DOI Page / Citation link:
https://doi.org/10.11588/diglit.42081#0035
the Saint Veronica at the Munich Pinacothec; a small Cruci-
fixion at the Walraff-Richart2; Museum at Cologne (reproduced
in Reniers’ : Die Kolner Maler Schule — pi. X) and a
charming little triptych of the Adoration of the Magi exhibited
in 1904 at Diisseldorf and which then belonged to Freiherr von
Schorlener-Lieser (reproduced in Zeitschrift fur chr. Kunst,
Our panel should belong to this group and we would
compare it with the wings of the Madonna of Cologne and
with those of the triptych just mentioned, the front wings
representing Saint Helena and Saint Catharine and the back
ones showing the Annunciation. It is with these figures that
our Virgin and our Saint Catharine are most closely connected.
We notice the same rather large heads with big rounded
foreheads, the same rather full oval of the face, the same
eyes sunken in their sockets, the same small mouths with
the lower lip underlined by a heavy shade, the same shape of
body, slender and tall to exaggeration, melting into the folds
of simple and harmoniously flowing draperies. The same type
of Christ is to be found in the Crucifixion of the above-
mentioned Museum in Cologne, identical in shape, attitude
St By the workmanship shown in this picture as well as by
its inspiration it belongs to this ensemble to which everything
tends to connect it, but by certain qualities of gracefulness,
sweetness and gravity it is a piece wholly distinct from any
other. It is supereminently a work intended to move and
console a mystical recluse, whose soul is no longer satisfied
fixion at the Walraff-Richart2; Museum at Cologne (reproduced
in Reniers’ : Die Kolner Maler Schule — pi. X) and a
charming little triptych of the Adoration of the Magi exhibited
in 1904 at Diisseldorf and which then belonged to Freiherr von
Schorlener-Lieser (reproduced in Zeitschrift fur chr. Kunst,
Our panel should belong to this group and we would
compare it with the wings of the Madonna of Cologne and
with those of the triptych just mentioned, the front wings
representing Saint Helena and Saint Catharine and the back
ones showing the Annunciation. It is with these figures that
our Virgin and our Saint Catharine are most closely connected.
We notice the same rather large heads with big rounded
foreheads, the same rather full oval of the face, the same
eyes sunken in their sockets, the same small mouths with
the lower lip underlined by a heavy shade, the same shape of
body, slender and tall to exaggeration, melting into the folds
of simple and harmoniously flowing draperies. The same type
of Christ is to be found in the Crucifixion of the above-
mentioned Museum in Cologne, identical in shape, attitude
St By the workmanship shown in this picture as well as by
its inspiration it belongs to this ensemble to which everything
tends to connect it, but by certain qualities of gracefulness,
sweetness and gravity it is a piece wholly distinct from any
other. It is supereminently a work intended to move and
console a mystical recluse, whose soul is no longer satisfied