Csornay Boldizsár - Hubai Péter szerk.: A Szépművészeti Múzeum közleményei 96. (Budapest, 2002)

KOVÁCS, ZOLTÁN: A New Representation of the Salvator Mundi from the workshop of Quentin Massys

4L Salvator Mundi, Wiesbaden, State Archive, Frontispiece of Cod. B 10, 1410 standing, the right hand raised in blessing and the left holding a globe, from which the visual appearance of the new formula may have been derived.

23 Pacht tentatively ascribed the invention of the compositional formula adopted by the painter of the Turin miniature to Jan van Eyck. The Salvator Mundi in the Turin Book of Hours introduced an iconographie type that 15

th century Netherlandish painters, book illuminators, and printmakers all similarly took up. Two principal types were derived from the standing, full-length prototype. The first follows the formula of the miniature in the Turin Book 23 O. Pacht, Der Salvator Mundi des Turiner Stundenbuches, in: Florilegium in honorem Carl Nordenfalk octogenarii contextum, Nationalmuseums Skriftserie NS 9, Stockholm 1987, 181-90, pl. 1. Christ is seen with a globe in His hand in the Creation scene, for example, in a miniature from a Dutch Bible dating from around 1430 (Vienna, Österreichische Nationalbibliothek Ms. 1199-1200). Cf. The Golden Age of Dutch Manuscript Painting, exh. cat., Rijksmuseum Het Catherijnaconvent, Utrecht, The Pierpont Morgan Library, New York, Stuttgart-Zürich 1989, 108, pl. IV, 33. Another example of Christ as Creator can be found in Thomas à Kempis' Bible, dating from 1427 (Darmstadt, Hessische Landes- und Hochschulbibliothek, Ms. 324. Vol. !.. fol. 8), for which see The Golden Age, 79-80, pi. 32.