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

MASTERS AND MASTERPIECES: The Anchin Polyptych 255 108. Van Schoute et al. 1999, 155-168. to the second, moving from the earthly to the heavenly, has been pointed out by historians; a gradation that is also reflected in the polychromy of the frames: black and gold, and then gold only. Today, the black edging of the central frames of the outer altarpiece has been gilded over. Currently, the Musée de la Chartreuse in Douai has opted to exhibit simultaneously all the painted panels. For this, the mobile wings are presented separately, with the visitor able to walk round them. This arrangement no longer reflects the crescendo effect of the iconography and polychromy of the original structure. In its first position, the frontal perspective of Christ the Saviour is an invitation to accord Him privileged contemplation, with pre-eminence over Mary, placed in a decor in lateral perspective that marks subordination (fig. 126a). The two figures form a complete scene, unified by the background architecture. In this position, the centre of the altarpiece was forward of the other panels. Only the centre uprights of the frame betrayed the existence of a second position of the altarpiece. For daily devotion in the Abbey, this was a sumptuous altarpiece which was exposed to the view of the monks. 108 Fig. 126a. The altarpiece with wings pivoted towards the centre (folded back onto the Trinity ). Reconstitution, with black and gold frames, the centre part forward of the other painted parts, and a carved outer frame.