A Masterly Hand / Scientia Artis 9

Notes 1 K argère 2000. 2 R obinson 1907: 94-98 esp. 96 and 98. 3 K isluk-Grosheide, Krohn and Leben 2 013: 178, fig. 151. 4 C ologne 1904: 216, no. 1175. 5 B reck 1913: 194, no. 227. 6 F orsyth’s manuscript note, September 1 945, is in the St Roch’s museum file in the Department of Medieval Art. For the sculptures in Utrecht, see Bouvy 1962: no. 191, pl. 67, St Anthony Abbot; no. 202, pl. 71, St Roch; no. 203, pl. 72, St Roch, all attributed to the school of Cleves-Guelders. 7 D idier 1990: I.19, fig. 22. 8 T his attribution has not been confirmed or refuted during the present conference. 9 K argère 2000. 10 R ommé 1996. 11 I bid. and personal communication with Michael Rief, Head of Collections, Suermondt-Ludwig-Museum in Aachen. 12 C eulemans 1990: I.37. 13 T he right hand of the New York angel i s missing. 14 L eloir 1951. 15 A achen 1996: 310-312, no. 56. 16 P reising 1996: 69, fig. 3. 17 A achen 1996: 205, fig. 23.1. 18 T he present publication addresses the M aster of Elsloo’s technical characteris- tics at much greater length, see articles 8-14. 19 R ief 1996. To the west of the region, in the Netherlandish provinces of North Brabant and, to the north, Guelders and Overijssel, both oak and walnut were also used. To the south toward Cologne, sculptors seem to have been able to choose from oak, walnut and lime. 20 T he definition of fresh wood is often ambiguous, but it should be understood as wood that has not yet shrunk from drying and loss of its bound water. See Hoadley 1980: 72. 21 W esthoff 1983. 22 T he Tours St Roch was studied and r estored in 2008 by Sophie Joigneau and Marie Louis. On this restoration, see the St Roch’s museum file. 23 A achen 1996, for example nos. 22 ( St John the Evangelist, attributed to Henrick Douwerman, Cleves, Church of Our Lady of the Assumption), 28 ( St John the Baptist, attributed to Henrick Douwerman, Kalkar, Church of St Nicholas) and 35 (St Barbara, attributed to Arnt van Tricht, Hanselaer, C hurch of St Anthony the Great). 24 R ief 1996: 41. 25 A achen 1996: 219-221, no. 28. 26 T he clean-cut box-shaped plank is v isible on a Female Saint attributed to Henrick van Holt (Berlin, Staatliche Museen, inv. 1/93) and on a St Ursula ( Amsterdam, Rijksmuseum, inv. BK-Br-534) and a St Anthony Abbot ( Utrecht, Museum Catharijneconvent, inv. ABM bh573) attributed to Henrick Douwerman. See Aachen 1996: nos. 3, 24, 59 respectively. 27 E nthroned Virgin and Child, attributed to Douwerman, c. 1540, Paris, Musée National du Moyen Âge – thermes et hôtel de Cluny, inv. CL.13236. See Aachen 1996: 235-238, no. 32. 28 A nnunciate Angel, attributed to Douwerman, c. 1540, private collection. See ibid.: 228-234, no. 30. 29 T he just-mentioned St John the Baptist attributed to Douwerman. See ibid: 219-221, no. 28. 30 I bid.: 221, fig. 28.2. 31 P ersonal communication with Michael R ief. 32 T he sculpture has been stripped of its original layers of polychromy, even perhaps washed with water of lye (an alkali solution: sodium hydroxide), in view of the raised aspect of the wood grain. Under magnification, the minute islands of remaining polychromy show traces of two successive colours in addition to the primary paint layers, likely remnants of campaigns in which the sculpture was completely repainted. While too few traces of paint remain to permit an accurate determination of the original colours used, they appear to have included gold for the saint’s hair, his cloak, and the angel’s robe, and silver for the lining of the saint’s cloak. His fallen right stocking appears to have been red, while the grass was painted with a green glaze. 33 I ssues in nomenclature surround the concept of wood sculptures that were left mostly unpainted. For publications on this issue, see, for example, Oellermann 1966; Taubert 1967; Krohm and Oellermann 1980; Rosenfeld 1990; Westhoff 1993; Marincola and Soultanian 1998.