A Masterly Hand / Scientia Artis 9

215 Vincent Cattersel 10 214 the production in the same workshop. This last example shows the importance of an interdisciplinary approach in the research of such a large and complex group of sculptures. Acknowledgements I would like to thank Emile van Binnebeke (Royal Museums of Art and ­ History, Brussels) and Charles Indekeu (Artesis University College, Antwerp) for the interesting discussions of various hypotheses and for their careful read- ing of the text. Notes 1 O n the selection of works that were to be studied in this research project, see also Famke Peters, article 4 in this volume. All the works studied are listed in the inventory at the back of the book. The use of the terms ‘Elsloo group’ and ‘ Elsloo sculpture’ is discussed in the Introduction and Acknowledgements and the Conclusion. 2 T his is in contrast to sculptures such as those produced in major artistic centres like Antwerp, Brussels and Mechelen, where the market was strictly controlled by the guilds, each of which had its own mark. 3 O n Niklaus Weckmann, see Stuttgart 1993; on Hans Multscher, see Ulm – Stuttgart 1997; on Jan van Stef- feswert, see Maastricht 2000; on Niclaus Gerhaert, see Frankfurt 2011. For the results of interdisciplinary research on Lower Rhine sculpture, see Aachen 1996. 4 I n this article the term refers to the study of the specific traces left on the sculpture by a particular tool or workbench. 5 A ll sculptures have been studied in situ , except for three which were brought to the polychromed wood sculpture workshop of the KIK-IRPA. These were a St Anne with the Virgin and Child from St Catherine’s Church in Maaseik, a St Quirinus from the Church of Our Lady in Gerdingen and a Crucified Christ from the Church of St Harlindis and St Relindis in Ellikom. More information on the latter can be found in Vincent Cattersel, article 13 in this volume. 6 R ief 1996: 44-45 and Lucretia Kargère, article 15 in this volume. 7 W ood species identification by Pascale F raiture, see article 8 in this volume. 8 R ief 1996: 39; Oostendorp and Te Poel 2000; Truyen 2000: 77-78; Schäfer 2001: 22-24. 9 F or some further examples, whose attribution to the Elsloo group is in some cases doubtful, however, see the Inventory at the back of the book. 10 I nformation about these sculptures was provided by Jonathan Canning, curator of the Martin D’Arcy collection of the Loyola University Museum of Art in Chicago and Bodo Buczynski, head of the restoration department in the Bode-Museum in Berlin, for which we express our thanks. On the London St Christopher, see Williamson 2002: 138-139, no. 44. On the Frankfurt statues, see Sint-Truiden 1990: cat. no. 76. 11 B eeckman 2005. Wazny (2005: 115) also states the following: ‘Intensive building and particularly shipbuilding activity in medieval Europe caused deforestation and timber shortage in many areas.’ 12 F or more specific information on the provenance of the wood, see Pascale Fraiture, article 8 in this volume. 13 F or more information on this topic, s ee Beeckman 2005. 14 H oadley 2000: 80-85. 15 A n important advantage of using green o ak is that it is less laborious to carve than dried oak. 16 O ther examples include the balding apostle with an open book in his left hand (KIK-IRPA photograph X032245)