CF STUDIES JOURNAL 06 - Page 80



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A lost fifteenth-century drawing rediscovered: Donors Kneeling in Adoration before the Virgin and Child with Saint Anne
A lost fifteenth-century drawing rediscovered: Donors Kneeling in Adoration before the Virgin and Child with Saint Anne
Fig. 13a / Master of the
Legend of Saint Barbara,
Scenes from the Legend
of Saint Barbara, detail of
first scene, ca. 1480, oil on
oak panel, 73.2 x 124 cm,
Bruges, Basilica of the Holy
Blood.
Fig. 13b / Master of the
Legend of Saint Barbara,
Scenes from the Life of
Saint Barbara, ca. 1480, oil
on panel, 72.8 x 62.2 cm,
Brussels, Royal Museums of
Fine Arts of Belgium.
Fig. 14 / Master of the
Legend of Saint Barbara, The
Martyrdom of Saint Barbara,
1451-1500, drawing in
pierre noire and brown ink,
19.8 x 14.3 cm, Paris, Musée
du Louvre.
79
The architectural vocabulary of the Bacri drawing,
comprising three-lobed arches adorned with carved
leaves, small columns, and suites of florets, is similar
to that in the drawn and painted compositions of the
Brussels master (figs. 13a & b, 14). The systematic
presence of a tight network of short dark hatching
arranged in diagonals and intersections that fill all the
empty space is another common detail. They cover the
walls, the structural parts of the throne of Saint Anne,
the columns, the intrados of arches and vaults, and
the twin windows of the canopies, as in the autograph
paintings.25 The same system of small, very tightly spaced
lines indicates the parts of the clothing to be shaded,
intermittently heightened with wash, especially in the
drapery of the Virgin. A similar technique is employed
for the curtains surrounding the throne of Saint Anne.
There are also formal similarities to the manner
of the master and his workshop. Thus, the conical
profile of the baldachin surmounted by a decorative
motif and the rounded base of the throne are also
observed in a drawing by the Master of the Legend of
Saint Barbara or his workshop in Berlin (fig. 15).26

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