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

We think that it is from Italy — though probably indi-
rectly -— that Rogier will have borrowed the peculiar pose
of the Virgin and of the Child. We can, in fact, during
the whole of the 14th. century, see the constant recurrence
of a similar detail in Italian painting, in Florence, in Siena
and in Umbria : namely the Virgin seated, holding the standing
Child who is endeavouring to embrace her. One of the
oldest prototypes appears to be a Florentine Virgin of the
beginning of the 14th. century, in the church of San Lorenzo
at Vicchio di Rimaggio, in which the Child’s right leg is
bent and put forward, an attitude of which a trace can be
seen in our panel. In a triptych dated 1333 in the Bigallo
at Florence, Bernardo Daddi went back to this group, which
was frequently repeated by the School of Umbria, but showing
the Child with his cheek pressed closer to his Mother’s, almost
36 In our picture of the Virgin, although the colouring is
good, there is a certain weakness of design. A marked
shrouding of the outlines, a softness and a general roundness
in the execution of the figures, connect it with the Bruges
School of the first thirty years of the 16th. century. :—j-

SUMMARY BIBLIOGRAPHY : t-$——t—---x—-t—-
3t Winkler (Friedrich): Der Meister von Flemalle und Rogier Van der
Weyden. Strasbourg, 1913. See p. 63-67. f —-—— -t--—-t — i —
06 Perkins (P. M.)\ Un altro quadro primitivo inedito, (Rassegna d’Arte,

06060606060606060646463I6064606064606060606060696063606460646S60606

126 —