattempted.


C. Eisler, 'Rubens' Uses of the Northern Past. The Michiels Triptych and its Sources', in Bulletindes Musks royaux des Beaux-Arts de Belgique (Brussels), xvi, 1967, pp. 43-78 ; B. H. Strens, 'L'arrivodel Trittico Portinari a Firenze', in Commentari (Rome), xix, 1968, pp. 315-319; S. N. Blum,'Early Netherlandish Triptychs. A Study in Patronage' (California Studies in the History of Art,xin) , Berkeley-Los Angeles, 1969, pp. 77-86; O. Pacht, 'Typenwandel in Werk des Hugo van derGoes', in Wiener Jahrbuch fur Kunstwissenschaft (Vienna), XXII , 1969, pp. 43-58; R. van Schoute,'Le dessin de peintre chez Hugo van der Goes', in Revue des archiologues et historiens a"art de Louvain,v, 1972, pp. 59-66; C. Thompson and L. Campbell, Hugo van der Goes and the Trinity Panels inEdinburgh, Edinburgh, 1974 (review by M. Comblen-Sonkes in Revue beige d''Archiologie etd'Histoire de I'Art, XLII, 1973, pp. 135-138); B. G. Lane, "Ecce Panis Angelorum" : 'The Mangeras Altar in Hugo's Berlin Nativity', in The Art Bulletin (New York), LVII, 1975, pp. 476-486.Goes follower: J. S. Held, 'Observations on the Boston Triptych of Saint Hippolytus', in AlbumAmicorumJ. G. van Gelder, The Hague, 1973, pp. 177-185.

BRUGES MASTER OF 1499


Primitifs flamands anonymes. Maltres aux noms d'emprunt des Pays-Bos miridionaux du XVe et du dihutdu XVle siecle. Exposition organisie par la Ville de Bruges au Groeningemuseum. 14JUM-21 septembre1969, Bruges, 1969 (also for the Masters of the Khanenko Adoration, the Legend of St. Catherine,the Legend of St. Barbara, the View of Sainte-Gudule, the Joseph Sequence, the Portraits of Princes,and of the Embroidered Foliage).

MASTER OF THE KHANENKO ADORATION


Y. Fenyo, 'Uber ein Gemalde des Meisters der Khanenko-Anbetung', in Miscellanea I. Q. vanRegteren Altena, Amsterdam, 1969, pp. 24-26; see also above, BRUGES MASTER OF 1499.

MASTER OF THE LEGEND OF ST. CATHERINE

See above, BRUGES MASTER OF 1499.

MASTER OF THE PORTRAITS OF PRINCES


Portraitofa Young Man of the Fonseca Family (p. 59 and 103, Note 20): on loan to theMuseum Boymans-van Beuningen, Rotterdam, from the Dienst 'VerspreideRijkscollecties', The Hague.


See above, BRUGES MASTER OF 1499.

MASTER OF THE LEGEND OF ST. BARBARA


Add. 154 Now with the art dealer Richard L. Feigen and C°, New York.


M. Sonkes, 'Quelques dessins attribues au Maitre de la Legende de Sainte Barbe', in Milangesa"archiologie et d'histoire de I'art ojferts au professeur Jacques Laualleye, Louvain, 1970, p. 281-289;see also above, BRUGES MASTER OF 1499.

MASTER OF THE VIEW OF SAINTE-GUDULE


No. 74 The note added by the editor: 'Sold at New York... only' does not12 concern No. 74 but applies to Supp. 121.

Supp. 118 Sold at Palais Galliera, Paris, December 7th 1971, No. 19; 74 x 59 cm.In October 1972, with the art dealer Xaver Scheidwimmer,Munich.

Supp. 121 See above, remark to No. 74,Supp. 123 Sold at Goteborgs Auktionsverk, Gothenburg, Sweden, March 24th

1976, No. 325.Supp. 125 The second panel, representing St. Catherine Disputing with Clerics,

was acquired in 1972 by the Allen Memorial Art Museum, Oberlin,Ohio.

Supp. 127 Has been later in the Wildenstein Gallery, New York. Presentlocation unknown.


M. W. Ainsworth, 'St. Catherine Disputing with the Philosophers, an Early Work by the Masterof St. Gudule', in Bulletin. Allen Memorial Art Museum, Oberlin College (Oberlin, Ohio), x x x n ,1974-75. PP- 22-33 : D. G. Carter, 'The Winnipeg Flagellation and the Master of the View ofSt. Gudule', in Bulletin de I'lnstitut royal du Patrimoine artistique (Brussels), xv (Miscellanea inmemoriam Paul Coremans), pp. 51-69; see also above, BRUGES MASTER OF 1499.

MASTER OF THE JOSEPH SEQUENCE


No. 81 The Altarpiece of the Nativity is part of The Cloisters' Collections(Metropolitan Museum), New York. A better illustration of thereconstruction, on Plate 75, can be found in the article by M. Baes-Dondeyne (see Note n o ; the pages of this article are: 93-108;the panel here called a Presentation is in reality a Circumcision). TheAnnunciation panel belongs now to the National Trust, Knights-hayes Court, Devon.

No. 83c Later in the O. Reinhart collection, Winterthur, Switzerland.

MASTER OF THE EMBROIDERED FOLIAGE


No. 84b Acquired in 1971 by the Groeninge Museum, Bruges.No. 84d Present location unknown.

No. 88 Given in 1973 with the Ren6 Grog collection to the Mus£e Nationaldu Louvre, Paris.

Add. 163 The two wings from the Salavin collection have been sold atPalais Galliera, Paris, December 5th 1973, Nos. 46 and 47. Presentlocation unknown.

13SOME BIBLIOGRAPHICAL INDICATIONS

E. de Callatay, 'Etude sur le Maitre du feuillage en broderie', in Bulletin des Musies royaux des Beaux-Arts deBelgique (Brussels), xxi , 1972, pp. 17-39; see also above, BRUGES MASTER OF 1499.

COLIJNDECOTER


No. 94 Segment C, St. Michael: sold at Lempertz, Cologne, 26-V-1971as Lot 8. In 1975 acquired by the Mus6es royaux des Beaux-Arts deBelgique, Brussels, Inv. 8515.

No. 102 Now in the University Collections, Madison, Wisconsin.No. 106 In 1967, the Mechlin panels of the sequence were trusted to the

Institut royal du Patrimoine artistique, Brussels, for examinationand treatment. In summer 1976, the work was completed formost of the twenty five panels.

Supp. 132 Now in the collection of Baron de Dorlodot, Vieusart, Belgium.This panel is a fragment of a shutter; on the reverse three per-sonnages in a church, in grisaille.


C. Perier-D'Ieteren, 'Coter (Colyn ou Collin De)', in Biograpkie Nationale ...de Belgique (Brussels),xxx ix , 1975, col. 200-211; Idem, 'Zeven Panelen uit de Legende van St. Rombaut', in Aspektenvan de Laatgotiek in Brabant. Tentoonstelling..., Louvain, 1971, pp. 250-260; Idem, 'Drie Panelenuit de Legende van St. Rombaut, in Stad Mechelen - soojaar Grote Road 1473-1973. Tentoonstellingvan Karel de Stoute tot Keizer Karel, Mechlin, 1973, pp. 176-179 (No. 392); Idem, 'Precisions icono-graphiques et historiques sur la serie de la Legende de Saint-Rombaut', in Feestbundel Dr. HenryJoosen (Koninklijke Kring voor Oudheidkunde, Letteren en Kunst van Mechelen), Mechlin, 1976, pp. 113-132; Idem, 'Deux panneaux de la Legende de Saint-Rombaut de Malines conserves a Dublin', inJaarboek van het Koninklijk Museum voor Schone Kunsten. Antwerpen, Antwerp, 1976.

MASTER OF THE GUILD OF ST. GEORGE


No. 109 See above, COLIJN DE COTBR, remark to No. 106.


C. Perier-D'Ieteren, 'Le Portrait d'un seigneur de Bricquegny du au Maitre de la Gilde de Saint-Georges', in Revue beige d'archiologie et d'histoire de I'art (Brussels), XL, 1971, pp. 39-53; Idem,'Le Triptyque de Charles-Quint et de ses deux sceurs enfants. Une oeuvre du Maitre de la Gildede Saint-Georges', in Bulletin de I'Institut royal du Patrimoine artistique (Brussels), xiv, 1973/74, pp-105-117; Idem, 'Le Maitre de la Gilde de Saint Georges: Catalogue critique de cinq des panneauxde la "Legende de Saint Rombaut"', in Jaarboek van het Koninklijk Museum voor Schone Kunsten.Antwerpen, 1975, pp. 153-201; see also above, BRUGES MASTER OF 1499.

Volume V (1969)

GEERTGEN TOT SINT JANS


Z. Urbach, Geertgen tot Sintjans, Budapest 1976; A. Chatelet, 'Geertgen tot St. Jans dessinateur:une proposition', in Album AmicorumJ. G. van Gelder, The Hague, 1973, pp. 79-82; P. H. Scha-backer, 'The Holy Kinship in a Church; Geertgen and the Westphalian Master of 1473', in OudHolland 89,1975, pp. 225-242.

GEERTGEN'S FOLLOWERS


No. 34 The panel with St. Catherine was in 1946 on the London art market(A. Scharf Gallery).

No. 41 In 1969 on the Amsterdam art market (Gebr. Douwes) as a workby the Morrison-master.


K. G. Boon, 'De vroegste glaskartons uit de Sint-Janskerk te Gouda', in Bulletin van het Rijksmu-seum 21,1973, pp. 151-17S.

MASTER OF THE VIRGIN AMONG VIRGINS


I. Vandevivere, R. Guislain-Wittermann, 'La "Lamentation" du Maitre de la Virgo inter Virginesa l'Hopital Saint-Nicolas d'Enghien', in Bulletin, Institut Royal du Patrimoine Artistique 11,1969, pp.109-133 (concerns the restauration of Add. 146).

JEROME BOSCH


No. 69 Now on loan to the Erasmus Museum, Brussels (Anderlecht)No. 8og In 1969 in a private collection, U.S.A. 15No. 9od In 1974 in a private collection in Belgium.No. 9oi Not identical with the copy auctioned in 1964. as erroneously

mentioned.Supp. 127 Auctioned at Boham's, London (Marshall Collection), on March

28th 1974.


Monographs: C. Linfert, Hieronymus Bosch, Cologne, 1970 (Milan, 1972); P. Reutersward,Hieronymus Bosch, Uppsala, 1970; I. Mazarov, Jeronimus Bosch, Sofia, 1971; R. H. Marijnissen andothers, JheronimusBosch, Brussels, 1972; idem in German, Geneva 1972; W. S. Gibson, HieronymusBosch, London, 1973 (New York, 1973)-

Drawings and draughtmanship: C. van Beuningen, The Complete Drawings of Hieronymus Bosch,London, 1973 ; J. P. Filedt Kok, 'Underdrawing and drawing in the work of Hieronymus Bosch:a provisional survey in connection with the paintings by him in Rotterdam' in Simiolus 6, 1972-1973, pp. 133-162; R. van Schoute, 'Le dessin de peintre chezJerome Bosch: La Tentation de SaintAntoine du Musee national d'Art ancien de Lisbonne', in Ocidente. Revista portuguesa de Cultura n.s.84. 1973. PP- 358-362.

Varia: S. Urbach, 'La copie de "Jardin des Delices" de Jerome Bosch au Musee des Beaux-Arts', inBulletin du Musk hongrois des Beaux-Arts (Budapest) 32-33, 1969, pp. 45-62; L. Chichkov, 'Larestauration de la copie du "Jardin des Delices" de Jerome Bosch', ibidem, pp. 63-68; W. S. Gibson,'Hieronymus Bosch and the Dutch Tradition', in Album AmicorumJ. G. van Gelder, The Hague,1973, pp. 128-131; M. L. Lievens-de Waegh, 'Les tentations de Saint Antoine de Jerdme Bosch auMusee de Lisbonne. Etapes de l'elaboration d'un chef-d'oeuvre', in Bulletin, Institut Royal du Patri-moine artistique 14,1973-1974, pp. 152-175; L. J. Slatkes, 'Hieronymus Bosch and Italy', in The ArtBulletin 57,1975. PP- 335-345-

Iconology: J. Trager, 'Der "Heuwagen" des Hieronymus Bosch und der eschatalogische Adventusdes Papstes', in Zeitschrift fiir Kunstgeschichte 33,1970, pp. 298-331; A. P. de Mirimonde, 'Le sym-bolisme musical chezjer6me Bosch', in Gazette des Beaux-Arts 77,1971, pp. 19-50; AnnaBoscz-kowska, 'The Lunar Symbolism of the Ship of Fools by Hieronymus Bosch', in Oud Holland86, 1971, pp. 47-69; N. van der Blom, 'De vork aan de staf van de Christophorus van JeroenBosch', in Bulletin van Museum Boymans-van Beuningen 21, 1971, pp. 34-36; J. L. Bermejo, Sobe"el pie cortado" del Jardin de las Delicias del Bosco', in Boletin del Seminario de Estudios de Arte yArqueologia 37, 1971, pp. 479-481; G. Ramseger, 'Jheronimus Bosch. Neue Interpretationen zuseinem Antonius-Altar', in Kunst 84, 1972, pp. 605-607; W. S. Gibson, 'Imitatio Christi, thePassion Scenes of Hieronymus Bosch', in Simiolus 6, 1972-1973, pp. 83-93 ; K. C. Rossiter, 'Boschand Brant: Images of Folly', in Yale University Art Gallery Bulletin 34,1972-1973, No. 2, pp. 18-23 '•W. S. Gibson, 'Hieronymus Bosch and the Mirror of Man. The Authorship and Iconography of theTable Top of the Seven Deadly Sins', in Oud Holland 87, 1973, pp. 205-226; W. S. Gibson, 'TheGarden of Earthly Delights by Hieronymus Bosch, The Iconography of the Central Panel', inNederlands Kunsthistorisch Jaarboek 24,1973, pp. 1-26; B. Lindberg, "The fire next time', in Journalof the Warburg and Courtauld Institute 35, 1973, pp. 187-199; H. Hollander. Hieronymus Bosch.

Weltbilder und Traumwerk, Cologne, 1975; W. S. Gibson, 'Bosch's Boy with a whirligig: someiconographical speculations', in Simiolus 8, 1975-1976, pp. 9-15; P. Glum, 'Divine Judgement inBosch's Garden of Earthly Delights', in The Art Bulletin 58, 1976, pp. 45-54; E. H. Gombrich,'Bosch's "Garden of Earthly Delights": a Progress Report', in Journal of the Warburg and CourtauldInstitute 32,1969, pp. 162-170.

Volume VI (1971)

HANSMEMLINC


No. 22 A reconstruction of the Najera altarpiece based on old drawingswas proposed by J. K. Steppe, in a lecture given at the AntwerpMuseum of Fine Arts on 23rd of January 1972.

No. 26 Now in The Metropolitan Museum, New York, Lehman Collec-tion.

No. 31 Given to the Mus6e National du Louvre, Paris (1967).No. 57 Has been since in a German private collection and was, in 1967,

in the H. Cramer Gallery, The Hague (see Cramer. Paintings byOld Masters. Addendum to Catalogue XX\ 1975-1976, No. 91, pp.170-171).


No. 95 Dimensions of the original panel: 23.8 X 18.5 cm.No. 105 The centrepiece has been sold at Parke-Bernet, New York, May

20th 1971, No. 21, from the Estate of the late Mary S. Higgins.No. 107 Now in The Metropolitan Museum, New York, Lehman Collec-

tion.Add. 262 In 1973, in the City Museum and Art Gallery, Birmingham

(Great Britain).


S. N. Blum, 'Early Netherlandish Triptychs. A Study in Patronage* (California Studies in theHistory of Art, x m ) , Berkeley-Los Angeles, 1969 (concerns No. 11: pp. 87-96); M. Sonkes, 'LeDessin sous-jacent chez les Primitifs namands', in Bulletin de I'lnstitut royal du Patrimoine artistique(Brussels), xn , 1970, pp. 212-217; B. Davidson, 'Tradition and Innovation: Gentile da Fabrianoand Hans Mending', in Apollo (London), z c m , 1971, pp. 378-385; K. B. McFarlane, Hans Mem-ling, Oxford, 1971 (reviews by M. Sonkes, in Revue beige a"Archiologie et d'Histoire de I'Art (Brus-sels), XL, 1971, pp. 126^128; L. Campbell, in Apollo (London), xcv i , 1972, pp. 563-564; C. Cutt-ler, in The Art Bulletin (New York), LV, 1973, pp. 296-297); J.F.(olie), 'Mending (Hans),' inEncyclopaedia Universalis, x, Paris, 1971, pp. 783-785; H. G. Evers, Diirer bei Memling, Munich,1972; G. T. Faggin (Introduction by J. Foucart), Tout I'ceuvre peint de Memling, Paris, 1973 ;N. Schneider, 'Zur Ikonographie von Mendings "Die Sieben Freuden Mariens'", in MiinchnerJahrbuch der Bildenden Kunst, 3rd ser., xxiv, 1973, pp. 21-32; C. R. Shine, 'Hans Memlinc. St.Stephen and St. Christopher', in The Cincinnati Art Museum Bulletin, x, 1973, pp. 16-21; P.

Trzeciak, Hans Memlinc: The Last Judgment (Introduction by M. Walicki; unfinished text com-pleted by J. Bialostocki; in Polish), Warsaw, 1973 ; E. Kluckert, 'Die Simultanbilder Memlings,ihre Wurzeln und Wirkungen', in Das Miinster (Munich), x x v n , 1974, pp. 284-295; M. B.McNamee, 'The Good Friday Liturgy and Hans Memling's Antwerp Triptych', in Journal of theWarburg and Courtauld Institute (London), x x x v n , 1974, pp. 353-356; N. Reynaud, 'Reconstitu-tion d'un triptyque de Mending', in La Revue du Louvre (Paris), xxiv, 1974, pp. 79-90 (concernsNos. 17, 18 and 31); E. Larsen (review of Volume vi, Hans Memlinc and Gerard David), in ArtJournal (New York), xxxv , 1976, pp. 296-300.

MASTER OF THE LEGEND OF ST. URSULA



No. 126 Sold at Christie's, London, May 14th 1971, No. 25.Supp. 236 Now with the art dealer Eugene V. Thaw, New York.

MASTER OF THE LEGEND OF ST. AUGUSTINE


N. Huyghebaert, 'Le retable "brugeois" du Maitre de saint August in', in Handelingen van het Genoot-schap 'Sociitid'Emulation' te Brugge (Bruges), cvm, 1971, pp. 74-76 (concerns Supp. 244 and 245).

MASTER OF THE LEGEND OF ST. LUCY


No. 147 Present location unknown.No. 151 In April 1972, was exhibited in Brussels (Foire des Antiquaires)

as belonging to the art dealer Boskovitz, Brussels.Supp. 243 In 1972, acquired by the National Museum for Western Art, Tokyo.Add. 286 Sold at Lempertz's, Cologne, November 15th 1972, No. 95.Add. 288 Has been since in the Abraham collection, Amsterdam.


D. De Vos ('De Meester van de Lucialegende, alias Meester van de Rotterdamse Johannes opPatmos. Nieuwe Toeschrijvingen', in Oud-Hottand(Amsterdam), xc , 1976, 3) has rightly attributedto this master the St. John on Patmos, Rotterdam (Vol. m , No. 6, Plate 12), and the Adoration of theKings, Cincinnati (Vol. m , No. 81, Plate 91). He also includes two more paintings in the ceuvreof the master: a pair of shutters with St. John the Baptist and St. Jerome, Palermo, Lanza diMazzarino Collection (see G. Carandente, 'Collections d'ltalie, 1. Sicile' (Les Primitifs fiamands,2. Ripertoire des Peintures flamandes du XVe siicle, 3), Brussels, 1968, p. 44, No. 28, Pi. xxi) and aVirgin and Child at Half-Length, Antwerp, Museum Mayer van den Berg (see W. Schone, DiericBouts und seine Schule, Berlin-Leipzig, 1938, p. 314, No. 143d).

GERARD DAVID


No. 163 The shutters are now in The Metropolitan Museum of Art, New18 York, Lehman Collection.

No. 214b Sold in New York, American Art Association, Anderson Galleries,27-28 May 1930, as Lot 70.

No. 2i4d Now in The Metropolitan Museum of Art, New York, LehmanCollection.

No. 217 Sold with the Collection Albright Leasing Corp., U.S.A., amongothers, at Christie's, London, November 30th 1973, No. 92.


L. Wuyts, ' "Quod Scripsi, Scripsi". Ikonologische aantekeningen bij een werk van Gerard David',in Jaarboek van ket Koninklijk Museum voor Schone Kunsten. Antwerpen, 1972, pp. 87-100 (concernsNo. 162); (Exhibition) Gerard David: Flanders' Last Medieval Master (Metropolitan Museum NewYork, Spring 1972; works from the Metropolitan Museum, the Robert Lehman Collection and thePierpont Morgan Library), see E. Fahy, in Bulletin of the Metropolitan Museum of Art (New York),1972, pp. 242-243, A. Werner in Pantheon (Munich), xxx , 1972, pp. 246, and Art Journal (NewYork), 1972, pp. 450; E. Bermejo, 'Gerard David y Ambrosius Benson, autores de dos pinturasine'ditas de la "Virgin con el Ni5o"', in Archivo Espanol de Arte (Madrid), XLVIII, 1975, pp. 259-263 ;E. Larsen, (review of Volume vi) see under HANS MEMLINC, above.

Volume VII (1971)

QUENTINMASSYS


No. 9 Now in the Kunstmuseum, Diisseldorf, Countess Bentinck-Thyssen collection. The illustration on plate 14 below to the leftgives the old state, the illustration below to the right today's.


A. de Bosque, Quentin Metsys, Brussels 1975 ; H. Pauwels, 'Naar aanleiding van een gravure naarQuinten Metsys', in Bijdragen tot de Gesckiedenis van de Grafische Kunst opgedragen aan Prof. Dr.

Louis Lebeer tergelegenheid van zijn tachtigste verjaardag, Antwerp, 1975, pp. 249-262 (also published

in De Gulden Passer, m i , 1975, pp. 248-262) (concerns Vol. IV, Add. 140 and Vol. VII p. 88, Plate134, fig. A; Cf. also D. Schubert, 'Quentin Massys portratiert von Jan van Scorel?', in MusiesRoyaux des Beaux-Arts de Belgique. Bulletin, XXII , 1973, pp. 20-21); A. Tschinkel, 'Paracelsus-bildnisse in neuer Sicht,' in Salzburger Museum Carolino Augusteumjahresschrifi, x, 1964, pp. 41-44(concerns No. 78); C. Lamentani Virdis, 'Moralismo e satira nella tarda produzione di QuintenMetsys', in Storia dell'Arte, xx, 1974, pp. 19-24; S. Ferber, 'Quentin Massys' "Salvator Mundi"',

in North Carolina Museum oj Art Bulletin, ix, 1969-70, pp. 33-41 (North Carolina Museum of Art,Raleigh, Gift of the Samuel H. Kress Foundation, N.Y., Ace. No. GL. 17.62; 53.3 X 36.2 cm);[A. Seilern], Flemish Paintings and Drawings at $6 Princes Gate London. Addenda, London, 1969, pp.3-4, pi. 1 (Christ on the Cross, Between the Virgin S.John and Two Donors, London, Count A.Seilern collection, No. 295, 50 X 34,5 cm).

THE MASTER OF THE MORRISON-TRIPTYCH


A. de Bosque, 'El retablo Flamenco de la Iglesia del Salvador de Valladolid', in Archivo Espanol deArte, XLVII, 1974, pp. 1-11; Idem, 'Quentin Metsys', o.c, pp. 129-136 (concerns No. 84).

THE MASTER OF THE MANSI-MAGDALENA


No. 91 In 1971 in the G. Cramer Gallery, The Hague. Now in the NortonSimon Collection, Los Angeles.

No. 99 Sold in London at Sotheby's on March 27th 1974, No. 102.

THE MASTER OF HOOGSTRAETEN


No. 120 Now on the art market, Lucerne (Fischer Gallery)

THE MASTER OF FRANKFURT


No. 136a In the Busch-Reisinger Museum, Harvard University, Cambridge(Mass.), Ace. 1966.6; 74 x 57,5-25.7 cm.

No. 147c In 1972 in the A. M. Stuyt Collection, Beek near Nijmegen.No. 148 Has never belonged to the A. M. Stuyt collection, The Hague.

Present location unknown.No. 152c Presumably the picture sold at Christie's, London on July 16th

1971.N0.112 (72 x 52 cm).

No. 162 Now on the art market, New York (E. V. Thaw).No. 163 Now in the Koninklijk Museum voor Schone Kunsten, Antwerp.

Volume VIII (1972)

JANGOSSART

20 REMARKS TO THE CATALOGUE

No. 32 Now in the Cleveland Museum of Art, Cleveland (Ace. No. 72-

47).No. 74 Later in the William Goldman collection, New York.


W. S. Gibson, 'Jan Gossaert de Mabuse: Madonna and Child in a Landscape', in The Bulletin ofthe Cleveland Museum of Art, Nov. 1974, pp. 287-299 (concerns No. 32); I. Lavin, 'Addenda to"Divine Inspiration"', in The Art Bulletin, LVI, 1974, pp. 590-591 (concerns No. 23).

BERNARD VAN ORLEY


No. 90 This diptych has been commissioned by Jacques Coene, abbot ofMarchiennes, whose coats of arms appear on the verso (J. G. vanGelder, 'Scorel, Mor, Bellegambe und Orley in Marchiennes',in Oud-Holland, LXXXVII, 1973, pp. 170-172).

No. 92 The Birth of St. John the Baptist belonged up to 1972 to the Dr.George Katz collection. New York. The four panels come notfrom one, but from two altarpieces commissioned by abbot JacquesCoene for the abbatial church of Marchiennes: respectively Plate90 top and 91 top and Plate 90 below and 91 below. In both casesthe portrait of the abbot was reproduced on the verso. (J. G. vanGelder, 'Scorel, Mor, Bellegambe und Orley in Marchiennes',o.c).

No. 96 The Nativity belonged to the Lady V. Gabriel collection, NewYork.

No. 99 The actual measurements are 94 x 102 cm.No. 151c Belonged in 195^ to the Lumaye-Blatin collection, Brussels

(Catalogue of the Exhibition Margareta van Oostenrijk en haar Hof,Mechlin, 1958, No. 68).


J. G. van Gelder, 'Scorel, Mor, Bellegambe und Orley in Marchiennes', in Oud-Holland, LXXXVII,1973. pp-170-172 (concerns Nos 90 and 92); J. D. Farmer, 'A Painting of the Pentecost by Bernardvan Orley', in Bulletin of the Art Institute Chicago, LXVII, 1973, No. 5, pp. 16-19. (The Art InstituteChicago, Ace. 1972. 1136, Gift of the Silvain and Arma Wyler Foundation; 119.5X 93.7 cm).

THE VAN CONINXLOO FAMILY


'Jan II van Coninxloo. Het veelluik van Vorst en de Benedictusluiken van Brussel. Le Polyptiquede Forest et les volets de Saint-Benoit de Bruxelles'. P. Vanaise, 'Kunsthistorische Studie', inInstitut royal du Patrimoine Artistique. Bulletin, x n , 1970, pp. 112-134; J. Lafontaine-Dosogne,'Etude Iconographique', ibid., pp. 134-154; N. Goetghebeur, R. Guislain-Wittermann and L.Kockaert, 'Etude Technique', ibid., pp. 154-170.

VolumeIX (1972-73)

JANJOEST


Fr. Gorissen, 'Meister Matheus und die Fliigel des Kalkarer Hochaltars. Ein Schliisselproblem derNiederrheinlandischen Malerei', in Wallraf-Rkhartz-Jahrbuch, xxxv , 1973, pp. 149-206 (concernsNos. 1-2).

JOOSVANCLEVE


No. 13 In 1953 in the Dr. Jose Gomes Garcia Pulido collection, Beja(Portugal); 118 X 83—36 cm. Cf. L. Reis-Santos, Obras-primas dapintura jlamenga dos Seculos XV e XVI em Portugal, Lisbon, 195 3, pp .101-102, Nos. 60-62, pi. XLVIII-XLIX.

No. 35 Now in the Thyssen Collection, Lugano, Castagnola.No. 51 Reproduced on Plate 65.No. 5id Perhaps identical with the Virgin and Child (39 X 27 cm) in the

Wetzlar Collection, Amsterdam.No. 53b Measurements: 43 X 33 cm.No. 63I1 Sold at Christie's, London on November 25th, 1966, No. 61.


E. Lane, Die Religiosen Bilder desjoos van Cleve. Dissertation zur Erlangung des Doktorsgrades an derPhibsophischen Fakultdt der Universitat Wien, in September 1972, (A copy of the manuscript is keptin the Institut royal du Patrimoine Artistique, Brussels); E. Bermejo, 'Una "Adoracidn de losAngeles y los Pastores" de Joos van Cleve', in Archivo Espanol de Arte, XLVII, 1974, pp. 401-403.

CORNELIS VAN CLEVE


C. 2 This painting belonged in 1763 to the P. Crozat collection. Recueil22 d'estampes d'apres les plus beaux tableaux et d'apres les plus beaux

dessins qui sont en France, dans le cabinet du Roi, dans celui de Mon-seigneur le Due d'Orlians et dans d'autres cabinets iCrozat), Paris,1763, pi. 86. In 1958 Baron Emm. Descamps collection, Brussels(Cf. G. de Tervarent, Attributes et symboles dans I'Art profane. 1450-1600. Dictionnaire d'un langage perdu, Geneve, 1958, pi. x x m , fig. 43;J. Becker, '"Dieses emblematische Stuck stellet die Erziehung derJugend vor". Zu Adriaen von der Werff. Munchen, Alte Pinako-thek, Inv. Nr. 250', in Oud Holland, xc, 1976, pp. 102-103, fig- 24).

C. 26 Now in the Koninklijk Museum voor Schone Kunsten, Antwerp.No. 5037; 60 X 73 cm (as Master of Saint-Sebastian).

JAN PROVOST


No. 127 The Annunciation in the Museum Boymans-van Beuningen, Rot-terdam, was stolen some years ago.


I. Berkovits, 'Ki volt Jan Provost?', in Magyar MuvhzettorUneti Ertesito, xxi , 1972, pp. 279-281.

THE MASTER OF St. SANG


No. 214 Now in the Collection of the Bank van Parijs en de Nederlanden,Antwerp.

J O A C H I M PATENIER


No. 269 Sold at Christie's, London, March 24,1972.

Volume X (1973)

JANMOSTAERT

REMARKS TO THE CATALOGUE 23

No. 4 Left panel, Inv. No. 13, Cat. No. 132, 26 X 18 cm (painted surface24 x 15.7 cm).

No. 47 The man's portrait now in the Virginia Museum of Art, Richmond,Virginia, Inv. No. 49.11.40.

CORNELIS ENGELBRECHTSEN


No. 86 Now in the Rijksmuseum Twenthe, Enschede, Inv. No. 41, Cat.No. 114 (as a work by the Master of Delft), 53 X 21 cm. After 1939the panel has been restaured to its original dimensions, additionson the right and left sides of the panel being removed.

No. 99 Now in the Museum Boymans-van Beuningen, Rotterdam.


J. R. J. van Asperen de Boer, A. K. Wheelock, 'Underdrawings in Some Paintings by CornelisEngebrechtsz.', in Oud Holland 87,1973, pp. 61-94.

LUCAS VANLEYDEN


L. A. Silver, 'The "Sin of Moses": Comments on the early Reformation in a late painting byLucas van Leyden', in The Art Bulletin 55, 1973, pp. 401-409 (concerns No. 116); K. G. Boon,'De vroegste glaskartons uit de Sint-Janskerk te Gouda', in Bulletin van het Rijksmuseum xxi , 1973,pp. 151-175; J. P. Filedt Kok, P. Eikemeier and J. R. J. van Asperen de Boer, 'Das Diptychon desLucas van Leyden von 1522. Versuch einer Rekonstruktion', in Nederltmds Kunsthistorisch Jaarboek26,1976, pp. 229-258.

Volume XI (1974)

THE MASTER OF THE VON GROOTE ADORATION


No. 42 Now in the collection of the Bank van Parijs en de Nederlanden,

Antwerp.

THE MASTER OF 1518


E. Brouette, 'Un portrait meconnu de Corneille van der Goes, Abbi de Dielegem (1512-1536) etde Middelbourg (1536-1539)', in Analectapraemonstratensia, t, 1974, pp. 253-260(concerns No. 72).

ADRIAEN YSENBRANT


No. 155 Sold at Lempertz, Cologne, June 5, 1975, No. 84.No. 174 Presently on loan to the New Orleans Museum of Art.No. 191b Now in the Marqu6s de Perinat collection, Madrid.No. 212c In 1974 in the Richard Green Gallery, London.Supp. 306 Sold at Sotheby's-Parke-Bernet, New York, January 22-23, I976,

No. 29.


E. Bermejo, 'Nuevas Pinturas de Adrian Isenbrant', in Archivo Espanol de Arte, XLVIII, 1975,pp. 1-25.

AMBROSIUS BENSON


No. 234 Sold at Sotheby's, London, July 7, 1976, No. 53.No. 266 Now in a private collection, Scotland (information through the

National Gallery of Scotland).No. 287 Sold at Sotheby's-Parke-Bernet, New York, January 22-23, 1976,

No. 32.


H. Pauwels, 'Een nieuwe toeschrijving aan Ambiosius Benson', in Fidhation des Cercles d'Archioh-gie et d'Histoire de Belgique. XLJIIe Congres. Sint-Niklaas- Waas 1974, Sint-Niklaas, 1975, pp. 291-296

(Providence, Rhode Island School of Design Museum, Ace. No. 58.196, 91,5 X 87,5 cm); E.Bermejo, 'Nueva "Virgen de la Leche" de Ambrosius Benson', in Archivo Espanol de Arte, XLVII,1974, pp. 403-404; Idem, 'Gerard David y Ambrosius Benson, autores de dos pinturas de la Virgencon el Nino, ibid, XLVIII, 1975, pp. 261-263.

LANCELOT BLONDEEL 2S


No. 301 Dated 1558 (kindly communicated by Mr. K. G. Boon)

SOME BIBLIOGRAPHICAL REMARKS

On the Triptych of the Calvary at Furnes, attributed to Lancelot Blondeel by G. T. Paggin (vol. xi,footnote 187). Cf.: S. Bergmans, 'Le Triptyque de 1534 de l'e"glise Saint-Nicolas de Furnes attribue'ici a Jan Van Amstel', in Musies Royaux des Beaux-Arts de Belqique. Bulletin, xx, 1971, pp. 39-54;G. Gyselen, 'Twee schilderijen uit 1517 en 1534 voor de Sint-Nicolaaskerk te Veurne gerestau-reerd', in OnsErfdeel, xix, 1976, pp. 121-130.

Volume XII (1975)

THE MASTER OF THE LEGEND OF THE MAGDALENE


No. 21A Sold at Paul Brandt's, Amsterdam, November 4-10, 1975, No. 9.Now in the Musees royaux des Beaux-Arts, Brussels.

No. 41 Sold at Sotheby-Parke-Bernet, New York, June 16-17, 1976, No.151.


E. G. Grimme, 'Eine Marientafel vom Meister der Magadalenenlegende', in Aachener Kunstblatter,XLV, 1974, pp. 7-9 (Aachen, Suermondt-Museum, 29X21 cm; type Friedlander No. 19);C. Perier-d'Ieteren, 'Contribution a l'e'tude des volets du triptyque dit de la "Toison d'or" attri-bu& au Maitre de la Legende de la Madeleine', in Oud-Holland, LXXXIX, 1975, pp. 129-141.

THE MASTER OF THE FEMALE HALF-LENGHTS


No. 96 Sold at P. Brandt's, Amsterdam April 7, 1975, No. 36. Now on the

art market, The Hague (Gallery Cramer).

JEAN BELLEGAMBE


R. Genaille, 'L'oeuvre de Jean Bellegambe', in Gazette des Beaux-Arts, vie peV., LXXXVII, 1976,

PIETERCOEGK


J. Biatostocki, 'La Crucifixion de Pieter Coecke van Aelst a Varsovie', in Institut royal du PatrimoineArtistiaue. Bulletin, xv, 1975, pp. 25-32.

JAN SANDERS VAN HEMESSEN and THE BRUNSWICKMONOGRAMMATIST


No. 176 A good photograph of the grisailles in the Rijksbureau voorKunsthistorische Documentatie, The Hague.

No. 201 115 X 81 cm. A good photograph of the picture in the Rijksbureauvoor Kunsthistorische Documentatie, The Hague.


K. Renger, Lockere Gesellschaft. Zur Ikonografie des Verlorenen Sohnes und von Wirtshausszenen in derniederlandischen Malerei, Berlin, 1970, pp. 96-119, 120-128 (concerns the Brunswick Monogram-matistandNo. 21?).

THE MASTER WITH THE PARROT


M. J. Friedlander, 'Der Meister mit dem Papagei', in Phoebus, 11,1949, pp. 49-54 (complementaryto Vol. XII, pp. 20-21).

JANVANSCOREL


No. 239 Now on loan to the Rijksmuseum, Amsterdam.No. 287 Both fragments now in the Amsterdams Historisch Museum,

Amsterdam.No. 358 On the left side a strip of ca. 5 cm has been added.


M. Kobalt, 'Die Entstehung des Obervellacher Triptychons', in looojahre Obervellach, Obervel-lach 1963, pp. 33—38; D. Schubert, 'Quentin Massys portratiert von Jan van Scorel?' in Bulletin desMusks Royaux des Beaux-Arts de Belgique 22,1973, pp. 7-32 (concerns No. 358); W. Wegner, 'Be-merkungen zum Wanderwegjan van Scorels nachltalien', in Carinthia 1,1973, pp. 207-211; MollyFanes, 'Underdrawings in the workshop production of Jan van Scorel. A study with infraredreflectography', in Nederhmds Kunsthistorischjaarboek 26,1976, pp. 89-228.

JANVERMEYEN


Christiane van den Bergen-Pantens, 'Le "Triptyque Micault" de J. C. Vermeyen. Etude his-torique', in Bulletin des Musies Royaux des Beaux-Arts de Belgique 22, 1973, pp. 33-57 (concernsNo. 388). S. Collon-Gevaert, 'A propos d'un portrait d'Erard de la Marck', in Bulletin de la SoditiRoyale le Vieux-Liege, 1974, pp. 349-3 S3 (concerns No. 390).

Volume XIII (1975)

HERRY MET DE BLES


No. 94 Now in the Collection of the Bank van Parijs en de Nederlanden,

Antwerp.


J. G. van Gelder, 'Der Teufel stiehlt das Tintenfass', in Kunsthistorische Forschungen. Otto Pa'cht zuseinem 70. Geburtstag, Salzburg, 1972, p. 176 (St. John on Patmos, 26 X 35 cm, Paris, CustodiaFoundation, F. Lugt collection).

FRANSFLORIS


Suppl. 423 Probably by A. Blocklandt (Cf. I. Jost, Studien zu Anthonis Block-landt, mit einem vorlaufigen beschreibenden Oeuvre-Verzeichnis, Colog-ne, i960, pp. 147-H8).


The monograph by C. van de Velde refered to in the Editor's Note (Vol. x m , p. 112, note 135),has been published in the meantime, Frans Floris (1519/20-1570). Leven en werk, 2 vol., Brussels,1976.

WILLEM SCROTS - THE MASTER OF THE REGENT MARIA


G. Ring, 'Three W o r b by the "Regent Master", at the Royal Academy', in The BurlingtonMagazine, x c m , 1951, pp. 88-92; J. Biatostocki, 'Izabella Portugalska. Zagadnienia ikonografii

28 portretowej xvi wieku', in Studia Muzealne, 1,1953, pp. 74-94.

MARTIN VAN HEEMSKERCK


Nos. 226a-227a Now in the Musees Royaux des Beaux-Arts de Belgique,Brussels.


J. Bialostocki, 'Maerten van Heemskerck's Unknown Baptism of Christ', in Album AmicorumJ. G. van Gelder, The Hague 1973, pp. 27-31; F. Bergot and S. Blottiere, he Dossier d'un tableau:Saint Luc peignant la Vierge de Martin van Heemskerck, Catalogue, Rennes 1974 (concerns No. 308)(About the same painting see also Ilja Markx-Veldman, 'Maerten van Heemskerck and St. Luke'smedical books', in Simiolus 7, 1974, pp. 91-100); Ilja Markx-Veldman, 'Het grafmonument teHeemskerk en het gebruik van hieroglyfen in de kring rondom Maerten van Heemskerck', inNederlands Kunsthistorisch Jaarboek 24, 1973, pp. 27-44 • 'Maerten van Heemskerck and HadrianusJunius', in Simiolus 7,1974, pp. 35-54; D. Cast, 'Marten van Heemskerck's "Momus critisizing thegods" : a problem of Erasmian Iconography', in Simiolus 7,1974, pp. 22-34.

WILLEM KEY


No. 275 Now on the art market, The Hague (S. Nystad).

PIETERAERTSEN


No. 300 Now in the Amsterdams Historisch Museum, Amsterdam.


A. Grosjean, 'Toward an interpretation of Pieter Aertsen's profane paintings', in KonsthistoriskTidskrift, 43, 1974, pp. 121-143 ; C. Brown, 'Meaning and contrast in a picture from the circleof Pieter Aertsen', in The Burlington Magazine, 116,1974, pp. 210-211.

ANTONISMOR


No. 407 The original painting at the Musee Conde", Chantilly, Cat. No.96E; 160 X 152 cm.

Index of names of artists(Volumes I to XIV)

Numbers refer to pages or, if preceded by Pi, to plate numbers. Italic numbers refer to the main texts and plates concerning theindividual artists. Numbers between brackets refer to catalogue or note numbers on the page indicated.

ABB ATE, Niccold dell' x n : 39AERTGEN VAN LEYDEN X: 34, 41, 95 ; xn: 10,141AERTSEN, Pieter x n : 51; xni: 9, 10, 11, 12, 57-62, 97-101,

114-115, 117(20), Pi. 143-168; x iv: 25AEKTSZ., Ryckaert x: 11AKEN, Jan van v: 45, 98, 101(20)ALEMAN, Melchior vn : 11ALTDORFER, Albrecht 1: 10; vn; 71(89); x i : 36AMSTEL, Jan van x n : 9, 49, 50, 138; x m : 114

AMSTERDAM, Jacob van see CORNELISZ., Jacob

ANGELICO, Fra 11:15 ; m : 46; via: 11

ANGELO DA SIENA II: 14

ANTONELLO DA MESSINA I: 82, 91; vn: 11

APT, Ulrich ixb: 134(79)ASOLA, Giovanni and Bernardino x n : 112

BAEGERT, Derick ixb: 127BALDUNG GRIEN, Hans v m : 40, 95, 97

BARBARI, Jacopo di v m : 13, 14, 24, 30, 32, 33, 62, 83

BEAUMETZ.Jeande 1:21BEAUNEVEU, Andre1 1: 21

BARTSCH, Gottfried v m : 100

BEER, Arnouldde xi: 19

BEER, Jan de vn: 49; v m : 20, 22;xi: 14-21, 22, 23, 33, 37,41,42,66, 68-69,104, Pi. 8-21, 204-207; x n : 23

BEHAM, H. S. x m : 14

BELLECHOSE, Henri 1: 20, 21

BELLEGAMBE, Jean ixb: 137(170): xn: 22-26, 101-103,134, PI. 48-67

BENDEMANN, £. I : 62

BENNING, Alexander iv: 11, 46: vib: 92

BENNING, Paul iv: 46

BENNING, Simon iv: 46, 73(26); vib: 92BENSON, Abraham iv: 41, 73 (23d)BENSON, Ambrose 11: 100 (52, 66); iv: 73 (26a); vib: 126;

v m : 109 (135); ixb: 109; xi: 47, 59-61, 81 (133), 84 (157),89 (191a), 93-101, 103, 106-107, Pi- 156-184, 203; XII : 18,149 (216)

BEUCKELAER,Joachim x n : 67

BERNARDODIBRUSSELLES XI: 17

BERRUGUETE, Pedro in: 58, 84; 85

BINK v m : 38

BISSCHOP, Jan de x: 102 (207)

BLES.Heny met de v: 60; v m : 22; ixb: 100; x i : 14;

x n : 50, 52; xm: 9, 21, 23-27, 78-82, 107, 110-111, Pi.29-48,207; xiv: 16, 17

BLOCKLANT x m : 34

BLONDEEL, Lancelot 1: 30, 34; v m : 50; XI: 57, 60, 62-65,101, 107, Pi. 184-190

BOSCH, Jerome in: 36, 83, 87(38); v: 9, 35, 38, 42, 45-72,81-88 (64-113), 90-91 (127-137), 93 (149, 150), 98-100,Pi. 42-107, 112-119, 123-129, 133, 134, 135; ixa: 13; ixb:87. 99, 103, 104, 110, 138 (182a); x: 43; xi: 37, 38, 41;x m : 12,26, 80 (78); xiv: 15,16,19,21,23,32, 35

BOTH,Jan xn:83BOUTS, Albert n: 83 (107I1), 101 (100); m: 38-42, 64-69,

73(94), 75, 77(123-128), 78, 82, Pi. 59-83,123,124,126,128,BOUTS, Dieric 1: 34; n: 80 (100), 83 (107I1), 86 (118); m:

11-33, 34, 35, 3<5, 37, 38-42, 45, 46, 47, 48, 49, 59-^3, 65(43b, 47), 66 (56), 68 (65), 70 (80), 71 (82, 84), 72 (90,93), 73(94, 95, 97, 98), 75, 76 (115-122), 78, 79-82, 83, Pi. 1-51,88-100, 122, 125, 126; ixb: 99; x n : 9, 68

BOUTS, Jan (grandson) m : 38BRAMANTE in: 57; x n : 75 ; x m : 31, 111

BROECK, Crispin van den x m : 34BROEDERLAM, Melchior 1: 20, 21BRONZINO, Angelo x n : 137BROUWER, Adriaen xiv: 41BRUEGEL, Pieter 1: 10,97; iv: 105 (70); v: 47, 55,60,67,68,

69,102(5o); ixa: i6; ixb:no;x:6i ;xi :4 i ; x n : 11, 21,32, 49, 50, 51, 56; x m : 9, " , 12, 18, 21, 23, 26, 33, 39, 58,61,109; xiv

BRUEGEL, Pieter the Younger xiv: 46BRUGGHE, Claes van ixa: 13BRUNSWICK MONOGRAMMATIST xn: 10, 44-52, 112-113,

136-138,Pi. 122,127\xin: 18,23,26, 58,114;xiv:25BRUYN, Barthel 1: 59; ixa: 14, 20, 25, 36, 39, 4°, 48, 52(4b),

65(660); ixb: 127,135, (97); x m : 46, 109BUCXSTALE, Jacob van in: 86 (5)BUGATTO, Zanetto 11: 78 (93)BURGKMAIR x: 57; XII : 64

BUYS, Cornells x: 29, 90, 91; x n : 61, 65, 66,139BUYS the Elder, Cornelis x m : 70BUYS the Younger, Cornelis x m : 70

CAMPIN, Robert //: 14-56; in, 10CARAGLio.Jacopso x m : i nCARAVAGGIO XII:47

CELLINI, Benvenuto 11: 65 (25a)

CEZANNE, Paul XII : 11

CHRISTUS, Petrus 1: 5, 51, 72, 81-90, 91, 92, 95, 103, 104,

106,107, Pi. 73-95,102-105,108-111; i n : 22, 43, 83 ; iv: 95CLAEISSENS (family) xi : 65, Pi. 197, 199CLAESZ., Allart x m : 57

30 CLAESZ., Volckert XII : 9CLEVE, Cornelis van 1: 98; ixa: 17, 18, 21, 42, 49, 72-74,

(121-128), PL 13-128; ixb: 129,134, (39, 46), 136 (143), 137(146,147)

CLEVE, Joos van 1:98; iv: 42,74 (29a); v: 45; vib: 90; v n :22, 25, 33, 34, 41, 42, 50, 63 (29), 83, 89 ; VIII : 40, 48; ixa:

11, 17-47, 49, 52-72 {7-120), 73 (c 15), Pi. 13-128; ixb:100, 107, 108, 109, no , 122 (233), 123 (238), 125, 126, 127,128-129, 130, 136 (115a, 138, 143), 137 (146), Pi. 247-248,253 ; x : 26; XI: 9, 14, 45, 97 (264); x i i : 18, 20, 23, 37, 73,77, 85 ; x m : 10, 46, 47, 54, 72

CLEVE, Hendrik van x n : 48; x m : 34

CLEVE, Martin van x m : 34, 61

CLOUET.Jean x n : 18COCKD'ANVERSA, Mathias x i : 17

COCK, H. i n : Pi. 128

COCK, Jan de v: 60; v n : 49; v m : 22; ixb: 103 ; x: 41-43,

92,93, 97(i6); Xi: 14, 22, 35, 37-43, 46, 78-79, 102, 105, i n(141), Pi. 89-100, 200; x m : 51

COCK, Jerome v: 65, 68, 69, 70, 84 (85); v m : 12,18, 38, 53,

57, 117 (7); x iv : 14, 15,32COCK, Matthys x i : 17, 37,109 (61); x n : 9, 50; x m : 21, 23,

117(7); x iv : 14, 32COECK VAN AELST, Pieter v m : 68, 74, 76, 86; x i : 33, 64,

105; XII: 12, 25, 28, 31, 32-39, 70, 88, 104-105, 130, 132,135-136, 137,138, Pi 72-88, 211, 215; x m : 13, 15, 16, 26,48, 51, 57, 80 (71); x iv : 13,14, 32, 33, 3<S

COFFERMANS, Marcelis 11: 73 (71), 82 (107c); x n : 21

CONTI, B. d' ixa: 57 (37)

CONINXLOO (Family) vm: 87-89, 117, Notes 37-44,107-113,

193-197, Pi- 129-134CONINXLOO, Cornelis xni: 88, Pi. 128

CONINXLOO, Jan van v m : 51

CONINXLOO, Pieter van xn, 16, 17; x m : 48

CORNELISZ., Albert 1: 98; vib: 127, 133 (n. 159); xi:

53-55, 93, Pi- 154-155CORNELISZ., Jacob 1: 98; v: 35, 96, 97; v n : 49; x: 25,

29, 44, 91; x i : 40; x n : 9, 54, 53-6o, 61, 63-64, 66, 68, 69,83,114-120,130, 138-139, Pi. 128-155 • x m : 70, 71

CORNELISZ., Lucas x n : 10

CORNELISZ., Willem x: 29; x n : 65

CORT, Cornelis n : 14

COSIMO, Piero di 1: 9

COTER, Colijn de n: 73 (71); iv: 65-66, 83-84, 87, 92, 101,104 (39); Pi. 84-98; v n : 49; ixb: 119 (201); x : 92

COXIE, Michael 11:14; v m : 94; xn : 137CRABETH, Adriaan Pietersz. x m : 13, 117 (2)CRABETH, Dirk x m : 13, 109

CRABETH, Wouter x m : 13CRANACH, Lucas 1: 10; v: 54, 85 (85a); vn : 33 ; x: 60;

xn : 11; x m : 48, 49CRAussE.Jan xn : 9

DAMESSEN, Lucas x: 46DARBT, Jacques 11: 14-56, 70-76, Pi. 104-105DAUMIER, Honor6 x i v : 36

D A V I D , Gerard 11: 54, 75 (74), 84 (109), 93 (Add. 157); i n :

83 ; i v : 12, 36, 38, 39, 42, 46, 54, 72 (20a), 73 (26, 27), 95,105 (67); v : 9, 35, 45 ; via: 9, 27, 29, 46 fcd); Vib: 77-99,106-109 (159-224), 112 (251-254), 117 (297-299), 126-127,Pi. 161-230, 250-252, 269, 270; v n : 9,14,48, 50, 51, 52, 53,73 ( i n ) ; v m : 9, 19; ixa: 31, 40, 44, 47, 60 (51); ixb: 85,86, 91, 92, 95, 99,101,107,108,109, no, 113 (143), 130,138(182a); x i : 9, 45, 47, 48, 49, 50, 51, 53, 56, 57, 58, 59, 60,64, 80, 81 (127,132), 82(137), 84(148), 85 (159), 86(165,170),87 (174), 88 (182,183a, 184), 89(188,191), 90(195), 95 (243.247), 96 (253), 97 (260, 266), 98 (267), 106; x n : 68

Dossi , Dosso x m : 71D o u , Gerard xn i : 26DUCERCEAU x i : 63

DUHAMEEL, Alart v: 69, 70, 85 (87)

DURER, Albrecht 1: 10, 34, 97, 101; n: n , 54, 79, (94), 81

(106); iv: 12; v: 12, 101 (2); v n : 9, 12, 25, 36, 45, 46, 47,49, 71 (90, 92, 93). 72 (98, 99): v m : 14, 17, 18, 19, 20, 23,24, 25, 32, 33, 34, 40, 44, 68, 69, 83 ; ixa: 23, 31, 58 (39);ixb: 85,95,100,105,106,126; x : 28, 38,46, 47, 48, 49, 54,58, Pi. 127; x i : 18,25,38,47, 49, 84 (150, 151), 87 (177), 94(239), 97 (265); x n : 21, 25, 30, 40,41,43, 64, 65, 67,68,106(163); x m : 14,16,19, 26, 78 (56), i n ; x iv : 37

EDOUARD PORTUGALOIS v n : 89

EECKELE.Jan van x n : 134ELBURG, Hansje van x m : 114,117 (38)

ELSHEIMER, Adam x n : 83

ENGELBRECHTSEN, Cornelis v: 35 ; v n : 50, 59, 63, 83 ; x:

10, 32, 33, 34-45, 47, 48, 49, 51, 65, 77-Si, 82 (123), 83 (133),86-87, 92-93,95,99 (69, 71), 100 (91), Pi. 54-80,123; x i : 14,25, 35, 37, 39,40,105

ENGELBRECHTSEN, Cornelis n x: 34, 45, 54

ENGELBRECHTSEN, Lucas x: 34, 42, 93

ENGELBRECHTSEN, Pieter x: 34, 83 (134)

EVBREN, Gilles van x i : 18

EYCK, Hubert and Jan van 1: 19-80, 81, 84, 85, 86, 87, 88, 89,

94, 100-103, 105-106, 107, PI..1-73, 96-101, 106, 107; i n :11, 80; v n : 76(133); x n i : 28

EYCK, Jan van 11: 9, n , 16, 18, 22, 28, 30, 32, 33, 41, 46, 54,

56, 77 (85) I m : 27, 28, 33, 34, 35, 37, 43, 47, 60 (10), 63 (27),66 (50); iv: 11,12,21,43, 52, 53 ; v: 30, 59: via: 11, 32, 33,34, 40, 42, 55, (81); vib: 78, 79, 82, 83, 86, 93, 95, 96, 97,98, 104 (186), 121; v n : 25, 40, 48, 60 (6); v m : 17, 19, 20,30, 44, 115 ; ixa: 28, 29, 31, 64, 65 ; ixb: 90, 96, 99, " 0 , 116(173); x : 73 (46); x i : 46, 47, 51, 53, 56, 60, 89 (192), 90(201); x n : 11, 50; x m : 28, 39; x iv : 25

FLAMENCO, Michel v n : n

FLANDES.Juande iv: 97; v n : 11

FLORIS, Cornells XII : 33 ; x m : 18, 34

FLORIS, Frans v m : 86;x i : 131x11:I37;x/tf:9,10, n , 12,

18, 29, 33, 14-39, 44, 5i, 52, S3. 57, 58, 61, 68, 83-88,

107-108, 111, 112, Pi. 58-87, 208; x iv : 36FRANCESCO, Piero della i n : 44, 52, S3, 54, 85FRANCKEN, Jerome x m : 83 (112)

FRANCKERT, Hans xrv: 14

GADDI x m : 28

GALASSO 11: 14

GASSEL, Lucas x x : 50; x m : 27

GEERTGEN tot Sint-Jans m : 12, 34; iv: 34, 36, 38,74 (34); v:

9, 11-37, 38, 40, 45, 74-79, (i-i5, 16-43), *9, ("4-122), 91

(138-142), 94-96, Pi. 1-15,19, 23, 24, 120, 121; vib: 78, 93,96,97; VII: 44, 89;ixa: 11, 13,14, i 6 ; i xb : 99; x : 11, 21,

22, 26, 27, 28, 44; XII: 58, 68, 71,138GEERTSSONE, Peter x i : 110(113)

GENT, Joos van 111: 11, 43-58, 74, 84-85, Pi. 101-121, 127;

VII: 11

GERRITSZ., Pieter x : 91

GHEENS, Peeter x i : 110(113)GHIRLANDAIO, Domenico iv: 19

GHERYTS van Haarlem, Pieter v: 101 (7)

GIOTTO x m : 28

GOES, Hugo van der 1: 34, 89; 11: 35, S4, 76 (77), 80 (97);

in : 12, 14, 19, 40, 43, 44, 57, 63 (29), 65 (46), 71 (82), 86(54), 87 (37), 88 (54); IV. n-55, 66-76(1-46), 85(110-111),

87 (136-146), 91, 93-97, Pi. 1-43, 102, 103, 106 113-116;

v: 9,14,19, 22, 26, 27, 35, 49, 78 (36), 94, 98; via: 14, 22,

23, 34, 40, 47 (13); vib : 82, 86, 87, 92,94, 95, 98, 107 (200),117, 121, 124, 126, 132 (127); v n : 9, 56, 74 (123), 75 (124),

88 ; ixb: 118 (198); x : 65 ; xi: 51, 60, 97 (270)GOLTZIUS, Hendrik x : 46, 81 ( m )

GOLTZIUS, Hubert x m : 28, 29, 37, 66

GOSSART, Jan 11: 92 (Add. 156); v n : 9. n . 4i, 49, 56, 68

(69), 74 (122); VIII: 11-50, 51, 52, 6o, 61, 63, 67, 68, 69, 71,72, 82, 83, 85, 88, 90-101, 108 (129), 112 (152), 112-113, Pi.

1-70,138,139,142; ixa: 12, 22, 27, 45 ; ixb: 85, 93 ; x : 12,26,49, 55, 56,60, 62; x i : 14,16, 21, 22, 27, 30, 37, 44-4&, 47,48, 50, 64,66, 81 (134); xii: 12,15,18, 22,25,28, 37,46,48,54, 63, 64, 69, 73, 82, 83, 84, 85, 88, 137, 141: x m : 10, 12,29,44,48,111

Go YEN, Jan van x m : 24

GRECO, EL IV : 54; x i : 36; x iv: 40

GRUNEWALD Mathias iv: 48, 49, 50; x i : 39; x iv: 40

HAECHT, Willem van 1: 67

HALS, Frans x iv : 41

HEEMSKERCK, Maerten van x: 12; 79-81, 84, 128-129, 139,

Pi. 88-121,208

HEERE, Lucas de 1: 34

HEMESSEN, Jan van v n : 25; xii: 10, 12, 38, 44-52, 79,

108-113, 130, 136-138, Pi. 98-121, 211-213; x : IV36

HEMESSEN, Katharina van x n : 44, 137

HENDRICKX (Hendriquez) vib: 125

HERLAM, Simon van VII : 89

HEUVEL, Anton van den 1: 30

HEY, Jean iv: 97

HOGENBERG, Nikolaus x : 102(191)

HOLBEIN, Hans vib: 91; v n : 35 ; v m : 40

HOLLAR, Wenzel 1,93 ; v n : 24

HOOGH, Pieter de 1: 50

HORENBOUT Gerard vib: 91; XII : 9

HORENBOUT, Lucas ixb: 136(141)

HORTULUS MASTER vib: 92

Hour, Jan van XII : 61

HOUTE, A. van den v m : 116

HUBER, Wolf VII: 88

H U Y S , Pieter

ISENBRANDT see YSENBRANDT, Adriaen

JACOB X : I I

JACOBSZ., Dirk x n : 53, 56, 72, 73, 85,114 (243): xm: 9, 12,59, 70-73, 106-107, 116, Pi. 198-205

JACOBSZ., Hugo (Huygh) x : 49, 92, 94, 99 (63)JEAN DE BRUGES I : 21

JODE, Pieter de x : 12

JOEST, Jan v n : 89, 90; ixa: 9, 11-16, 39, 40, 48, 51-52 (1-6),

Pi. 1-12; ixb: 85, 125, 126, 127, Pi. 245-246; x : 26, 100(91); x n : 69

JORDAENS, Jacob x m : 59

KEY, Adriaen Thomasz. x m : 51KEY, Cornelis x m : 51

KEY, Willem v n : 61 (15); x i : 13, 64; x n : 32; xm: 9, 11,

29, 38,46,48,51-56,68,69,95-97,112,114, Pi. 131-142

LAETHEM, Jacob van iv: 100

LAETHEM, Lievin van 11: 35

LEiEN,Jan van v m : 20; x : 41

LEONARDO DA VINCI m : 57; v n : 25, 26, 27, 39, 62 (19),

63 (29), 65 (51, 52), 86, 88; ixa: 26, 30, 31, 35, 36, 46, 57

(37), 63 (63), 74 (c.22, c.23); ixb: 128 ; XII : 37

LEYDEN, Jan van v m : 20; x : 41

LEYDEN, Lucas van 1: 10; v: 97; v m : 15, 49, 83, 93 (18);

x : 9, io, 29, 32, 34, 36, 38, 41, 44, 46-64, 81-85, 87-88, 92,

93, 94-96, 97 (14). 99 (63), Pi. 81-111, 124-126; x i : 40, 41;

x n : 28, 54, 63 ; x m : 42, 62

LIEBERMANN, Max 1: 10, 13

LIMBURG, van (brothers) 1: 22; v: 95

LIPPI, Filippino v m : 30

LOMBARD, Lambert xm: 9,10,11,12, 28-33, 34, 51, 52, 68,

82-83, 111, 120 (117, 120, 123), 121 (124, 126) 123 (218)PI. 49-57

LORRAIN, Claude xn : 83

LOTTO, Lorenzo x n : 79, 83

Louis OF LOUVAIN H I : I I , 12

LUCAS, Jan x m : 40

MALOUEL.Jean 1: 20, 21MANET, Edouard x n : i i

MANTEGNA, Andrea v m : 67; x m : i nMARCANTONIO v m : 24, 32, 83, 96 (44); x : 62; xiv : 37

MARGARITONE x m : 28

MARMION, Simon v: 98; ixb: 85, 130; x n : 90 (4), 134

MARTIN OF HOLLAND HI, I I , 13

MASSYS, Cornelis v n : 14, 39,41,88; ixa: 73 (c.2); ixb: 107;xm: 9,17-22,23,31, 77-78,95 (272), no, Pi. 25-28

MASSYS, Jan v n : 13,14, 25, 41,68 (70), 69 (79), 87; x m : 9 .10,17-22, 75-77,107,109-110, Pi. 7-24,206

MASSYS, Quinten 1: 68, 98; m : 43,67(62a), 79; v: 20; vn:12-40, 41-47, 49, 54. 56, 57. 59-66, 66-69, 70 (84, 88),80-81, 86-89, Pi- 1-68, 121, 122, 127-130, 133-135; v m :9, 35, 40, 48, 62, 69, 81, 96 (42); ixa: 11, 12, 20, 22, 29, 31,33. 34. 45. 46, 57 (37). 67 (79); ixb: 85, 88, 94, 95, 97. 98,100, 102, 106, 107, 116 (177), 118 (192); x : 16; x n : 18, 22,24,41,42,43,48, 73 : x m : 10,17,18,19,20, 52, 54,109,110

MATHAM, Theodor v: 12, 74(6), PL 132MEIT, Konrad x : 58

MELLONE, Altobello x n : 79

MELOZZO DA FORLI H I : 9, 44, 51, 57, 85

MEMLING, Hans 1: 10, 34, 47; 111: 11, 14, 21, 27, 61 (12), 63(27); iv: 12, 18, 26, 36, 54, 60, 69 (7b), 95 : v: 9, 23, 27, 45 ;via; vib: 78, 79, 82, 83, 84, 93, 94, 95, 97, 109-110(225-233), 112 (255-263), 117, 118, 126, 119-122, 133 (160),Pi. 231-237, 253; v n : 11,19, 25, 34, 41, 42, 48, 7° (81), 9°:ixa: 33, 38, 40, 46, 65 (67); ixb: 85,97; x n : 23

MERSCH, Pascier van der VII: 90

MERTENS, Heunen v m : 12

MEYERE, Jan de x n : 44

MICHELANGELO II: 65 (32); iv: 48, 50; x n : 50, 67, 83;

x m : 10,34,37,43,44, 113MINNEBROER, Frans x n : 10

MlNO DA FlESOLE II: 72 (6l)MOR, Antonis x n : 88, 112(224); xm: 9, 11, 12, 32, 33, 38,

46, 48, 49, 51, 55, 56, 63-69, 101-106, 115-116, 118 (56),Pi 169-197

MOSTAERT, Gilles v: 60

MosTAERT.Jan 1:67; 111:34; v: 11,35, 84(85),96;ixa: 12;x : 19, 11-23, 25, 28, 33, 36, 68-73, 85, 88, 89-90,98 (32,41),100 (101), Pi. 1-27,119,120; x m : 15, 24, 56,63

MUELENBROEC, Willem v n : 47

Master of the Aachen Altarpiece 1: 59Master of Alkmaar v : 96; x : 24-29, 36, 73-75, 86, 90-91,

Pi. 29-41, 121; x n : 83

Master of the Ahnhouse of the Seven Electors x : 96Master of Amiens xi: 66, Pi. 67-68, 191-193Master of the Amsterdam Death of the Virgin x : 65-67,

75-76, 84-85, 88

Master of the Andrd Madonna xib: 96, 117, 131, Pi. 189-190Master of the Antwerp Adoration ixa: 50; x i : 26, 72, 104,

110 (113), Pi. 49-55Master of the Antwerp Crucifixion x i : 27, 72, 73, n o (100),

Pi. 56-61 (erroneously indicated as Master of the AntwerpAdoration)

Master of the Antwerp Triptych v: 32-33, 34, 76-77, 96,96, Pi. 20-21

Master of the d'Arenberg Book of Hours 11: 93 (157)Master of the Banderoles 11: 39, 86 (20a); v m : 104 (94); x n :

90(6)Master of the Baroncelli Portraits via: 41, 62, (137, 138), Pi.

148-149; v ib : 113 {265), 123Master of Bellaert v : 96Master of the Brandon Portraits v ib : 127Master of the Brunswick Diptych v: 31-32, 94, 95, 96-97,

Pi. 16-19Master of the Casting out of Hagar x : 93 ; x i : 105Master of the Death of the Virgin (see CLEVE, Joos van) ixb :

119 (205)Master of Delft v n : 79 (153a); x : 30-33, 86, 91-92, Pi. 42-53,

122; x n : 50, 138Master of the Embroidered Foliage IV. 65, 81-82, 86-87, 91

(162, 163), 92, 100, Pi. 77-83, 111, 124; ixb: 115 (164);x n : 13, 14

Master of theEvora Altarpiece iv: 89 (146), PI. 120, 121Master of the Female Half-Length VII: 69 (74), 88 ; ixb: 107,

108, 138 (194); XII : 12, 18-21, 47, 95-101, 130, 134, Pi.28-47, 211

Master of the Figdor Deposition v: 33-34, 77 (26-30), 96,PI. 21-22; x n : 138

Master of Flemalle 1: 12, 74; //: 14-56, 70-76; Pi. 73-102;i n : 33, 80; iv: 41, 45, 73 (25c), 101; via: 19; vib: 82, 86,94, 108 (217), 133 (138); v n : 56; v m : 107 (125); ixa: 37,40, 56 (32); ixb: 98

Master of Frankfurt 1: 99; iv: 34, 39, 71 (17, 17b, I7d), 105(61); vn: 9, 54-57, 74~So, 83, 84-85 (202-204), Pi 91-119,126, 131, 132; ixa: n , 15, 28; x : 76 (63), Pi. 48; x i : 9,

23Master of the Gathering of the Manna m: 77 (Add. 129), 83,

Pi 54, 55 : v: 97Master of Gustrow v m : 89, Pi 135-137Master of the von Groote Adoration XI: 24-25, 32, 70-71,

104, 110 (100), Pi 36-48 ,Master of the Guild of St. George iv: 84 (106)Master of the Hague Triptych of Salomon xi: 34-36, 73-74,

104, Pi 65-66Master of the Holy Blood see Master of St. SangMaster of the Holy Kindred iv: 36, 39, Pi 105Master of Hoogstraeten vn: 51-53, 72-74 (103-122), 79, PI

81-90, 125, 126 (i$2d), 82 (185-187), 84 (201), 90, 95 (142);ixb: n o ; x i : 23, 45

Master of the Joseph Sequence IV: 63-65, 80-81, 90 (160),91, 100, Pi. 70-74, 76

Master of the Khanenko Adoration iv: 44, 76 (43-4(1), 89(148), 92, 97,103 (7), PL 48-49, 118

Master of the Legend of St. Augustine via:44;vib: ill (244,245), 116 (289-291), 124, PL 240-242, 265

Master of the Legend of St. Barbara iv: 60-61, 62, 78-79,83, 89 (152, 154), 98-99, 105 (85), 106 (99), Pi. 58-65, 106,119, 123

Master of the Legend of St. Catherine 11: 64 (19), 91 (Add.146); IV. 59-60, 76-78 (47-56), 79 (69), 85, 89, (149-151,153). 98, 99,105 (85), 106(93), PL 50-57, 64, 106, 118, 119;via: 36; VII : 51; x i i : 13,14

Master of the Legend of St. Lucy i n : 59 (4c), 72 (88, 91a), 73(93c), 88 (70,73); via: 41-43, 44, 62-64, PL 150-159; Vib:I IO-II I (239-243), " 0 (235, 238), 115-116 (277-288), 118,123,128 (12), 138 (301), PL 238, 239, 242, 257-264

Master of the Legend of the Magdalene n : 82,101 (102); iv:59, 66, 67, 84 (106), 107 (115); v m : 88, 104 (94); xu: 12,13-27,90-95,130,133, PL 1-27 x m : 48

Master of the Legend of St. Ursula 11: 83 (108), 84 (109), 101(99); via: 38-41, 42, 44, 59-61 (113-136), PL 114-W\vib: 110 (234-238), 113-115, (266-276), 116 (284), 122-123,132 (101), 133, (148), PL 237, 254-256

Master of the Life of the Virgin n : 84 (io8f); via: 31Master of the Mansi Magdalene VII: 41, 45-47, 68 (69), 71-72,

82, PL 76-80,124; ixb: 97,107,108Master of the Martyrdom of St. John XI: 27, 73, PL 62-64Master of the Martyrdom of St. Lucy v: 104 (113)Master of Mary of Burgundy iv: 46,97Master of the Merode Altarpiece see Master of FlemalleMaster Michiel via: 53 (53a); vib: 124, 130 (51); VII: 11;

x u : 15; x m : 48Master of the Milan Adoration x i : 85 (158), 163Master of the Morrison Triptych via: 46 (9a); vii: 41-44,

47, 69-70, 81-82, 84, 89-90, PL 69-75,123,131; ixa: 65 (67)Master of Moulins iv: 45,97; VII : 11Master of the Munich Taking of Christ i n : 79, 80Master of the Nativity of Zagreb x: 93Master of the Orsay Altarpiece iv: PL 100Master of Oultremont x u : 24Master of the Parrot xn: 18, 20, PL 210Master of the Pearl of Brabant i n : 79, 80Master of Portraits of Princes iv: 59, 90 (161), PL 104Master of the Regent Maria see ScrotsMaster of the Repudation of Hagar x : 93 ; x i : 105Master of the Rotterdam St. John on Patmos i n : 80, 87 (30)Master of San Lorenzo della Costa vib: 111, 246, 124, PL

243-246Master of St. Gilles v n : 11Master of Sainte Gudule iv: 62-63, 67, 79-80, 85-86, 90

(156-159), 99, 106 (99), PL 66-69, 108-110, 118, 119, 122,123

Master of St. John Evangelist vib: m (247-249), 116-117(292-294), 124, PL 247, 248, 266, 267; ixb: 127

Master of the St. John Altarpiece v: 97; via: 44; x : 92

Master of St. John the Baptist vib: 139 (331)Master of St. Sang iv: 105 (75); v n : 41; ixb: 96-98, 118-120,

131, PL 191-207Master of the Spes Nostra x : 91, 92Master of the Tiburtine Sibyl Iff: 41,69, 79, 82, 83, PL 84-87,

124; v: 19,41Master of the Turin Adoration via: 44; Vib: 111 (250), 117

(295, 296), 124, PL 249, 267, 268Master of the Utrecht Adoration x i : 104, n o (117)Master of the Virgin among Virgins V: 9, 36, 38-44, 79-81,

90, 92-93 (143-148), 97, 98, PL 29-41, no, 111, 122, 131,135:x: 33, P^

Master W with the Key vib: 87, 94,105 (94)Master of Watervliet VII: 91Master of the Zagreb Adoration x i : 105Master of 1473 vib: 122Master of 1499 iv: 43,44, 75 (37-42), 97, PL 44-47,118Master of 1518 xi: 29-33, 74-77, 104, 105, 110(100, 113); PL

70-88Master of the 1540s xi: 66; xm: 11, 38, 46-50, 93-95, Pi.

122-130

NEUFCHATEL, Nicholas x m : 48NOORDE, C. van v m : 98

OOSTSANEN, Jacob Cornelisz. van see CORNELISZ., JacobOKLEY, Bernard van 11: 75 (74), 83 (107), 86 (120); iv: 67;

v: 45, 78 (37): v n : 48; vm: 29, 38, 49, 51-86, 87, 88, 89,90 (2), 101-113, Pi- 71-128, 140-142; ixa: 22; ixb: 85,86,107; x : 26; x i : 30, 60, 84 (156); x n : 15,17, 20, 27, 28,32, 35, 37, 38, 39, 47, 86, 87, 90 (6), 105 (155); x m : 10, 48,49,50

ORLEY, Valentin van iv: 99

ORTKENS, Aert xu: 31, 135

OSTADE, Adriaen van x m : 61

OUWATER, Albert van ///: 9, 12, 34-37, 63-64, 79, 82-83,PL 52-53; V: 11,19, 26, 94, 95, 96,103 (91)

OVERBEKE, Adriaen van v n : 50; x i : 14

PALMA VECCHio.Jacopo x n : 83PANNEMAKER, Pieter de v m : 51, 73PARMEGIANINO XII: 39

PATBNIER, Herry de x n : 52; x m : 23

PATENIER, Joachim v n : 12, 22, 25, 28, 38, 39, 46, 50, 62(19), 63 (31), 88; ixa: 9, 17, 20, 60 (49, 50); ixb: 99-116,120-126, 130, 131-132, 133 (8), 135 (95), 138 (181, 182a,185,192), PL 208-244, 250-252, 254. x : 12,43: x i : 17, 32,56, 84 (152); XII : 19,21, 50, 74; x m : 21,23,24, 75, n o

PERREAL, Jean iv: 97

PIERO DI BURGOS I : 82

POURBUS, Frans x i : 64; x m : 34, 38, 39, 55, 68

POURBUS,Pieter ixb: 114(156);Xi: 64-65,107, PL 194-198;x m : 38,115

PREDIS, Ambrosio de v m : 44

33

PREVEDARI, Bernardo xm: i nPRIMATICCIO XH : 39

PROVOST,Janiv: 82 (84c!); vn: 48, 49; ixa: 9; ixb: 85-94,111-117, 125, 126,129-130,134(69), 137 (150), Pi. 137-186,249; XI: 9, 60; XII: 20, 23, 25,134,135

PSEUDO BLES XI: 14-21, 24-28, 67, 104, n o (100), Pi. 1-7

RAPHAEL v m : 29, 67, 68, 69, 70, 83, 85, 86; ixa: 72 (C. 1);

x i : 63, 64; XH ; 37, 38, 39, 67, 82, 83, 104 (147); x m : 10,42, S3, i n , 113; x iv: 37

REMBRANDT V : 21, 26, 44, 66; ixb: 99; x : 9,57,61,63,64

REYMERSWAELE, Marinus van v n : 25; XII: 12, 40-43, 45,

106-108,136, Pi. 89-97; x m : 9,19RIJCKE, Danielde 11: 35; in: 85, 8 6 ( n ) ; i v : 12ROGIER, Claes x n : 10

ROMANO, Giulio x i : 60; x m : 113

ROMBOUTS, Jan i n : 78 (Add. 131), 80, Pi. 128

RUBENS, Peter-Paul 1: 87; v : 26; v n : 69 (78a); v m : 86;

ixb: 99; x n : 82; x m : 11, 34, 39, 55, 64; xiv: 41RUISDAEL, Jacob van 1: 50; v: 18

RYCQUE, Daniel de see RIJCKE, Daniel de

SANDERS, Jan see HEMESSEN, Jan van

SANTI, Giovanni i n : 47, 74, (09a)

SARTO, Andrea del ixa: 50; x i ; 59

SCHONGAUER, Martin 11: 51, 52, 88 (124); rv: 31; v n : 73

(105); ixb: 122 (230); x : 46; x i : 84 (155); x n : 21; x m :28

ScoREL.Jan van 1: 30, 34, 98; iv: 70(14); v n : 9; v m : 14,49, 83 ; ixa: 13 ; x : 29, 55, 56, 62, 90, 91; x i : 63 ; x n : 11,12, 53, 54, 56, 63, 65-88, 114 (243). " 6 (259), 120-129,131-132, 139-I4h H5 ("4), 151 (280), PI. 156-201, 214;x m : 12,13,16,29,40,41,42,43.44,45,63, 70,71,72,109,114, 116

SCROTS, Willem (Guillaume) x n : 17; xm: 49-50, 116, Pi130

SELLAER, Vincent ixb: 134(48)

SIMONISZ., Albert m : 34; v: 11; x : n

SITTOW, Michiel see Master MichielSKILLEMAN, Adriaen v n : 89

SLUTER, Claus 1: 21

SNYDERS, Guillaume x m : 59

SOLARIO, Andrea i x : 30

STEEN.Jan x: 61; xiv: 41STOCK, Andreas x : 47

STOCKT, Vrancke van der 11: 57, 93 (Add. 159, 160), Pi.

140, 143;; i n : 87 (38); iv: 103 (24,25), 105 (85), 106 (93)STRIGEL, Bernhard x m : 48

SWAENKEN, Machiel int v m : 12

SWART, Jan x : 44; x n : 28, 122 (319); xm: 9, 12, 13-16,

74,109, Pi. 1-6

TINTORETTO x m : 36,37

TITIAN ixb: 99; x m : 36, 49,66

T O N S , Jan v m : 51

TRUFFIN, Philippot 11: 35

TSERAERTS, Jacob v m : 51

UCELLO, Paolo m : 74(99)

UTRECHT, Jacob van x i : 95 (249); x n : 142

VELAZQUEZ x m : 69; xiv: 33

VELLERT, Dieric(Dirck) v n : 54; x i : 19, 33 ; xil: 12, 27-31,

35, 37, 39. 103, PI. 68-71; x m : 13, 15VENETO, Bartolomeo x n : 83

VENEZIANO, Augostino x m : i n

VERBECK, Frans v: 60

VEREYCKE, Hans x n : 9,134

VERMEER.Jan iv: 54VfiRMEYEN.Jan Cornelisz. v m : 38; xu: n , 15, 17, 33, 34,

70, 85-89, 129-130, 132, 135, 140, 141, PL 202-209, 214;x m : 48, 72

VINCI see LEONARDO DA VINCI

VoET.Jan x n : 44VOLCKERT, Claesz. xn-.9

Vos.Jan de v n : 90

WASSENHOVEN, Joos van see GENT, Joos van

WEYDEN, Goswijn van der (Goossen) n: 51; iv: 56, 57, 67;

v n : 49, 50, 51, 92 (23, 25); x : 91; xi: 14, 22-23, 33, 46,107, n o (100); Pi. 22-30

W E Y D E N , Pieter van der n : 51

WEYDEN, Rogier van der 1:12, 34,66, 88,92, 99; //: 11-33,45-88, Pi. 1-72; m : n , 14,16,22,23, 24,27, 28, 32, 33, 40,43, 44,46,66 (54), 70, 78; iv: 12,21, 22,30, 56, 57, 58, 59,60, 71 (13), 77 (50), 78 (56), 82 (85, 89), 105 (70), 105 (85); v:14, 26,27, 66; vib: 78, 82, 84, 85, 86, 87,93, 95, 97, 98,104(187, 188), 106 (205), 109 (226), 117, 118, 119, 121, 124;v m : 30, 104 (94); ixa: 37, 56 (31); ixb: 86, 90, 99, 115(164); x : 15 ; x i : 46, 47, 56, 60, 82 (135), 83 (146), 85 (159,159a), 89 (190), 90 (195), 94 (236), 95 (248); x n : 11,13,14,90 (6); x m : 28, 41, 78 (56)

WEYDEN, Rogier van der (grandson) n : 51WILLEMSZ., Cornelis x m : 40WILLEMSZ., Jacob x: nWITTE, Lieven de xu : 9WUELUWB, Hendrik van vn: 91

YSENBRANT, Adriaen 1: 99; n : 84 (109); iv: 75 (38); via:39; vib: 77, 90, 107 (212b), 108 (214a!, 218b), 127; v m :18, 90; ixa: 51,60; ixb: 107, 108, 115 (162); xi: 47-58,59, 60, 61, 80-93, 96 (249), 98 (273), 102, 106, Pi 101-153,200-202; XII: l8, 20

Table of Concordance

At various occasions reference had to be made in the Notes to volumes of the original Germanedition as long as the corresponding volumes of the present edition had not yet been published.The reader will find here below a Table of Concordance listing the volume and page numbersquoted of the original and the corresponding volume and page numbers of the present edition.

Volume

II

35

III

IV

Note

number

27

598389

108

510

II

3642

435460

61

78

21

21

21

3560

72

8788

116

265

315

1

611

12

13

35

Volume and page numbers

quoted of the original

German edition

IV, 105IV, 77XIV. 94XIV. 93XIV, 95

IV, 42-43V, 70-71IV, 11

VII, 33V,27

XIV, 97IV. 71VII, 33V,27

IV.64

VIII, 147XII, I5ffXIV. 127VII. 96

V, 18-19, 33, 37X, 114-115

VII, 99XII, 17-18XII, 17-18XII, 17-18XII, 17-18

X, 10X,38X,76XII, 107X.51X.39

Corresponding volume and

page numbers of the

present edition

IV. 59IV, 45IV, 85IV, 78IV, 86

IV, 27V,4iIV, 11-12VII, 20V,i 9

V.89IV, 42VII, 20V.19IV. 38

VIII, 88

XII, I3ff

XII, 130

VII, 49V, 14-15, 22, 24X.65VII. 51XII. 14XII, 14XII, 14XII, 14

X, 11X, 26X.44XII, 58X.33X.27

'olume

m

VIII

X

Note

number

102

106

116

118

6

78

I I

12

13

14

1516

1718

1920

21

23

24

98

10

Volume and page numbers

quoted of the original

German edition

IX, 76IX, 105-106DC, 88XI, 87

VIII, 9-77IX, 20-73IX, 96-100VIII, 78-144IX, 74-92XI, 31-34x i , 59-72VIII, 9-77XI, 19-30XII, 99-100XI, 16XII, +2-51IX, 20-65IX, 101-124

XI, 31-34XI, 31

XI, 126

XII, 112-114

17 XI, 65

Corresponding volume and

page numbers of the

present edition

IXb, 86IXb, 101IXb, 91XI, 51

VIII, 11-50IXa, 22-49Kb, 96-98VIII, 51-86IXb, 85-94XI, 22-23XI, 37-43VIII, 11-50XI, 14-21XI, 54XI, 14XII, 27-31IXa, 17-42IXb, 09-110XI, 22-23XI, 22

XI, 103

XII, 61-62XI, 40

Errata

Abbreviations:PL = page number in the illustration sectiont. = from top (headings included)b. = from bottom (headings included)1/ = first column2/ = second column

page line instead of

Volume I

37

read

666882

94108

I I I

"3

114

116

117

PL 61E

PL 70C

6468

72106

112

60

60

73

7 b.2 b.

18 t.26 t.2 b.

2/29 t.2/ I t.2/ 5 t.2/24 t.2/28 t.1/ 6 t.i/7b.2/13 t.1/15 t.i/4b.2/16 b.2/ i b .2/ 7 t.2/11 b.1/11 t.

n b .6 b.

n b .1/ ib.i / j t .

8 t.16 b.2 t.

this ladyPlate 65Corhambury(Page 66)(Plate 109A)Coxis108, log

83. 7769,65»s, 8169,65Corhambury

73.^7107, 107Dm vaeus69.6569,6560

9i

91Frankfurt, StaedelschesKunstinstitutTurin

Volume II

No. 2510(49 x 52)(48 X 21)p. 70p. 70

Volume III

in 1936H. C. Lodges

P-*5

this lady (Plate 67 A)Plate 63Gorhambury(Page 60)(Plate 108 A)Coxie108, 108 A85, Si69,63%i,7769/63Gorhambury66, 73, 67107. 45Druvaeus

69,6369,6360,51

8585Vienna, KunsthistorischesMuseumTurin, Museo civico

No. 2540(49 X 32)(48 x 31)P-50p. 50

on 27th November 1935H. C. Lodgep. 183

page line instead of read

73 10 b. 27th November 22nd November91 2/ 1 t. after: Bulletin de add: Vinstitut royal du Patrimoine artistique (Brussels)

1,1958, p. 146-14893 2/ 5 t. della Fransesca delta Franceses

38 Pi. 90 scheme 79 I 80 79 I

80a I 80a I 80Pi. 94 Peurhyn Penrhyn

Volume IV

66 2 b. [921 [42]104 2/10 t. No. 113 No. 13108 1/ 1 t. Add. 165 Add. 164117 1/ 3 b. C. (copy) G. (copy)119 1/16 t. C. (copy) G. (copy)

2/11 b. of Sotheby's at Sotheby's120 Between MANNHEIM and MECHLIN, add: MARSEILLE, Demandolx-Dedons

Collection (?), G. (copy) Head of Christ, Crowned with Thorns: 35a124 1/ 3 b. M.S.J. M.J.S.

Pi. 79 1/ 1 b. Foliage Foliage (by Jan Provost?)

Volume VTA

In the chapter entitled The Contemporaries of Memlinc in Bruges (pp. 37-43) and in the correspondingpart of the Catalogue (pp. 59-64) errors have unfortunately crept into the references to the plates.

134-137140142142

143144144

141

139

138

143

147

147

143

147

148

149

150

157

i$8

159

159

156

156

3839

40

4i

42

43

9 b.6 t.8 t.14 b.13 b.1 t.

2 t.

10 t.

18 t.

19 t.

17 b.3 b.ib.3 t.8 t.

10 t.

18 t.

9 b.19 b.9 b.2 b.1 t.

5 t.

7 t.

134-139

142

144

144144146

146

143HI140

145149149

US149

150

151

152-154

161

162

163

163160

160

page line instead of read

152158156152156 39157

59 12 b. 134-139 134-137138139

60 4 t. 142 140Hi141142142142142142

H3144

61 1 t. 146 144.144144

145145145146146146147143147H7

62 2 t. 150 148149

150

152

153

153

15463 4 t. 158 154

154

155

155

154

156

156

156

156

157

158

64 3 t. 161 157

144

159

159

line

11 t.

10 b.

9 b.8 b.7 b.4 b.12 b.

5 b.ib.

4 t.

9 t.

14 t.

18 t.

21 t.

15 b.

13 b.

10 b.

7 b.3 b.1 t.

3 t.

7 t-

10 t.

14 t.

17 t.

20 t.

12 b.

10 b.

8 b.6 b.4b.2 b.

2 t.

6 t.

14 t.

14 b.

10 b.

6 b.3 b.4 t.

8 t.

10 t.

12 t.

16 t.

18 t.

15 b.

12 b.

8 b.4 b.ib.

3 t.

7 t.

11 t.

13 t.

instead of

156162

160

156160

161

134-139

140

141

142

143143144144

144144

133145146146

146146

147147147148148

148

149

H5149149150

151152-154

156

157157158158158

159159158160

160

160

160

161

162

161

146

163163

40

page

104

Pi. 66

60

61

109

Pi. 56-61PL 172

135

78848586

878889

94

100

103

107

PL 135

Pl.208

line

9 b.4 b.

22 t.

10 t.

2/19 b.

scheme

13 t.

3 b.4 b.7 b.

13 t.15 t.7 b.

12 b.6 t.9 t.

15 t.12 b.n b .14 t.2 b.4 b.4 b .

scheme

instead of

Volume VIII

Ouelthe Virgin

Volume DC A

after a. add: (Plate 65)

Volume X

joi de vivre

Volume XI

Virgin and ChildAntwerp Adoration268

266

269

267

Volume XII

ORTKELS

Volume XIII

delete (Plate 31)(Plate 66)after 141. add: (Plate 74)delete (Plate 78)delete (Plate 78)delete (Plate 83)delete (Plate 90)(Plate 94)delete (Plate 95)(Plate 124)delete (Plate 127)(Plate 165)delete (Plate 180)delete (Plate 208)after 276. add :W. Key.Munich, Bayerische Staats-

gemaldesammlungen, Alte

Pinakothek

Supp. 422 Supp. 425

read

OrielSt. Catherine

joie de vivre

St. CatherineAntwerp Crucifixion266

268

267

269

ORTKENS

(Plate 67)

(Plate 95)

(Plate 126)

(Plate 164)

Hampton Court

Supp. 425 Supp. 422

Supp. 423 Supp. 423

MaxJ.Friedlander Early Netherlandish Painting...

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