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 the trade in carved wood altar screens, a very important
trade at that time. Of an amazing eclectism, these Mannerists
made use, with skill and intelligence, of all that had been
done before their time, in the South as well as in the North
of the Low Countries; but they never succeeded in giving
the impression of a personal work, conceived and accomplished
58 Although our Pieta does really belong to this C category,
it seems to reveal a very different hand to that of the
Groote’s Adoration or to that of the same subject in
the Institut Stoedel (acquired in 1907 and reproduced by
Friedlander on p. 78). In the picture we are studying, the
scene is characterised by a far greater repose; our painter
arranges his figures a little as though they were statues; he
accentuates the vertical lines; one would be justified in thinking that
he had been trained in Haarlem before coming to work in Antwerp.
In its ensemble, the grouping shows some relation to that
of Quinten Metsys in his famous Entombment of Christ at
Antwerp and to that of a picture representing the Lament'
ations over Jesus attributed to Jacob van Postranem, preserved
in the Utrecht Museum. : -t 1 r——r—>—i—■—:—:—

SUMMARY BIBLIOGRAPHY

Friedlander (Max /.): Die Antwerpener Manieristen von 1520, (Jahrb.
der K. preuss. Kunsts. Berlin, t. 36, 1915, p. 65-91, see p. 78).