Hulin de Loo, Georges: Early Flemish paintings in the Renders Collection at Bruges: exhibited at the Belgian Exhibition, Burlington House, January 1927 (London, 1927)

who is placed beside the Virgin in the Siena painting, is on
the opposite side in the Bruges painting; the reducing of the
number of figures forming the right hand group in our panel
— all appear in a picture of the Crucifixion very similar to
Duccio’s, attributed to Ugolino Lorenz,etti, and now in the
collections of the Central Museum at Utrecht; we think that
it is a work of this type, either original by Duccio or a
studio copy, which has served as model for our picture : the
two scenes are indeed very similar, the grouping and the
placing of the figures are almost identical, t——*--——:—j-
Ht On account of these similarities our Crucifixion therefore
appears to be a direct imitation of a work done by Duccio
or by one of his successors. On the other hand however, the
workmanship is very dissimilar and denotes a totally different
period and region. The colouring is no longer purely Italian;
it is less dry, more harmonious, more variegated in tint and
more subdued. But the drawing is less assured and much less
incisive. One feels that the artist, although he is copying, is
constantly under the impulse of his own personal style which
comes to the surface, nowithstanding the model. This is
especially evident in the draperies of the Virgin and of the
holy woman standing behind her, and whose arms are round
the figure of the Virgin. In Duccio’s painting the folds hang
in clear-cut, almost straight lines; here we see a wholly charac-
teristic sweeping movement; in particular is to be noticed on
the front of the figure a display of curving lines painted flat,
which is taken direct from Beauneveu; this alone, even without
the Breviary stamped with the arms of the Duke of Berry