A Masterly Hand / Scientia Artis 9

the stippled background of the borders are elements that have not been observed in other surviving Mosan and Brabantine large statues. Comparisons with Altarpieces and Small Statues The polychromy on Brussels altarpieces is exemplified by the production of Master I*T, active until around 1522, who collaborated mainly with carvers of the Borman dynasty and their circle. In the altarpieces polychromed by this master most figures of the Virgin are clad in a gown rendered in con- tinuous applied brocade highlighted with blue rather than the red seen on the large stat ues. 26 14.12 Fig. 14.12 Altarpiece of the Virgin called Strängnäs III, carving: Brussels, Borman workshop or circle; polychromy: Brussels or Antwerp (?); painted wings: Colijn de Coter, c. 1507-1508, Strängnäs, Cathedral, Adoration of the Magi: the Virgin’s garment decorated with applied brocade, painted letters, letters in sgraffito and punched motifs Fig. 14.13 Paihle Altarpiece, Antwerp, 1525-1530, Brussels, Royal Museums of Art and History, inv. 425, Adoration of the Shepherds: shepherd’s garment with red lettering and flowers painted on a punched stippled background