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Portrait of Rembrandt in Oriental Dress
Isaac de Jouderville(Leiden ca. 1612 – 1648 Amsterdam)ca. 1631
oil on panel
70.8 x 50.5 cm
false signature and date in dark paint, upper
left corner: “Rembrandt ft. 1641”
IJ-100How to cite
Surh, Dominique. “Portrait of Rembrandt in Oriental Dress” (2017). In The Leiden Collection Catalogue, 2nd
ed. Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artwork/portrait-ofrembrandt-in-oriental-dress/ (archived May 2020).
A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive ismanaged by a permanent URL. New versions are added only when a substantive change to the narrative
occurs.

Portrait of Rembrandt in Oriental Dress is a fascinating workshop copy byComparative Figures

Isaac de Jouderville, executed toward the end of his apprenticeship with
Rembrandt van Rijn (1606–69) from 1629 to 1631.[1] Based on Rembrandt’s
own full-length self-portrait, signed and dated 1631 in the Petit Palais in Paris(fig 1), Jouderville’s larger panel differs from its prototype in its cooler
tonalities, more exaggerated chiaroscuro, and crisper silhouette. The mostobvious difference between the two paintings, however, is that Jouderville’s
version does not depict the large dog in the foreground of Rembrandt’s
painting. Rembrandt added the curly, long-haired poodle at a later date,probably in 1633.[2]As in Rembrandt’s original, Jouderville has portrayed the artist gazing at theviewer as he stands in contrapposto, with one hand resting on a cane andthe other held akimbo. His fanciful costume includes a turban with afeathered aigrette, a velvet cloak closed at one shoulder with buttons, and a

Fig 1. Rembrandt van Rijn, The
Artist in Oriental Costume, with aPoodle at His Feet, 1631, oil on
panel, 66.5 x 52 cm, Musée duPetit Palais, Paris, no. 925© 2020 The Leiden Collection

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short silk tunic with golden brocade and fringe, tied by a sash at the
waist.[3] The fascination with exotic dress is evident in other works by
Rembrandt from this period, as in Man in Oriental Costume (“The NobleSlav”), 1632, in the Metropolitan Museum of Art, and Daniel and Cyrus
before the Idol Bel, 1633, in the J. Paul Getty Museum.[4] Rembrandt,
however, portrayed himself in oriental dress only on this one occasion.[5]For most of its recorded history, Portrait of Rembrandt in Oriental Dress wasconsidered to have been painted by the master. This attribution was basedlargely on its Rembrandtesque style and subject matter; the “signature” anddate at the upper left—“Rembrandt ft. 1641”—were apparently added in thenineteenth century.[6] In 1983, Ernst van de Wetering proposed that Portraitof Rembrandt in Oriental Dress was painted by an apprentice in

Fig 2. Isaac Jouderville, Bust of aYoung Man, ca. 1631–35, oil on
panel, 48 x 37 cm, National
Gallery of Ireland, Dublin, NGI.433

Rembrandt’s workshop and suggested Jouderville as the most likely
candidate.[7] Van de Wetering’s proposal is convincing, for Jouderville’s
Bust of a Young Man from the early 1630s in the National Gallery of Ireland,
one of his few signed paintings, shares a number of stylistic features with thepresent work (fig 2). The overly emphasized highlights of the richly
appointed fabric, the frizzy hair, and the thin contour of light around the figure
leave little doubt that these two paintings are by the same hand.
The reason for Rembrandt’s choice to portray himself in exotic costume isdifficult to ascertain.[8] Nevertheless, it is significant that Rembrandt felt thecomposition[9]

apprentice.

wasworthyofbeing

replicatedbyaworkshopBecause Rembrandt and Jouderville were in both Leiden and

Amsterdam in 1631, it is also unclear in which city the prototype and thiscopy originated. In the summer of 1631, Rembrandt began his businessFig 3. Isaac Jouderville, Man in
Oriental Costume, ca. 1631–35, oil
on panel, 66 x 50 cm, private
collection

arrangement with the Amsterdam dealer Hendrick van Uylenburgh, and hereceived a number of portrait commissions requiring his presence inAmsterdam.[10] Scholars have suggested that Jouderville may haveaccompanied Rembrandt to Amsterdam as an assistant in Uylenburgh’s
workshop, since the last payment receipt pertaining to Jouderville’s
apprenticeship with Rembrandt is dated 19 November 1631.[11]Jouderville’s Portrait of Rembrandt in Oriental Dress is a relatively rareexample of the type of didactic exercises that must have been an integral
part of Rembrandt’s workshop practice.[12] We know that making painted
copies after Rembrandt’s work, both as an exercise in imitation and asemulation of the master’s style, was an important part of Rembrandt’s
method of instruction. Nevertheless, very few direct copies after his
paintings, such as this one, survive.[13] Jouderville was more likely to make© 2020 The Leiden Collection

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variants of Rembrandt’s compositions. His Man in Oriental Costume (fig 3),
for example, is loosely based on Rembrandt’s self-portrait in Paris (fig 1). A
painting convincingly attributed to Jouderville, Bust of a Young Woman in
Chapel Hill (RR-104, fig. 3), is similarly derived from one of Rembrandt’s
paintings from the early 1630s, Portrait of a Girl Wearing a Gold-Trimmed
Cloak, in the present collection (RR-104).[14] Jouderville was also able toadapt pictorial elements in Rembrandt’s paintings to create his own
independent works, as in his Minerva in Her Study in Denver, which draws
freely on Rembrandt’s Old Woman Reading in the Rijksmuseum,
Amsterdam.[15]X-radiographs of Rembrandt’s Paris self-portrait have revealed that themaster made a number of changes to this work. Initially he shortened thelength of his legs and painted his feet anew, but then he added the poodle,
which covers his feet.[16] Because of the close correspondence between thelonger legs in Rembrandt’s original and those in Jouderville’s copy, theRembrandt Research Project concluded that Jouderville’s variant must
represent the original appearance of Rembrandt’s painting. Thus, aside fromits own intrinsic qualities, this portrait is a fascinating document ofRembrandt’s only known effort to paint a full-length self-portrait.

- Dominique Surh, 2017

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Endnotes

1. For a discussion of the sources documenting Jouderville’s apprenticeship with Rembrandt,
see the biography of the artist by Piet Bakker.
2. Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol. 1: 1625–1631, Stichting
Foundation Rembrandt Research Project (The Hague, 1986), 1: 374–82; Ernst van deWetering et al. A Corpus of Rembrandt Paintings, vol. 6: Rembrandt’s Paintings Revisited: A
Complete Survey, with the collaboration of Carin van Nes, Stichting Foundation Rembrandt
Research Project (Dordrecht, 2014), 2: 840.
3. Marieke de Winkel, Fashion and Fancy: Dress and Meaning in Rembrandt’s Paintings(Amsterdam, 2006), 260–61, notes the Turkish costume is also found in three other paintings
by Rembrandt and was depicted by the Italians as well.
4. Walter Liedtke, “Man in Oriental Costume,” in Dutch Paintings in the Metropolitan Museum ofArt (New York, 2007) 2: 554–67, no. 142.
5. On Rembrandt’s self-fashioning, see Marieke de Winkel, “Rembrandt’s Clothes: Dress andMeaning in His Self-Portraits,” in Ernst van de Wetering et al., A Corpus of Rembrandt
Paintings, vol. 4: Self-Portraits, Stichting Foundation Rembrandt Research Project,(Dordrecht, 2005), 4: 45–87. For the depiction of exotic Turkish dress in Rembrandt’s
paintings, see also Marieke de Winkel, Fashion and Fancy: Dress and Meaning in
Rembrandt’s Paintings (Amsterdam, 2006), 260–61; and Josua Bruyn et al., A Corpus of
Rembrandt Paintings, vol. 1: 1625–1631, Stichting Foundation Rembrandt Research Project(The Hague, 1986), 1: 380.
6. The earliest mention of the painting, in the Le Rough collection sale in Paris, 27 April 1818,
no. 46, describes the work in detail yet makes no mention of a signature at the upper left,
suggesting that it was added later.
7. Ernst van de Wetering, “Isaac Jouderville, a Pupil of Rembrandt,” in Albert Blankert et al.,The Impact of Genius: Rembrandt, His Pupils and Followers in the Seventeenth Century:
Paintings from Museums and Private Collections (Exh. cat. Amsterdam, Waterman Gallery;
Groningen, Groninger Museum) (Amsterdam, 1983), 66.
8. Van de Wetering suggested that the Paris Self-Portrait (A40) should be categorized as one inwhich Rembrandt used his own face without originally intending the painting to be a selfportrait; see Ernst van de Wetering, “Rembrandt’s Self-Portraits: Problems of Authenticity
and Function,” in Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol.
1: 1625–1631, Stichting Foundation Rembrandt Research Project (The Hague, 1986), 1: 380;
Ernst van de Wetering et al., A Corpus of Rembrandt Paintings, vol. 4: Self-Portraits, Stichting
Foundation Rembrandt Research Project (Dordrecht, 2005), 4: 182.
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9. On the growing market for artists’ self-portraiture in the seventeenth-century, particularly
Rembrandt’s, see Ernst van de Wetering’s chapter “Rembrandt’s Self-Portraits: Problemsof Authenticity and Function,” in Ernst van de Wetering et al., A Corpus of Rembrandt
Paintings, vol. 4: Self-Portraits, Stichting Foundation Rembrandt Research Project,(Dordrecht, 2005), 4: 89–317.
10. Jaap van der Veen, “Hendrick Uylenburgh’s Workshop 1631–1638,” in Uylenburgh and Son:
Art and Commerce from Rembrandt to De Lairesse, 1625–1675 (Exh. cat. London, Dulwich
Picture Gallery; Amsterdam, Museum Het Rembrandthuis) (Zwolle, 2006), 126–35.
11. Jaap van der Veen, “Hendrick Uylenburgh’s Workshop 1631–1638,” in Uylenburgh and Son:
Art and Commerce from Rembrandt to De Lairesse, 1625–1675 (Exh. cat. London, Dulwich
Picture Gallery; Amsterdam, Museum Het Rembrandthuis) (Zwolle, 2006), 136; see also Piet
Bakker’s biography of Jouderville in the present catalogue.
12. For the dates of Jouderville’s apprenticeship with Rembrandt, and the documentary evidence
that suggests he went to Amsterdam to continue his tutelage with Rembrandt, see Piet
Bakker’s biography of Jouderville in the present catalogue.
13. Ernst van de Wetering, “Isaac Jouderville, a Pupil of Rembrandt,” in Albert Blankert et al.,The Impact of Genius: Rembrandt, His Pupils and Followers in the Seventeenth Century:
Paintings from Museums and Private Collections (Exh. cat. Amsterdam, Waterman Gallery;
Groningen,

Groninger

Museum)(Amsterdam,

1983),

66;

Toshiharu

Nakamura,“Rembrandt’s Workshop and Rembrandt as a Teacher,” in Rembrandt, His Teachers, andPupils (Exh. cat. Tokyo, Bunkamura Museum of Art; Chiba, Kawamura Memorial Museum ofArt; Yamaguchi, Yamaguchi Prefectural Museum of Art) (Tokyo, 1992), 199–209; Ernst van
de Wetering et al., A Corpus of Rembrandt Paintings, vol. 4: Self-Portraits, Stichting
Foundation Rembrandt Research Project, (Dordrecht, 2005), 4: 182, fig. 145.
14. Ernst van de Wetering, “Isaac Jouderville, a Pupil of Rembrandt,” in Albert Blankert et al.,The Impact of Genius: Rembrandt, His Pupils and Followers in the Seventeenth Century:
Paintings from Museums and Private Collections (Exh. cat. Amsterdam, Waterman Gallery;
Groningen, Groninger Museum) (Amsterdam, 1983), 59–69. For the Young Woman with a
Necklace in Chapel Hill, see Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol.
2: 1631–1634, Stichting Foundation Rembrandt Research Project (The Hague, 1986), 2:
680–84, no. C58.
15. Ernst van de Wetering, “Isaac Jouderville, a Pupil of Rembrandt,” in Albert Blankert et al.,The Impact of Genius: Rembrandt, His Pupils and Followers in the Seventeenth Century:
Paintings from Museums and Private Collections (Exh. cat. Amsterdam, Waterman Gallery;
Groningen, Groninger Museum) (Amsterdam, 1983), 66; Stichting Foundation Rembrandt
Research Project, A Corpus of Rembrandt Paintings, 6 vols., ed. Josua Bruyn et al.
(Dordrecht, Boston, and London, 1982–2014), 1: 502–7, C9.
16. A revision involving the adjustment of the legs was also found in an X-radiograph of© 2020 The Leiden Collection

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Rembrandt’s Self-Portrait in Liverpool (A33) from about the same time as the self-portrait in
the Petit Palais. See Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol.
2, 1625–1631, Stichting Foundation Rembrandt Research Project (Dordrecht, 2005), 2: 840.
17. The signature of the Paris self-portrait, which reads, “Rembrant.f 1631” is highly revealing of
its period of execution. Not only was it painted on top of an original “RHL” monogram, butthere was only a short period between 1632 and 1633 in which Rembrandt used this form ofsignature. It therefore seems likely that Rembrandt backdated the painting to 1631, while
adding a new signature, in 1633. See Josua Bruyn et al., A Corpus of Rembrandt Paintings,
vol. 1: 1625–1631, Stichting Foundation Rembrandt Research Project (The Hague, 1986), 1:
379; Josua Bruyn et al., A Corpus of Rembrandt Paintings, vol. 2, 1625–1631, Stichting
Foundation Rembrandt Research Project (Dordrecht, 2005), 2: 840; Ernst van de Wetering etal., A Corpus of Rembrandt Paintings, vol. 4: Self-Portraits, Stichting Foundation Rembrandt
Research Project (Dordrecht, 2005), 4: 182–83.

Provenance
Madame Le Rouge, Paris (her sale, Paris, 27 April 1818, no. 46, as by Rembrandt [for 2,460
francs to Bruno]).
G. Couteaux, Paris.
Chevalier van Deuren de Beauré (his sale, Paris, 26 February 1844, no. 45, as byRembrandt).
Alexandre Tardieu (his sale, Hôtel des ventes, Rue des Jeûneurs, Paris, France, Paris, 4
February 1851, no. 14, as by Rembrandt [to Etienne Leroy]).
François Nieuwenhuys Collection, Paris, by 1852.
Piérard de Valenciennes (his sale, Paris, 20–21 March 1860, no. 66, as by Rembrandt).
Éduoard Kums, Antwerp (his sale, Antwerp, 17–18 May 1898, no. 126, as by Rembrandt [for22,000 francs to Le Roy, Paris and Bruxelles]).
A. M. Byers, Pittsburgh, by 1900.
Baron Arthur de Schickler, Paris, by 1916 [Edouard Jonas Gallery, New York, 1927].
Private collection, Switzerland, by 1936.
M. C. de Coppet, Ghent.
Private collection [Emmanuel Moatti, Paris, 2004].
From whom acquired by the present owner in 2004.

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Exhibition History
The Edouard Jonas Galleries, New York, 1927.
Amsterdam, Museum het Rembrandthuis, on loan with the permanent collection, 1995–2004.
London, National Gallery, “Rembrandt by Himself,” 9 June–5 September 1999; The Hague,
Mauritshuis, 25 September 1999–9 January 2000, no. 29b [lent by the Museum het
Rembrandthuis, inv. 276].
Norfolk, Virginia, The Chrysler Museum, on loan with the permanent collection, 2010–2011[lent by the present owner].
Brooklyn, New York, Brooklyn Museum, on loan with the permanent collection, March
2013–March 2016 [lent by the present owner].
Paris, Museé du Louvre, “Masterpieces of The Leiden Collection: The Age of Rembrandt,” 22
February–22 May 2017 [lent by the present owner].
Beijing, National Museum of China, “Rembrandt and His Time: Masterpieces from The
Leiden Collection,” 17 June–3 September 2017 [lent by the present owner].
Shanghai, Long Museum, West Bund, “Rembrandt, Vermeer and Hals in the Dutch Golden
Age: Masterpieces from The Leiden Collection,” 23 September 2017–25 February 2018 [lentby the present owner].
Moscow, The Pushkin State Museum of Fine Arts, “The Age of Rembrandt and Vermeer:
Masterpieces of The Leiden Collection,” 28 March 2018–22 July 2018 [lent by the present
owner].
St. Petersburg, The State Hermitage Museum, “The Age of Rembrandt and Vermeer:
Masterpieces of The Leiden Collection,” 5 September 2018–13 January 2019 [lent by thepresent owner].
Abu Dhabi, Louvre Abu Dhabi, “Rembrandt, Vermeer and the Dutch Golden Age.
Masterpieces from The Leiden Collection and the Musée du Louvre,” 14 February–18 May
2019 [lent by the present owner].

References
Smith, John. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, andFrench Painters. 9 vols. London, 1829–42, 6: 199; 7:109, no. 299, as by Rembrandt.
Von Bode, Wilhelm, and Cornelis Hofstede de Groot. Rembrandt: beschreibendes
Verzeichniss seiner Gemälde mit den heliographischen Nachbildungen: Geschichte seines
Lebens und seiner Kunst. 8 vols. Paris, 1897–1906, 1: 139, no. 54, as by Rembrandt van
Rijn.
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Von Wurzbach, Alfred. Niederländisches Künstler-Lexikon: Auf Grund Archivalischer
Forschungen Bearbeitet. 3 vols. Vienna and Leipzig, 1906–11, 2: 96.
Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent Dutch
Painters of the Seventeenth Century Based on the Work of John Smith. Edited and translatedby Edward G. Hawke, 6: 199, under no. 350 (as a copy after Rembrandt van Rijn). 8 vols.
London, 1907–28. Originally published as Beschreibendes und kritisches Verzeichnis derWerke der hervorragendsten höllandischen Maler des XVII. Jahrhunderts. 10 vols. Esslingen
and Paris, 1907–1928.
Bredius, Abraham. The Paintings of Rembrandt. 2 vols. Oxford, 1942, 1: 21, no. 16, as a copy
after Rembrandt.
Bruyn, Josua et al. A Corpus of Rembrandt Paintings. Vol. 1: 1625–1631. Stichting
Foundation Rembrandt Research Project. The Hague, 1982, under A40, 381, fig. 7.
Bruyn, Josua, et al. A Corpus of Rembrandt Paintings. Vol. 2: 1631–1634. Stichting
Foundation Rembrandt Research Project. The Hague, 1986, 17, fig. 4, 840.
Van der Wetering, Ernst. “Isaac Jouderville, a Pupil of Rembrandt.” In Albert Blankert, Ben
Brooks, Ernst van de Wetering, Guido Jansen, and Willem van de Wetering. The Impact of a
Genius: Rembrandt, His Pupils and Followers in the Seventeenth Century. Exh. cat.
Amsterdam, Waterman Gallery; Groningen, Groninger Museum. Amsterdam, 1983, 66, fig. 9,
as by Isaac de Jouderville.
Sumowski, Werner. Gemälde der Rembrandt-Schüler. 6 vols. Landau and Pfalz, 1983–94, 2:
1447, no. 948, as by Isaac de Jouderville.
Nakamura,

Toshiharu.

“Rembrandt’s

WorkshopandRembrandt

asaTeacher.”

In Rembrandt, His Teachers, and His Pupils. Exh. cat. Tokyo, Bunkamura Museum of Art;
Chiba, Kawamura Memorial Museum of Art; Yamaguchi, Yamaguchi Prefectural Museum ofArt. Tokyo, 1992, 203.
White, Christopher, and Quentin Buvelot, eds. Rembrandt by Himself. Exh. cat. The Hague,
Mauritshuis; London, National Gallery of Art. Zwolle, 1999–2000, 139, no. 29b, attributed to
Isaac de Jouderville.
Bruyn, Josua. “Rembrandt’s Workshop: Function and Production.” In Rembrandt: The Masterand His Workshop. Edited by Christopher Brown, Jan Kelch, and Pieter J. J. van Thiel,
72–73, fig. 83, 87. 2 vols. Exh. cat. Berlin, Altes Museum; Amsterdam, Rijksmuseum; London,
National Gallery. New Haven, 1991.
Van Straten, Roelof. Young Rembrandt: The Leiden Years, 1606–1632. Translated by R.
Quartero and D.J. Martin. Leiden, 2005. Originally published as Rembrandt´s Leidse Tijd,
1606–1632. Leiden, 2005, 309, no. 376.
Franken, Michiel. “Learning by Imitation: Copying Paintings in Rembrandt’s Workshop.”
In Rembrandt: Quest of a Genius. Edited by Bob van den Boogert, 160, no. 172. Exh. cat.
© 2020 The Leiden Collection

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Amsterdam, Museum het Rembrandthuis; Berlin, Gemäldegalerie, Staatliche Museen zu
Berlin. Zwolle, 2006.
Surh, Dominique. “Portrait of Rembrandt in Oriental Dress.” In Masterpieces of The Leiden
Collection: The Age of Rembrandt. Edited by Blaise Ducos and Dominique Surh, 40, no. 10.
Exh. cat. Paris, Musée du Louvre. Paris, 2017.
Yeager-Crasselt, Lara. “Portrait of Rembrandt in Oriental Dress.” In Rembrandt and His Time:
Masterpieces from The Leiden Collection. Edited by Lara Yeager-Crasselt, 22–3; 172, no. 1.
Translated by Li Ying. Exh. cat. Beijing, National Museum of China. Beijing, 2017.
Long Museum, West Bund. Rembrandt, Vermeer and Hals in the Dutch Golden Age:
Masterpieces from The Leiden Collection. Exh. cat. Shanghai, Long Museum, West Bund.
Shanghai, 2017, 44–45.
Yeager-Crasselt, Lara. “Portrait of Rembrandt in Oriental Dress.” In The Age of Rembrandt
and Vermeer: Masterpieces of The Leiden Collection. Edited by Polina Lyubimova, 230–31;
248, no. 82. Translated by Daria Babich and Daria Kuzina. Exh. cat. Moscow, The Pushkin
State Museum of Fine Arts; St. Petersburg, The State Hermitage Museum. Moscow, 2018.
Ducos, Blaise, and Lara Yeager-Crasselt, eds. Rembrandt, Vermeer and the Dutch Golden
Age. Masterpieces from The Leiden Collection and the Musée du Louvre. London, 2019, 64,
no. 7. [Exhibition catalogue also published in French and Arabic.]

Versions
Versions and Copies

1. Rembrandt van Rijn, The Artist in Oriental Costume, with a Poodle at His Feet, 1631, oil on
panel, 66.5 x 52 cm, Musée du Petit Palais, Paris, inv. no. 925.

2. After Rembrandt, The Artist in Oriental Costume, oil on panel, 35 x 29 cm, Muséed’Archéologie et des Beaux-Arts, Vienna (Isère), no. 80; Corpus A40, Copy 2.

3. After Rembrandt, The Artist in Oriental Costume, oil on canvas, 30.5 x 24 cm, present
whereabouts unknown, formerly estate of F. Mogin-Zorn (sale, Brussels, 26–27 November1974); Corpus A40, Copy 3.

Technical Summary
The support is a rectangular composite panel comprising two vertically grained oak planks ofsimilar widths.[1] The vertical panel join left of center extends through the feather plume and thefigure’s proper right eye, torso, and proper right shoe. There are no bevels, and the panel has© 2020 The Leiden CollectionPowered by TCPDF (www.tcpdf.org)

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been thinned and cradled. There are eight import stamps, six paper labels, two paper label
remnants and two small red wax dots, but no obvious panel maker’s mark.
A light-colored ground has been thinly and evenly applied. The paint has been applied smoothly
along the background depicted in shadow and with short strokes of thicker paste and low
brushmarkings along the background and foreground depicted in highlight. The figure’s drapery is
painted in low impasto.
The painting is inscribed in dark paint along the upper left corner, although this is thought to be alater addition.
No underdrawing is readily apparent in infrared images captured at 780–1000 nanometers. A
compositional change visible in the infrared images is the lower edge of the figure’s drapery,
which was shortened during the paint stage. The X-radiograph reveals a halo of radio-opaque
paint surrounding the upper half of the figure and a rectangular form along the upper left quadrantthat was painted out during the paint stage but whose warm underlayer shows through.
The painting has not undergone conservation treatment since its acquisition in 2004 and remains
in a good state of preservation.
Further technical information about this artwork is available in The Rembrandt Database.

Technical Summary Endnotes

1. The characterization of the wood is based on visual examination only. Bevels cut along thelower edge of the panel reverse between the fixed vertical cradle members suggest the panel
had previously been prepared for dendrochronology sometime prior to its acquisition.

© 2020 The Leiden Collection