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Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art   All photos by author unless otherwise noted.

Figure 1. Tilman Riemenschneider, Holy Blood Altarpiece, 1499-1505, wood. Rothenburg-ob-der-Tauber: St Jakob. The Holy Blood relic is in the metal cross in the superstructure.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 2. Tilman Riemenschneider, Holy Blood Altarpiece, detail of Last Supper, 1499-1505. Rothenburg-ob-der-Tauber: St Jakob.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 3. Nuremberg, St Claire.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 4. Nuremberg, St Laurence.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 5. Partially reconstructed farm house from Vorselaar, c. 1600. Bokrijk Open-Air Museum.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 6. Walraversijde: archaeological site in foreground with four reconstructed buildings upper right and museum upper left.

Figure 7. Walraversijde: dish with head of John the Baptist in museum.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 8. Walraversijde: dish with head of John the Baptist in reconstructed house.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 9. Villers-la-Ville, Cistercian abbey remains, west end of cloister, facing north.

Figure 10. Villers-la-Ville, Cistercian abbey remains photographed from a train crossing the site, from the south-east.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 11. Ten Duinen, Cisterian abbey remains. The central foreground long rectangular room was the refectory, the cloister is farther to the right, the church was at the far

background, and the abbot’s lodgings at the left edge. The colourful Cracking Art Group sculptures can be seen in the cloister and near the abbot’s lodgings.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 12. Vieil-Hesdin, site of Hesdin palace and town: pentagonal outline of medieval town and castle seen from Google Earth satellite photography. Arrow shows location of Figure 13

photograph.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 13. Vieil-Hesdin, site of Hesdin palace: palace area from northeast.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 14 Ávila, Real Monasterio de Santo Tomás: view of church from south-west end of nave with Pedro Berruguete’s Retable of St Thomas Aquinas, 1493-99, on the high altar.

Photograph @ The Metropolitan Museum of Art: William Keighley.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 15 Pedro Berruguete, Retable of St Peter Martyr, 1493-99, oil on wood. Madrid: Museo del Prado.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 16. Tapestry in oblique light. Chateauneuf-en-Auxois: château.

Figure 17. Millefleurs tapestry, detail, c. 1466, 3 x 7 m. Bern: Historisches Museum. Photograph: Bern Historisches Museum.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 18. Leuven, town hall: small Gothic room with Frans Meerts’s copies of Dieric Bouts’s Justice of Otto III, 1888-89. The large Gothic room is through the doorway to the

right.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 19 Leuven, town hall: large Gothic room where the intended four panels of the Bouts commission were originally to be hung.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 20. Goossen van der Weyden, Colibrant Altarpiece, c. 1516-17, oil on wood. Lier: St Gummarus.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 21. Lier, St Gummarus: the Colibrant Altarpiece’s original chapel can be seen in the right background.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 22. Lier, St Gummarus: chapel with Goossen van der Weyden, Colibrant Altarpiece, c. 1516-17, oil on wood.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 23. Lier, St Gummarus: view from the north side of the ambulatory (next to the current location of the Colibrant Altarpiece) towards the transept.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 24. Beaune, Hôtel-Dieu: main ward with chapel at far end.

Figure 25. Rogier van der Weyden, Last Judgment Altarpiece, c. 1443-51, oil on wood. Beaune: Hôtel-Dieu. Photograph: Erich Lessing / Art Resource, NY.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 26. Jean Delemer, Virgin Mary and console from Annunciation group, c. 1427-28, polychromed stone. Tournai: St. Quentin.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 27. Jean Delemer, Gabriel and console from Annunciation group, c. 1427-28, polychromed stone. Tournai: St. Quentin.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 28. Tournai, St. Quentin, with Jean Delemer, Annunciation, c. 1427-28, polychromed stone.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 29. Leuven, St Pieter: choir screen, c. 1488-90, polychromed stone, and Jan Borreman, Crucifixion group, 1491-1500, polychromed wood.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 30. Leuven, St Pieter: view towards choir from nave.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 31. Walcourt, St Materne: choir screen, 1531, polychromed stone, and Crucifixion group, 15th century (lower three figures 19th century), polychromed wood.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 32. Zoutleeuw, St Leonard: view from nave towards choir, with Jan Mertens’s Crucifixion group, 1479-82, polychromed wood, and in foreground Marianum, 1534,

polychromed wood.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 33. Zoutleeuw, St Leonard: view from north transept up to crossing with Crucifixion group by Jan Mertens, 1479-80, polychromed wood, and south transept with Last Judgment

wall painting by Aert de Maeler, 1478.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 34. Zoutleeuw, St Leonard: upper part of paschal candelabrum by Renier van Thienen, 1483, bronze, and beyond to Crucifixion group by Jan Mertens, 1479-82, polychromed wood.

Jeanne  Nuechterlein        Location  and  the  experience  of  early  Netherlandish  art  

Figure 35. Jan Borreman, detail of Crucifixion, 1491-1500, polychromed wood. Leuven: St Pieter.