Inscribed: (on cross, in Hebrew, Greek, and Latin) IHC·NAZAR[ENVS]·REX·IVDE[ORVM]; (twice, below Christ's hands) Venite benedi[c]ti p[at]ris mei (Come, ye blessed of my Father [Matthew 25:34].); (on Saint Michael's shield and armor) [illegible]; (twice, below Saint Michael's wings) . . . vos maledi[ct]i i[n]ignem [aeternum?] (. . . ye cursed, into everlasting fire [Matthew 25:41].); (on Death's wings) CHAOS MAGNV[M] / VMBRA MORTIS (great chaos / shadow of death); (on the original gilt frames) with verses from Isaiah (53:6-9, 12), Revelation (20:13 and 21:3-4), and Deuteronomy (32:23-24)

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Paul Durrieu. "Les tableux des collections du duc Jean de Berry." Bibliothèque de l'École des Chartes 79 (1918), pp. 280–82.

Max Dvorák. "Die Anfänge der Holländischen Malerei." Jahrbuch der Königlich Preuszischen Kunstsammlungen 39 (1918), pp. 66–70, fig. 4 (The Crucifixion).

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Ludwig von Baldass. "Ein Frühwerk des Geertgen tot Sint Jans und die holländische Malerei des XV. Jahrhunderts." Jahrbuch der kunsthistorischen Sammlungen in Wien 35 (1920–21), pp. 4, 6–8, fig. 3 (detail).

Alexander Benua. Putevoditel po kartinnoi galereye imperatorskago Ermitazha [Guide to the Paintings Galleries of the Hermitage]. St. Petersburg, [192?], pp. 195–98, ill.

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L. Maeterlinck. Une école préeyckienne inconnue. Paris, 1925, p. 31, fig. 63 (detail).

A. E. Popham. Drawings of the Early Flemish School. London, 1926, pp. 20–21, pl. 3.

Bryson Burroughs. "The Discoverer of Landscape." The Arts 12 (September 1927), pp. 153–62, ill. (whole and details).

[Hippolyte] Fierens-Gevaert. "Les créateurs de l'art flamand." Histoire de la peinture flamande des origines à la fin du XVe siècle. 1, Paris, 1927, pp. 87–89, pls. 47–51 (whole and details).

G. J. Kern. "Die verschollene 'Kreuztragung' des Hubert oder Jan van Eyck." Der Kunstwanderer (1927), pp. 309–13, 357–62, 415–20, ill. (whole and details).

Paul Lambotte. Flemish Painting before the Eighteenth Century. London, 1927, p. 9.

Erwin Panofsky. "G. J. Kern, 'Die Verschollene Kreuztragung des Hubert oder Jan Van Eyck,' Berlin, 1927 [book version of Kern's 1927 articles]." Kritische Berichte 1 (1927–28), pp. 74–83, fig. 6.

Leo van Puyvelde. "A 'Last Judgement' in the Musée Royal, Brussels." Burlington Magazine 52 (May 1928), pp. 222, 229.

Karl von Tolnai. "Zur Herkunft des Stiles der van Eyck." Münchner Jahrbuch der bildenden Kunst, n.s., 9 (1932), pp. 330 n. 10.

"Metropolitan Museum Acquires a Hubert van Eyck from Russia." Art Digest 8 (November 15, 1933), pp. 8–9, ill. (whole and details).

Hermann Beenken. "The Ghent Van Eyck Re-examined." Burlington Magazine 63 (August 1933), p. 71.

Hermann Beenken. "Zur Enstehungsgeschichte des Genter Altars Hubert und Jan von Eyck." Wallraf-Richartz-Jahrbuch, n.s., 2–3 (1933–34), pp. 196–202, ill.

Bryson Burroughs. "A Diptych by Hubert van Eyck." Metropolitan Museum of Art Bulletin 28 (November 1933), pp. 184–93, ill. (whole and details).

C. Henschel. New York Times (November 7, 1933), p. 3 [Henschel was the president of M. Knoedler & Co.; cited in Ref. Williams 1980, p. 70].

Stanley Morison. Letter to H. W. Kent. July 19, 1933.

Chandler Rathfon Post. "The Hispano-Flemish Style in Northwestern Spain." A History of Spanish Painting. 4, Cambridge, Mass., 1933, part 1, p. 21.

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Friedrich Winkler. Letter to Bryson Burroughs. November 24, 1933.

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Frank Jewett Mather Jr. "Notes on Hubert van Eyck." Art in America 22 (1934), pp. 49–50, 53–56, 59, ill.

Frank Jewett Mather. Letter to Bryson Burroughs. January 14, 1934.

A. L. Mayer. "La Crocifissione di Pietroburgo di Hubert van Eyck." L'arte 37 (1934), pp. 341–47, figs. 1, 2.

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Émile Renders. Jean van Eyck. Bruges, 1935, pp. 14, 46, 65, 69–71, 83, 87–88, 91–92, 95–96, 99–100, 103, 119–21, pls. 3–4, 7–10, 12,16 (whole and details).

Ernst Günter Troche. Niederländische Malerei. Berlin, 1935, pp. 7, 29, pl. 5 (detail).

H. Beenken. "Der Stand des Hubert van Eyck: Problems, Fragen um den Genter Altar." Oud-Holland 53 (1936), pp. 16, 23–24, fig. 1 (detail).

J. Lavalleye in "De vlaamsche schilderkunst tot ongeveer 1480." Geschiedenis van de vlaamsche kunst. Antwerp, 1936, p. 173.

Hermann Beenken. "Bildnisschöpfungen Hubert van Eycks." Pantheon 19 (1937), pp. 118–20.

Max J. Friedländer. "Pieter Bruegel und Nachträge zu den früheren Bänden." Die altniederländische Malerei. 14, Leiden, 1937, p. 78, no. 76.

Ottmar Kerber. Hubert van Eyck: Die Verwandlung der Mittelalterlichen in die Neuzeitliche Gestaltung. Frankfurt, 1937, p. 23.

Alan Burroughs. Art Criticism from a Laboratory. Boston, 1938, pp. 194, 196–98, 207, 249, 252–54.

Charles de Tolnay. Le Maître de Flémalle et les frères van Eyck. Brussels, 1939, pp. 37, 53, 64, 79–80, figs. 123–24.

Aurelio Minghetti. "Un nuovo documento per l'iconografia dei Van Eyck." L'arte 11 (1940), pp. 39–40, figs. 4 and 5 (Crucifixion and detail).

Hermann Beenken. Hubert und Jan van Eyck. Munich, 1941, pp. 10–14, figs. 14–18.

Chandler Rathfon Post. "The Master of the Encarnación (Louis Alimbrot??)." Gazette des beaux-arts 23 (March 1943), p. 156.

Margaret Breuning. "Metropolitan Re-Installs Its Treasures in Attractive Settings." Art Digest 18 (June 1, 1944), p. 6.

Erwin Panofsky. Letter. September 11, 1944.

M[argaretta]. S[alinger]. "Notes." Metropolitan Museum of Art Bulletin 2 (June 1944), notes inside front cover, ill. p. 286 (the whole) and on front and back covers (color details).

Maurice W. Brockwell. "The Adoration of the Lamb: Fresh Evidence of John van Eyck's Authorship." Connoisseur 116 (December 1945), p. 123.

Gerda Boëthius. Bröderna van Eyck. Stockholm, 1946, pp. 59–60, fig. 22.

Wilhelm R. Valentiner. Letter. April 12, 1946.

Ernest Lotthé. La pensée chrétienne dans la peinture flamande et hollandaise. Lille, 1947, vol. 2, pp. 218–19, 297–98, 302, 339, no. 487, 346, no. 684, pls. 165b, 215b.

Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 2–12, ill.

Theodor Musper. Untersuchungen zu Rogier van der Weyden und Jan van Eyck. Stuttgart, 1948, pp. 85–90, 94–96, 102–3, 107, pl. 113.

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Julius S. Held. "Book Reviews: Harry B. Wehle and Margaretta M. Salinger . . ., 1947." Art Bulletin 31 (June 1949), pp. 140–41.

Stephen V. Grancsay. "The Interrelationships of Costume and Armor." Metropolitan Museum of Art Bulletin 8 (February 1950), p. 183, ill. (detail).

Émile Renders. Jean van Eyck et le polyptyque: Deux problèmes résolus. 1950, pp. 11, 73–74, 77–79, 81–83, 85–91, 93–95, 98–102, pls. 19, 21–24, 26–29, 32–33 (whole and details).

Ruth Massey Tovell. Flemish Artists of the Valois Court. Toronto, 1950, pp. 84, 86–87, 137 n. 12.

Ludwig Baldass. Jan van Eyck. New York, 1952, p. 92 n. 3, pp. 95–96, 287, no. 62, pls. 163–65 (whole and detail).

J. V. L. Brans. Isabel la Católica y el arte hispano-flamenco. Madrid, 1952, pp. 41–42, 104 n. 5.

Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 225, no. 91, colorpl. 91.

Chandler Rathfon Post. "Flemish and Hispano-Flemish Paintings of the Crucifixion." Gazette des beaux-arts 39 (April 1952), p. 239.

Erwin Panofsky. Early Netherlandish Painting: Its Origins and Character. Cambridge, Mass., 1953, vol. 1, pp. 237–40, 242, 246, 269, 309, 454 nn. 1–2 (to p. 238), nn. 1, 3 (to p. 239), p. 455 nn. 1–2 (to p. 240), p. 456 n. 8; vol. 2, pls. 166, 168 (whole and details).

Leo van Puyvelde. La peinture flamande au siècle des van Eyck. Paris, 1953, pp. 86–89, 190, 298, ill. (whole and detail).

Federico Zeri. "Il Maestro dell'Annunciazione Gardner." Bollettino d'arte 38 (April–June 1953), p. 130.

Maurice W. Brockwell. The Van Eyck Problem. London, 1954, pp. 53, 60, 74.

Klára Garas. "Some Problems of Early Dutch and Flemish Painting." Acta Historiae Artium Academiae Scientiarum Hungaricae 1, no. 3–4 (1954), pp. 239, 243, 247–48, 251, 253, 259, fig. 4.

F. C. Legrand. La peinture belgique des primitifs à nos jours. Brussels, 1954, p. 13.

Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), p. 10, ill.

Martin Davies. "A Reminiscence of Van Eyck by Gerard David?" Bulletin des Musées Royaux des Beaux-Arts nos. 1–3 (1955), pp. 173–75 n. 4, fig. 2 (detail).

Julius S. Held. "Erwin Panofsky, 'Early Netherlandish Painting, Its Origin[s] and Character'." Art Bulletin 37 (September 1955), pp. 222–24, figs. 4a, 5a, 6a, 7b (details).

Ruth Massey Tovell. Roger van der Weyden and the Flémalle Enigma. Toronto, 1955, p. 36.

Millard Meiss in "Jan van Eyck and the Italian Renaissance." Venezia e l'Europa: atti del XVIII congresso internazionale di storia dell'arte. Venice, 1956, pp. 66–67.

Otto Pächt. "Panofsky's 'Early Netherlandish Painting'–II." Burlington Magazine 98 (August 1956), p. 273.

Josua Bruyn. Van Eyck problemen. Utrecht, 1957, p. 6 n.2, p. 104.

Albert Châtelet. "Les enluminures eyckiennes des manuscrits de Turin et de Milan-Turin." Revue des arts (July–August 1957), pp. 160–63, p.164 n. 12, ill. (detail).

L. M. J. Delaissé. "Chronique: Enluminure et peinture dans les Pays-Bas, à propos de E. Panofsky "Early Netherlandish Painting"." Scriptorium 11 (1957), p. 116.

Jacques Lassaigne. "The Century of Van Eyck." Flemish Painting. 1, New York, 1957, pp. 68–69.

J. Q. van Regteren Altena. Middeleeuwse Kunst der Noordelijke Nederlanden. Exh. cat.Amsterdam, 1958, pp. 133–34.

F. Winkler. "Die Wiener Kreutztragung." Nederlands Kunsthistorisch Jaarboek 9 (1958), p. 83.

Jean Squilbeck. "Un oeuvre énigmatic, 'les Trois Marie au Tombeau' du Musée Boymans à Rotterdam." Revue belge d'archéologie et d'histoire de l'art 28 (1959), pp. 59, 68.

Albert Châtelet. "Albert van Ouwater." Gazette des beaux-arts 55 (February 1960), p. 75.

Erik Larsen. Les primitifs flamands au Musée Metropolitain de New York. Utrecht, 1960, pp. 28–33, 39, 107, figs. 1–2.

James E. Snyder. "The Early Haarlem School of Painting, I. Ouwater and the Master of the Tiburtine Sibyl." Art Bulletin 42 (1960), p. 49 n. 51.

R. H. Wilenski. Flemish Painters, 1430–1830. New York, 1960, vol. 1, pp. 12, 14, 19–23, 25, 33–35, 47, 67, 74, 86, 89–92, 96, 107, 114 159–60; vol. 2, pls. 1–8, 16.

Millard Meiss. "'Highlands' in the Lowlands: Jan van Eyck, the Master of Flemalle and the Franco-Italian Tradition." Gazette des beaux-arts, 6th ser., 57 (May–June 1961), pp. 281, 310 n. 21, p. 313 n. 61, 65.

H. Th. Musper. Gotische Malerei nördlich der Alpen. Cologne, 1961, p. 224.

Germain Seligman. Merchants of Art: 1880–1960, Eighty Years of Professional Collecting. New York, 1961, p. 176.

Federico Zeri. Due dipinti, la filologia e un nome: il Maestro delle Tavole Barberini. Turin, 1961, pp. 58–60, fig. 48.

Hélène Adhémar. Le Musée National du Louvre, Paris. I [Les primitifs flamands, I: Corpus de la peinture des anciens pays-bas méridionaux au quinzième siècle, vol. 5]. Brussels, 1962, p. 69.

David G. Carter. "The Providence Crucifixion: Its Place and Meaning for Dutch Fifteenth Century Painting." Bulletin of Rhode Island School of Design 48 (May 1962), pp. 3, 6, 10–11, 13, 17–19, 22 n. 4, p. 23 n. 63, p. 24 n. 65, figs. 2, 28 (details).

Jan Goris [Marnix Gijsen]. Jan van Eyck in de Kempen. [Arendonk], 1964, pp. 25–27.

Albert Châtelet. "Roger van der Weyden et Jean van Eyck." Jaarboek van het Koninklijk Museum voor Schone Kunsten te Antwerpen (1966), p. 29 n. 27, pp. 30–34, fig. 12 (detail).

Georg Troescher. Burgundische Malerei. Berlin, 1966, vol. 1, pp. 336–37; vol. 2, fig. 705a.

Max J. Friedländer comments and notes by Nicole Veronée-Verhaegen in "The van Eycks—Petrus Christus." Early Netherlandish Painting. 1, New York, 1967, pp. 51–53, 94, 109 n. 15, pl. 36.

Siegfried Thalheimer. Der Genter Altar. Munich, 1967, pp. 84, 115.

Georg Troescher. "Die Pilgerfahrt des Robert Campin. Altniederländische und südwestdeutsche Maler in Südostfrankreich." Jahrbuch der Berliner Museen 9 (1967), pp. 110, 112, 114, 133–34, fig. 6 (detail).

Charles D. Cuttler. Northern Painting from Pucelle to Bruegel. New York, 1968, pp. 87–89, 131, ill.

Martin Davies. National Gallery Catalogues: Early Netherlandish School. London, 1968, pp. 45–46.

Raymond Bouyer Giorgio T. Faggin in L'opera completa dei Van Eyck. Milan, 1968, pp. 87–88, no. 3a–b, ill. p. 88 and colorpl. 63.

Ottmar Kerber. "Hubert van Eyck." Amico Amici: Festschrift für Werner Gross zu seinem 65. Geburtstag am 25.11.1966 (1968), pp. 145–46, 151, fig. 63 (detail).

Heinz Peters in "Zum New Yorker 'Diptychon' der 'Hand G'." Munuscula Discipulorum: Kunsthistorische Studien Hans Kauffmann zum 70. Geburtstag 1966 (1968), pp. 235–46, pls. 205–7.

Shirley Neilsen Blum. Early Netherlandish Triptychs: A Study in Patronage. Berkeley, 1969, pp. 44, 139 n. 49.

[Luisa Marcucci] Stanley Ferber in Galleria degli Uffizi. McGraw-Hill Dictionary of Art. 5, New York, 1969, p. 404.

Cesar Peman y Pemartin. Juan van Eyck y España. Cadiz, 1969, pp. 63–64, fig. 36.

Lola B. Malkis Gellman. "Petrus Christus." PhD diss., Johns Hopkins University, Baltimore, 1970, pp. 118–23, 125, 139–45, 148, 153, 174, 326 n. 102, p. 327 n. 109, pp. 394, 401, 408, fig. 21.

Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, pp. 225, 235 [rev., enl. ed., 1989].

Lotte Brand Philip. The Ghent Altarpiece and the Art of Jan van Eyck. Princeton, 1971, pp. 32, 60, 78 n. 157, pp. 101, 140–64, p. 186 n. 363, pp. 225–26, figs. 140–41, 160, 167, 168, 170 (whole and details).

Charles Sterling. Letter. February 20, 1971.

Charles Sterling. "Observations on Petrus Christus." Art Bulletin 53 (March 1971), p. 9 n. 38, pp. 11–13, 17, 18 n. 66, fig. 42 (Crucifixion).

Zsuzsa Urbach. "Charles D. Cuttler, Northern Painting from Pucelle to Bruegel, 1968." Acta Historiae Artium 17 (1971), pp. 132, 134.

Martin Davies. Rogier van der Weyden: An Essay, with a Critical Catalogue of Paintings Assigned to Him and to Robert Campin. London, 1972, p. 249.

Joel M. Upton. "Petrus Christus." PhD diss., Bryn Mawr College, Bryn Mawr, Pa., 1972, p. 18, 89, 268–70.

Lorne Campbell. "Studies in Early Netherlandish Art." Apollo 98 (July 1973), p. 62.

Odile Kammerer-Nouvel. "Contribution à l'étude de l'iconographie sibylline dans les régions d'Allemagne du sud, de Rhénanie et de Flandres." Master's thesis, Université de Strasbourg, 1974, pp. 82–84 [opinion cited in Ref. Châtelet 1980, p. 50].

Peter H. Schabacker. Petrus Christus. Utrecht, 1974, pp. 30, 34, 65, 100, fig. 25.

James Snyder. "Lotte Brand Philip, 'The Ghent Altarpiece and the Art of Jan van Eyck' 1971." Renaissance Quarterly 27 (Spring 1974), p. 52.

Luciano Bellosi. "I Limbourg precursori di Van Eyck? Nuove osservazioni sui 'Mesi' di Chantilly." Prospettiva 1 (April 1975), p. 34 n. 23.

Margaretta Salinger in "The Price Was Not Too High." The Chase, the Capture: Collecting at the Metropolitan. New York, 1975, pp. 196–98, fig. 50.

Diane Graybowski Scillia. "Gerard David and Manuscript Illumination in the Low Countries, 1480–1509." PhD diss., Case Western Reserve University, 1975, pp. 105–6 n. 38, pp. 164, 202 n. 25, p. 204 n. 38.

V. Denis. La peinture flamande 15e–16e–17e siècles. Brussels, 1976, p. 38, figs. 10–11.

Charles Sterling. "Jan van Eyck avant 1432." Revue de l'art no. 33 (1976), pp. 15, 23–25, 29–30, 33–34, 36, 40–50, 53, 56, 76, 80 nn. 118–19, 124, pp. 81 n. 126, figs. 28, 46, 55, 67–69, 71 (whole and details); corrections in Revue de l'art, 34, 1976, p. 103 nn. 109 bis, 132 bis.

Charles Sterling. "Tableaux espagnols et un chef d'oeuvre portugais méconnus du XVe siècle." Actas del XXIII Congreso Internacional de Historia del Arte, España entre el Mediterraneo y El Atlántico. 1, Granada, 1976, pp. 506, 508, 511, 512, 514, 524 n. 10, fig. 15. (detail).

Ursula Panhans-Bühler. "Eklektizismus und Originalität im Werk des Petrus Christus." Wiener Kunstgeschichtliche Forschungen. 5, Vienna, 1978, p. 22 n. 24.

Albert Châtelet. Van Eyck. Bologna, 1979, pp. 34, 56, colorpl. 6.

Elisa Bermejo. La pintura de los primitivos flamencos en España. 1, Madrid, 1980, pp. 60, 92.

Albert Châtelet. "Un Collaborateur de van Eyck en Italie." Relations artistiques entre les Pays-bas et l'Italie à la Renaissance: Études dédiées à Suzanne Sulzberger. Brussels, 1980, pp. 45–56, figs. 3, 6 (Crucifixion and detail).

Elisabeth Dhanens. Hubert and Jan van Eyck. New York, 1980, pp. 359–61, ill. (color).

Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 186, 188, 194, figs. 356, 357 (color).

Edwin James Mundy III. "Gerard David Studies." PhD diss., Princeton University, 1980, p. 163.

Robert C. Williams. Russian Art and American Money, 1900–1940. Cambridge, Mass., 1980, pp. 31–35, 155, 170, 180, 183, ill.

Hellmut Wohl. The Paintings of Domenico Veneziano, ca. 1410–1461: A Study in Florentine Art of the Early Renaissance. New York, 1980, p. 11.

Albert Châtelet. Early Dutch Painting: Painting in the Northern Netherlands in the Fifteenth Century. English ed. [French ed. 1980]. New York, 1981, pp. 37–39, 168, 196–97, 201–2, 210, 242, no. 20, figs. 23, 26, 27.

Daniela Hammer-Tugendhat. Hieronymus Bosch: Eine historische Interpretation seiner Gestaltungsprinzipien [Theorie und Geschichte der Literatur und der schönen Künste, vol. 58]. Munich, 1981, pp. 28–29, 42, 64, 91, 102–5, 176 n. 6, p. 177 n. 1, p. 179 n. 23 from p. 178, figs. 16, 47, 75, 88 (details and Crucifixion).

Ann Tzeutschler Lurie. "A Newly Discovered Eyckian 'St. John the Baptist in a Landscape'." Bulletin of the Cleveland Museum of Art 67 (April 1981), pp. 98, 101–2, 116 nn. 50–51, p. 117 n. 54.

Hans Belting and Dagmar Eichberger. Jan van Eyck als Erzähler: Fruhe Tafelbilder im Umkreis der New Yorker Doppeltafel. Worms, 1983, 198 pp., ill. (whole and details).

Liana Castelfranchi Vegas. Italie et Flandres dans la peinture du XVe siècle. Milan, 1984, pp. 67, 81, 152 [Italian ed., 1983].

Charles D. Cuttler. "Exotics in 15th Century Netherlandish art: Comments on Oriental and Gypsy Costume." Liber Amicorum Herman Liebaers. Brussels, 1984, p. 421.

Anna Eörsi. "From the Expulsion to the Enchaining of the Devil: The Iconography of the Last Judgement Altar of Rogier van der Weyden in Beaune." Acta Historae Artium 30 (1984), pp. 147, 152 n. 55.

Ivan Gaskell. "Book Review: The Van Eyck Problem." Apollo 120 (August 1984), p. 146.

Jeffrey Chipps Smith. "Hans Belting and Dagmar Eichberger, 'Jan van Eyck als Erzähler: Frühe Tafelbilder im Umkreis der New Yorker Doppeltafel,' 1983." Speculum 60 (July 1985), pp. 638–40.

James Snyder. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575. New York, 1985, pp. 118, 156, fig. 115.

Claude Schaefer. "Belting (H.) et Eichberger (D.), Jan van Eyck als Erzähler." Gazette des beaux-arts 108 (July–August 1986), p. 25.

Charles Sterling. "L'influence de Konrad Witz en Savoie." Revue de l'art 71 (1986), p. 22.

Dagmar Eichberger. Bildkonzeption und Weltdeutung im New Yorker Diptychon des Jan van Eyck. Wiesbaden, 1987, pp. 1–137, ill.

Carol J. Purtle. "Hans Belting and Dagmar Eichberger, 'Jan van Eyck als Erzähler: Frühe im Umkreis der New Yorker Doppeltafel, 1983'." Art Bulletin 69 (1987), p. 651.

Introduction by James Snyder in The Metropolitan Museum of Art: The Renaissance in the North. New York, 1987, pp. 9, 18–21, ill. (color, the whole and detail).

Charles Sterling. "Charles VII vu par Jean Fouquet." L'Oeil 389 (1987), p. 37.

Albert Châtelet. "Dagmar Eichberger, 'Bildkonzeption und Weltdeutung im New Yorker Diptychon des Jan van Eyck,' 1987." Bulletin Monumental 146 (1988), pp. 165–66.

Adam S. Labuda. "Hans Belting, Dagmar Eichberger, 'Jan van Eyck als Erzähler, Frühe Tafelbilder im Umkreis der New Yorker Doppeltafel,' 1983." Kunstchronik 41 (March 1988), pp. 109–14.

Hans J. van Miegroet. Gerard David. Antwerp, 1989, pp. 50, 112, 115, 141 n. 80, p. 227, colorpl. 29 (Crucifixion).

Otto Pächt. Van Eyck: Die Begründer der altniederländischen Malerei. German ed. [English ed. 1994]. Munich, 1989, pp. 191–95, figs. 115, 119 [English ed. 1994, pp. 190–9.

Joel M. Upton. Petrus Christus: His Place in Fifteenth-Century Flemish Painting. University Park, Pa., 1990, p. 5 n. 15, p. 11 n. 13, pp. 39–40, 44–45 n. 56, p. 46, fig. 33.

Albert Châtelet. "Peinture et enluminure au XVe siècle." Masters and Miniatures: Proceedings of the Congress on Medieval Manuscript Illumination in the Northern Netherlands. Doornspijk, The Netherlands, 1991, p. 375.

Stanley David Gedzelman. "The Sky in Art." Weatherwise 44 (December 1991–January 1992), p. 11, ill.

Janey L. Levy. "The Keys of the Kingdom of Heaven: Ecclesiastical Authority and Hierarchy in the Beaune Altarpiece." Art History 14 (March 1991), pp. 22–23, 25, 47 nn. 33–35, ill. (Last Judgment).

Otto Pächt. Rembrandt. Munich, 1991, p. 81, fig. 48 (Last Judgment).

Rudolf Preimesberger. "Zu Jan van Eycks Diptychon der Sammlung Thyssen–Bornemisza." Zeitschrift für Kunstgeschichte 54 (1991), pp. 474–75, fig. 7 (detail).

Susan Urbach. "Research Report on Examinations of Underdrawings in Some Early Netherlandish and German Panels in the Budapest Museum of Fine Arts II." Le dessin sous-jacent dans la peinture. Colloque 8, Louvain-la-Neuve, 1991, p. 83.

Introduction by Walter A. Liedtke in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, p. 334, no. 232, ill.

Christiane Lukatis. "Ein verlorenes Weltgerichtsretabel aus dem künstlerischen Umfeld des Jan van Eyck? Mit einem Tafelbild des Germanischen Nationalmuseums auf Spurnsuche." Anzeiger des Germanischen Nationalmuseums und Berichte aus dem Forschunginstitut für Realienkunde (1992), pp. 175–76, 179, 184, 187, 189–91 nn. 4–5, p. 193 n. 33, ill. (Last Judgment).

Theo Jülich in Gottesfurcht und Höllenangst: Ein Lesebuch zur mittelalterlichen Kunst. Darmstadt, 1993, p. 98, fig. 48 (Last Judgment).

Adam S. Labuda. "Jan van Eyck, Realist and Narrator: On the Structure and Artistic Sources of the New York Crucifixion." Artibus et historiae no. 27 (1993), pp. 9, 11–22, 26–30, ill.

Robert Suckale in Stefan Lochner, Meister zu Köln. Exh. cat., Wallraf-Richartz-Museum. Cologne, 1993, p. 37, fig. 7 (Last Judgment).

Alice K. Turner. The History of Hell. New York, 1993, p. 152, fig. 21 (Last Judgment, in color).

Christopher S. Wood. "Book Reviews: . . . Joel M. Upton, 'Petrus Christus: His Place in Fifteenth-Century Flemish Painting . . .'." Art Bulletin 75 (March 1993), p. 177.

Maryan W. Ainsworth. Petrus Christus: Renaissance Master of Bruges. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 30–31, 64 n. 27, fig. 20.

Hans Belting and Christiane Kruse. Die Erfindung des Gemäldes: Das erste Jahrhundert der niederländischen Malerei. Munich, 1994, pp. 140–41, 199, colorpls. 12–13 (whole and detail).

Scott L. Montgomery. "The First Naturalistic Drawings of the Moon: Jan van Eyck and the Art of Observation." Journal for the History of Astronomy 25 (November 1994), p. 317, figs. 1–2 (Crucifixion; overall and detail).

Otto Pächt. Van Eyck and the Founders of Early Netherlandish Painting. London, 1994, pp. 190–92, 206, ill. fig. 115 and colorpl. 19 [German ed. 1989].

Paul Philippot. La peinture dans les anciens pays-bas, XVe–XVIe siècles. Paris, 1994, pp. 28–29, 31, 286, ill. (color).

Stephanie Buck. "Petrus Christus's Berlin Wings and the Metropolitan Museum's Eyckian Diptych." Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach. New York, 1995, pp. 65–69, 71–72, 74, 77–78, 79–83 nn., figs. 1–4 (details).

Volker Herzner. Jan van Eyck und der Genter Altar. Worms, 1995, pp. 135, 201, 262–65, 267–68, 270–71, colorpl. 10.

Didier Martens. "Les 'Trois Orders de la chrétienté' de Barthel Bruyn et l'iconographie de saint Renaud de Dortmund." Zeitschrift fur Kunstgeschichte 58 (1995), pp. 186–87.

Albert Châtelet. Robert Campin, Le Maître de Flémalle: La fascination du quotidien. Antwerp, 1996, pp. 63, 251, 253, ill. (color detail).

Mark L. Evans. "Otto Pächt, Van Eyck and the Founders of Early Netherlandish Painting, 1994." Burlington Magazine 138 (May 1996), p. 333.

Catherine Reynolds. "Reality and Image: Interpreting Three Paintings of the 'Virgin and Child in an Interior' Associated with Campin [a version of this paper was delivered as a public lecture at the National Gallery, not at the symposium]." Robert Campin: New Directions in Scholarship. [Turnhout, Belgium], 1996, p. 185.

Cyriel Stroo and Pascale Syfer-d'Olne. "The Master of Flémalle and Rogier van der Weyden Groups." The Flemish Primitives I: Catalogue of Early Netherlandish Painting in the Royal Museums of Fine Arts of Belgium. 1, Brussels, 1996, p. 75 n. 27.

Kenneth Bé. "Geological Aspects of Jan van Eyck's 'Saint Francis Receiving the Stigmata'." Jan van Eyck: Two Paintings of "Saint Francis Receiving the Stigmata". Philadelphia, 1997, p. 94.

Marigene H. Butler. "An Investigation of the Philadelphia 'Saint Francis Receiving the Stigmanta'." Jan van Eyck: Two Paintings of "Saint Francis Receiving the Stigmata". Philadelphia, 1997, pp. 29, 44 n. 1.

Jos Koldeweij in La pittura nei Paesi Bassi. Milan, 1997, vol. 1, p. 81.

Otto Pächt. Early Netherlandish Painting from Rogier van der Weyden to Gerard David. London, 1997, pp. 40, 44, 88, 129–30, 153–54, fig. 30 (Last Judgment).

Carlenrica Spantigati. "The Turin Van Eyck 'Saint Francis Receiving the Stigmata'." Jan van Eyck: Two Paintings of "Saint Francis Receiving the Stigmata". Philadelphia, 1997, p. 19, fig. 21 (Crucifixion).

Maryan W. Ainsworth. Gerard David: Purity of Vision in an Age of Transition. New York, 1998, pp. 28, 95.

Maryan W. Ainsworth in "A Meeting of Sacred and Secular Worlds." From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. vii, 2, 14–16, 24–25, 70, 74, 79–80, 86–89, 209, no. 1, ill. in color (the whole and details).

John Oliver Hand. "New York. From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art." Burlington Magazine 140 (December 1998), p. 854.

Karen Wilkin. "A Northern Renaissance at the Metropolitan." New Criterion (November 1998), p. 50.

Mark Zucker. "The Skull in Van Eyck's 'Crucifixion': A Belated Tribute to Howard Davis." Source: Notes in the History of Art 17 (Spring 1998), pp. 1–6, ill. (left wing and detail of left wing).

Bernard Aikema in Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Dürer and Titian. Exh. cat., Palazzo Grassi. Milan, 1999, p. 202, ill. (Crucifixion).

Scott L. Montgomery. The Moon & the Western Imagination. Tucson, 1999, pp. 87–93, 234 n. 10, figs. 6.1–6.2 (left wing; overall and detail).

Las tablas flamencas en la ruta Jacobea. Exh. cat., Claustro de la Iglesia de Palacio, Logroño. San Sebastián, Spain, 1999, p. 201.

Michael Rohlmann. "Flanders and Italy, Flanders and Florence. Early Netherlandish Painting in Italy and its Particular Influence on Florentine Art: An Overview." Italy and the Low Countries—Artistic Relations: The Fifteenth Century. Florence, 1999, pp. 39, 57 n. 3.

Irmgard Siede. "'Pferde von hinten' in der New Yorker Doppeltafel: Eine unberücksichtigte Pathosformel und die Rolle Italiens bei ihrer Verbreitung." Pantheon 57 (1999), pp. 22–32, figs. 1, 6a–b.

Cyriel Stroo et al. "The Dirk Bouts, Petrus Christus, Hans Memling and Hugo van der Goes Groups." The Flemish Primitives II: Catalogue of Early Netherlandish Painting in the Royal Museums of Fine Arts of Belgium. 2, Brussels, 1999, p. 122 n. 39.

Albert Châtelet. "Jan van Eyck entre l'Italie et la France." Journal des Savants (January–June 2000), pp. 79, 81–89, 95–98, figs. 6, 8.

Jan Piet Filedt Kok in Netherlandish Art in the Rijkmuseum, 1400–1600. Zwolle, The Netherlands, 2000, p. 35.

Reinhard Liess. Zum Logos der Kunst Rogier van der Weydens: Die 'Beweinungen Christi' in den Königlichen Museen in Brüssel und in der Nationalgalerie in London. Münster, 2000, vol. 1, pp. 54, 194, 309, 324; vol. 2, pp. 581, 606.

Catherine Reynolds. "'The King of Painters'." Investigating Jan van Eyck. Turnhout, Belgium, 2000, pp. 10–11, fig. 10.

Margaret Scott. "Dress in Van Eyck's Paintings." Investigating Jan van Eyck. Turnhout, Belgium, 2000, pp. 140–41.

Mauro Natale and Frédéric Elsig. El renacimiento mediterráneo: Viajes de artistas e itinerarios de obras entre Italia, Francia y España en el siglo XV. Exh. cat., Museo Thyssen-Bornemisza. 2001, pp. 397–98, 400, figs. 60a–b.

Peter Parshall. "Commentary: Conformity or Contrast?" Early Netherlandish Painting at the Crossroads: A Critical Look at Current Methodologies. New York, 2001, p. 22, ill. p. 20 (detail of the Crucifixion, in color).

Carl Brandon Strehlke. "Madrid and Valencia, the Mediterranean Renaissance." Burlington Magazine 143 (May 2001), p. 320.

Till-Holger Borchert. The Age of Van Eyck: The Mediterranean World and Early Netherlandish Painting 1430–1530. Exh. cat., Groeningemuseum, Bruges. Ghent, 2002.

Dirk De Vos. The Flemish Primitives: The Masterpieces. Antwerp, 2002, p. 54, ill. 15.

Georg Zeman with the collaboration of Fritz Koreny in Early Netherlandish Drawings from Jan van Eyck to Hieronymus Bosch. Exh. cat., Rubenshuis. Antwerp, 2002, pp. 56–57, 60 nn. 17–19, fig. 10b (detail of Crucifixion).

Mar Borobia in Gerard David y el paisaje flamenco. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2003, pp. 82–83, 90, fig. 39 (detail of the three crosses and the cityscape behind).

Frédéric Elsig. "I rapporti pittorici tra Genova e la Francia nel XV secolo." Genova e la Francia: opere, artisti, committenti, collezionisti. (Cinisello Balsamo) Milan, 2003, p. 87, fig. 9.

Dan Ewing. "Book Reviews: The Moon and the Western Imagination, Scott L. Montgomery . . . 2001 [first published 1999]." Sixteenth Century Journal 34 (Fall 2003), p. 907.

Boudewijn Bakker Vrije Universiteit, Amsterdam. Landschap en Wereldbeeld: Van Van Eyck tot Rembrandt. Bossum, The Netherlands, 2004, pp. 103, 404 n. 177, figs. 22–23 (overall and detail).

Till-Holger Borchert. "Collecting Early Netherlandish Paintings in Europe and the United States." Early Netherlandish Paintings: Rediscovery, Reception and Research. English ed. Amsterdam, 2005, p. 216 [Dutch ed., "'Om iets te weten van de oude meesters'. De Vlaamse Primitieven—herontdekking, waardering en onderzoek," Nijmegen, 1995].

Thomas Ketelsen in Thomas Ketelsen and Uta Neidhardt. Das Geheimnis des Jan van Eyck: Die frühen niederländischen Zeichnungen und Gemälde in Dresden. Exh. cat., Residenzschloss Dresden. Munich, 2005, p. 88.

Bernhard Ridderbos in "Objects and Questions." Early Netherlandish Paintings: Rediscovery, Reception and Research. English ed. Amsterdam, 2005, pp. 78–79, 82–83, fig. 35 (color) [Dutch ed., "'Om iets te weten van de oude meesters'. De Vlaamse Primitieven—herontdekking, waardering en onderzoek," Nijmegen, 1995].

Till-Holger Borchert. "Innovation, Reconstruction, and Deconstruction: Early Netherlandish Diptychs in the Mirror of Their Reception." Essays in Context: Unfolding the Netherlandish Diptych. Cambridge, Mass., 2006, pp. 175, 192 nn. 18, 21, fig. 1.

Till-Holger Borchert in Antonello da Messina: l'opera completa. Exh. cat., Scuderie del Quirinale, Rome. Cinisello Balsamo (Milan), 2006, pp. 32, 41 n. 29, fig. 5 (color, Crucifixion).

Laura D. Gelfand. "The Devotional Portrait Diptych and the Manuscript Tradition." Essays in Context: Unfolding the Netherlandish Diptych. Cambridge, Mass., 2006, p. 48 [published in conjunction with the 2006 exh. cat., "Prayers and Portraits: Unfolding the Netherlandish Diptych"].

Mauro Lucco in Antonello da Messina: l'opera completa. Exh. cat., Scuderie del Quirinale, Rome. Cinisello Balsamo (Milan), 2006, pp. 142, 216.

Catheline Périer-d'Ieteren. Dieric Bouts: The Complete Works. Brussels, 2006, p. 287.

Larry Silver. Hieronymus Bosch. New York, 2006, p. 345, colorpl. 269 (detail of Last Judgment).

Pascale Syfer-d'Olne et al. "Masters with Provisional Names." The Flemish Privitives IV: Catalogue of Early Netherlandish Painting in the Royal Museums of Fine Arts of Belgium. 4, Brussels, 2006, p. 96 n. 49.

Renzo Leonardi. "Jan van Eyck, les Alpes et la lune." Revue de l'art 155, no. 1 (2007), pp. 51–57, ill. (details).

Helmut Nickel. "The Sun, the Moon, and an Eclipse: Observations on 'The Crucifixion with the Virgin and Saint John,' by Hendrick Ter Brugghen." Metropolitan Museum Journal 42 (2007), p. 123, fig. 2.

Michael Rohlmann. "The Annunciation by Joos Ammann in Genoa: Context, Function and Metapictorial Quality." Cultural Exchange Between the Low Countries and Italy (1400–1600). Turnhout, Belgium, 2007, p. 25.

Till-Holger Borchert. Jan van Eyck. Cologne, 2008, pp. 86, 89, ill. p. 87 (color).

Colin Eisler. "Lettre de Colin Eisler à propos de l'article de Renzo Leonardi, 'Jan van Eyck, les Alpes et la lune' . . ." Revue de l'art no. 161 (2008), p. 75.

Dan Ewing. "Addendum à Jan van Eyck, les Alpes et la lune." Revue de l'art no. 160 (2008), pp. 82–83.

Renzo Leonardi. "Réponse de Renzo Leonardi aux réflexions de Colin Eisler sur l'article 'Jan van Eyck, les Alpes et la lune'." Revue de l'art no. 161 (2008), pp. 75–76.

Renzo Leonardi. "Commentaire à l' 'Addendum à Jan van Eyck, les Alpes et la lune' . . ." Revue de l'art no. 161 (2008), pp. 77–78 n. 6.

Mauro Lucco in Giovanni Bellini. Exh. cat., Scuderie del Quirinale, Rome. Cinisello Balsamo, Milan, 2008, p. 182.

Dominique Thiébaut in Mantegna, 1431–1506. Exh. cat., Musée du Louvre. Paris, 2008, pp. 172–73.