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

catalogue 422 It is not impossible that there were hinges embedded on the upper and lower sides of the frame, as in the Triptych of the Virgin and Child attributed to Goossen van der Weyden (Tournai, MFA , no. 2 ). It cannot be excluded either that the work formed a fixed diptych, like that of the Man of Sorrows and Mater Dolorosa (Aachen, Suermondt- Ludwig-Museum, inv. no. GK57). But with the outside of both panels painted in black and the inner edges of the frames bevelled at the reverse, the outside was intended to be seen.