Inscription: Recto inscribed toward the center of the upper border in pen and medium brown ink by Leonardo, script reading from right to left:ilramarro . fedele allomo vede[n]do quello adorme[n] / tato
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This picture and its pendant (1970.134.2) formed a series of possibly five panels illustrating the life of Saint John the Baptist
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The Artist: For a biography of Petrus Christus, see the Heilbrunn Timeline of Art History.The Subject and Function of the Painting: After Christ’s crucifixion, his corpse was taken down from the cross and prepared for burial
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Vicente Huidobro, Paris, acquired before 1920; Paul Guillaume, Paris, ca. 1925–(d.)1934; Sir Jacob Epstein, London, 1935–(d.)1959; Nelson A. Rockefeller, New York, 1961, on loan to the MPA, New York, 1961–78
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New School for Social Research, New York (1931–82; unveiled January 1, 1931; sold in May 1982 to Maurice Segoura Gallery); [Maurice Segoura Gallery, New York, 1982–84; sold on February 1, 1984 to Equitable Life]; The Equitable Life Assurance Society of the United States (now AXA), New York (1984–2012; their gift to MMA)
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Here is a link to download the audio instead.
Saint Matthew is shown seated in a dark interior lit by an oil lamp and assisted by an angel in his writing of the gospel. The diminutive scenes in the background, whose subjects have been debated, relate to his life as presented in the Golden Legend
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The Artist: Dieric Bouts was initially mentioned by Lodovico Guicciardini as “Dirick d’Haarlem� in his Descrittione di tutti i Paesi Bassi, altrimenti detti Germania inferiore.[1] According to Karel van Mander, whose Schilder-boeck of 1604 described the life and works of 250 European painters of the fifteenth and sixteenth centuries, Dieric Bouts was one of the founders of the Haarlem School of painting
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