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

it was thought that the artist had gone back to his former
composition but had introduced the changes we have spoken
of. But we see now in our Virgin — and in this case on a
square panel — a reproduction which is almost identical to
that of the tondos, but the draughtmanship in this new
specimen is infinitely superior to that in any of those known
at the present time; it even reveals so very plainly Rogier’s
characteristics — in drawing as well as in modeling and colouring
— that Mr. Hulin de Loo and Mr. Friedlander have not hesitated
to attribute our panel to Van der Weyden himself. It would
then seem legitimate to admit that Rogier, drawing his inspiration
from the work of his Master, had, in the picture we are
studying, gone back to the composition of Campin, but modifying
it according to his own conception. This picture of Rogier’s
would thus have become the prototype or at least one of the
prototypes of the tondos so frequently reproduced, t-♦t—-
Many details connecting it with Rogier’s style had already
been noticed in the Frankfort Virgin. Formerly Scheibler, in
consequence, had always maintained that it was due to Van
der Weyden, and Mr. Friedlander in his last review, seemed
to admit of the collaboration of the Master and his Pupil
in the case of these Frankfort works. Now, our panel offers
a distinct proof of the great interest Rogier took in the
Frankfort Madonna and of the great influence it must have
had on his art, considering that he made the fine study we
are now examining. It is a further proof of the close bonds
uniting the two artists, and which sometimes made their works
appear similar to such a degree that at a certain moment one