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

and carried by Saint John, would already reveal to us the
origin and the date of our painting. We are in the period
of those artistic innovators — Franco - Flemish or Flemish for
the most part — strongly imbued with the Italian spirit, and who
worked for the Duke. Judging from the details of style and
workmanship we are pretty close to Jacquemart de Houdain,
to the « Tres Belles Heures » in the Library at Brussels and
to the « Grandes Heures » of the Duke of Berry which, it
must be remembered, were finished in 1409. *-1-1-:-
58 Our Crucifixion also seems to show a certain relationship to
a very beautiful drawing in the Louvre, dating probably from the
early years of the 15th. century, representing the Death and
Crowning of the Virgin and which Durrieu has published in
the « Monuments Piot » (1894). j-:--l——■*-1-■:—;—
In short, we possess in this panel a very rare and very
valuable document; it shows us in what esteem the works of
the primitive School of Siena were held in the artistic
milieu in which the Duke of Berry moved at the beginning of
the 15th. century. It throws light on the text of those archives
found by Mgr. Dehaisnes and quoted by Count Durrieu, in which
we are told of a « Jehan de Gant demourant a Paris » who sells
to the Countess d’Artois pictures « a ymaiges de l’ovraige de
Rome » that is to say Italian or of Italian style. As has
been said by Mr. Hulin de Loo, the influence of the Loren--
z;etti or of Simone de Martino had already been traced in
the art of miniature painting; now we see that there is
a similar filiation in the art of panel painting; the influence