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

that shows the double pulley and the rope; the emblem and
motto shown this time together with the arms of Jehan Gros,
are to be seen at the back of Ryerson’s picture, t_—--j-
& Let us observe that we may trace back the history of this
diptych to the time when the two parts were still in Bruges,
but it must be said, belonging to two different people. The
Virgin belonged to the van Caloen family, one of the
oldest of the Bruges aristocracy, who had perhaps received it
from the original owners after successive legacies. As to the
portrait of Jehan Gros, now in Chicago, it came from the
Rodolph Kann collection in Paris and had formerly belonged
to Dr. Demeyer of Bruges who had inherited it from his
it This Virgin and Child is one of Rogier’s most delightful
productions; it seems as if the draughtsman, who at first was
so very incisive, sculptural and pathetic, had softened down
by degrees at contact with life, and that he has at times for -
gotten his foregone conclusions, his prejudices and his domineering
research of style, in order to draw nearer to the reality, and
in particular, to the touching and graceful reality. We must
also note the very rare qualities of colouring and the
warm and simple harmony of the Virgin’s dark blue mantle
lined with green, toning on the one hand, with the golden
hair over which it is draped, and on the other hand, with
the beautiful dark brown of the background. All this is both
H Backed by these considerations of general style and expres-
sion, supported by technical data such as the longer oval of