Frames and supports in 15th and 16th-century Southern Netherlandish painting

ARTICULATED WORKS WITH INSTRUCTIONS FOR USE 179 right subordinate wing flanking a frontal scene, today lost (fig. 92b). Given the absence of hinge marks and the presence of suspension marks on the London panel, it seems plausible that the painting may have been one element of an open unarticulated diptych with both panels glued together in one plane, without hinges, and intended for suspension. A later example of similarly hierarchical spaces is found in the Virgin and Child and Margaret of Austria attributed to the Master of 1499 (Ghent, Museum of Fine Arts, inv. no. 1973-A) (fig. 92c). Fig. 92. Examples of images arranged according to the rules of hierarchy by the use of perspective. The frontal perspective of a representation leads us to contemplate it first. In the case of a diptych, a half-fan of vanishing lines (tiles, ceilings, arches…) marks the secondary space of the wing. a. Robert Campin, Trinity and Virgin and Child, c. 1420/1425, 34.3 × 24.3 cm. b. Workshop of Robert Campin (Jacques Daret?), Virgin and Child in an Interior , 1428/1432?, 22.5 × 15.4 cm, integral frame included. c. Master of 1499 (attributed to), Virgin and Child and Margaret of Austria , after 1501, each element 30.6 × 14.6 cm, original frame included. d. Hans Memling, Virgin and Child and Maarten van Nieuwenhove , 1487, each element 52.5 × 41.5 cm, original frame included. a b c d