"This picture is undoubtedly by the unknown master who painted two remarkable panels formerly in the Abbey of Flémalle in Belgium, but now in the Städel Museum at Frankfort-on-Maine. They present respectively the standing figure of the Virgin with the Infant at her breast, and the figure of St. Veronica, as an elderly woman, holding before her the sacred napkin on which is the impression of our Lord's visage. These, and a third panel in the same museum, representing the Trinity, but, unlike the others, painted in monochrome, must have belonged to a large altar-piece in many compartments, of which it is quite possible the small picture above described may have formed one" (Official Catalogue). Mr. Claude Phillips, on the other hand, while admiring the delicate and exquisite colour of our picture and the enamel-like quality of its surface, sees in it no resemblance to the works described above (see Academy, Sept. 28, 1889).
655. THE READING MAGDALEN.
Bernard van Orley (Flemish: about 1490-1542).
See also (p. xix)
This painter, who studied in Raphael's school, was a designer for tapestry (the staple industry of Brussels in his time) and stained glass, as well as what is now exclusively called an artist, and had all a designer's care for little things. He superintended the manufacture of the tapestries of the Vatican made from Raphael's cartoons, and there are some tapestries by him in the great hall at Hampton Court.
Notice the prettily designed cup in ivory and gold—symbolical of the box of precious ointment offered by the Magdalen to her Lord. For the subject see under last picture.
656: A MAN'S PORTRAIT.
Mabuse (Flemish: about 1470-1541).
Jan Gossart, called Mabuse from the town in Hainault (now in France) where he was born, is interesting in the history of art as the man who began the emigration of Flemish painters to Italy. He set out in 1508 in the suite of Philip of Burgundy, and remained about ten years in Italy where he copied the works of Leonardo and Michael Angelo. He was one of the illuminators of the famous Grimani Breviary in the Library at Venice. The finest example of the first, or Flemish period of Mabuse is the "Adoration of the Magi" at Castle Howard. To his second period, in which Italian influence is discernible, belongs the altar-piece in the Cathedral of Prague. There is a good portrait group by him at Hampton Court representing the children of King Christian II. of Denmark. A very fine work, attributed to Mabuse, has recently been added to the Gallery, No. 1689.