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

of Hours and shows Christ with His right raised in blessing and His left holding an open book, however, with the addition of a new motif: a globe lying on the ground with His feet resting upon it.

24 Images belonging to the second type substituted a globe for the book in Christ's left. More responsive to iconographie innovations and quicker in adopting them, printmakers popularised the type quite early by printing large quantities of such images, thus providing a model image for both easel painting and the decoration of books of hours.

25 An example of the latter type, in which Christ holds a globe in His left hand, appears, for example, in the frontispiece of the 1487 Antwerp edition of Lodolphus de Saxonia

's Boec van de leven ons heeren

26 or in that of the Plenarium published in Augsburg in 147 3.

27 This new formula of the Christ of Blessing and Salvation was given a prominent role in the most popular work of devotio moderna, 24 Some characteristic examples of the type are: a Salvator Mundi appearing on the reverse of a diptych donated by Chrétien de Hondt, Abbot of Dunes, in 1499, now in the Koninklijk Museum voor Schone Künsten, Antwerp [Most scholars agree that it is a copy after Jan van Eyck. Cf. Friedländer, M. J., Early Netherlandish Painting IV, Leyden 1969, pi. 44, no. 37.. Pacht, op. cit. (cfr. n. 23), 185, fig. 5.J; a representation of Christ the Saviour in an independent sheet in the Metropolitan Museum of Art, New York (Lehman Collection, Ms. 20), cf. Pacht, op. cit. (cfr. n. 23), 185, fig. 6.; a miniature by Willem Vrelant, dated 1462, now in the Bibliothèque Municipali, Valenciennes (Ms. 240, fol. 158), cf. Winkler, F., Die flämische Buchmalerei des 15. u. 16. Jahrhunderts, Amsterdam 1971, 71, 200, and Pacht, op. cit. (cfr. n. 23), 185, fig. 7.; and a Salvator Mundi appearing in a full-page illuminated frontispiece (Fitzwilliam Museum, Cambridge, James Ms 25, fol. 3v), cf. M. James, A Descriptive Catalogue of the Manuscripts in the Eitzwilliam Museum, Cambridge 1895, 60-65, Pacht, op. cit., 187-8, fig. 8. Let me refer to only two of the prints: an engraving by the I. A. M. Master, active in Zwolle in the second half of the 15th century, cf. F. W. H. Hollstein, Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700, XII, Masters and Monogrammists of the 15th Century, Amsterdam s. d., 263; two engravings by Israhel van Meckenem, showing the orb laying at the feet of Christ and beside him, on the ground, respectively, cf. The Illustrated Bartsch 9 (6/2). Early German Artists. Israhel van Meckenem, ed. by F. Koreny, Wenzel von Olmiitz and Monogrammists, ed. by Hutchinson, J. C, New York 1981, 137, no. 141 (254), and 139, no. 143 (255). 25 A study by James H. Marrow shed light upon the influence of printmaking on book illumination and vice versa [J. Marrow, A Book of Hours from the Circle of the Master of the Berlin Passion: Notes on the Relationship between Fifteenth-Century Manuscript Illumination and Printmaking in the Rheinish Lowlands, The Art Bulletin 60 (1978), 590-615]. He established that the Salvator Mundi in a manuscript in the British Library (Ms. Harley 1662) is modelled on an engraving by the anonymous master of the Berlin Passion, active in the Netherlands in the third quarter of the 15th century. A standing Salvator Mundi is seen holding a globe, for example, in a miniature by the painter known as the Master of the Gijsbrecht van Brederode (Cambridge, Fitzwilliam Museum, Ms. McClean 94, fol. L3v), cf. Die goldene Zeit der holländischen Buchmalerei, exh. cat., Rijksmuseum Het Catherijnaconvent, Utrecht, Stuttgart-Zürich 1990, pl. VIII-69; another similar image is found in the left wing of the Crucifixion Retable of Memling, now in the St. Annen-Museum, Lübeck, on the stole of Saint Blasé (cf. D. De Vos, Hans Memling: The Complete Works, Antwerp 1994, 322, no. 90) or in a painting by Jacob van Amsterdam, present whereabouts unknown (cf. Friedländer, op. cit. (cfr. n. 24), XII, Leyden 1972, pl. 148, fig. 274). 26 The scroll above the head of Christ again reads Ego sum via Veritas et vita. Cf. Pacht, op. cit. (cfr. n. 23), 188-9, fig. 9. Very close to this is a historiated initial in the Dutch Book of Hours of the British Library (Ms. Harley 2943, fol. 50), cfr. Pacht, op. cit., 189, fig. 9. 27 Ibid., 189. fig. 10.