7. Polychrome painted and partially gilded wooden altarpiece depicting the Assumption of the Virgin Mary Northern France or Flanders, circa 1520-1540 The central scene shows Mary ascending into heaven, with angels symmetrically arranged on the sides; two angels support a wrought crown which is about to join the head of the Mother of God; the upper part shows God the Father in a nimbus also surrounded by angels and cherubs; flanked by Saint Agnes of Rom and another female figure probably Saint Catherine or Saint Lucy; in a décor with elaborate and varied plant elements; associated angels adorn the pinnacles; restorations, later elements. 148 x 120 cm A parcel-gilt polychrome wood altarpiece depicting the Assumption of the Virgin Mary Northern French or Flemish, circa 1520-1540 The central scene shows Mary ascending into heaven, with angels arranged symmetrically on the sides; two angels support a wrought crown which is about to join the head of the Mother of God; the upper part shows God the Father in a nimbus also surrounded by angels and cherubs; flanked by Saint Agnes of Rom and another female figure probably Saint Catherine or Saint Lucy; in a décor with elaborate and varied plant elements; associated angels decorate the pinnacles; restorations, later elements. The scene in our altarpiece is in accordance with the text of the Apocalypse: "And there was lightning, and crashing, and thunder, and an earthquake, and great hail. And there appeared a great sign in heaven, a woman (Rev 11:19 to 12:1)". Our altarpiece, with its bas-relief figures, is atypical and has a pictorial aspect. The artist who produced this work was certainly familiar with the magnificent little painting by Michel Sittow (c. 1469-1525) depicting the Assumption of the Virgin (1500), now in the National Gallery of Art in Washington D.C. We find angels with fine features, tight curls, robes and wings coloured in the wind, supporting the moon, the great mantle and an elaborate crown that is about to join the head of the Mother of God. The sculptor played with the colours, attitudes and positions to create echoes and gaps from one angel to the next, while at the same time highlighting Mary, who is taller than the celestial troupe and whose deep blue dress stands out against the pale tones. The delicacy of the lines, the gentle faces of the Saints, the large draperies, the airy folds, the subtlety of the tones and the simplicity of the composition make this altarpiece a veritable sculptural jewel. Comparative bibliography: A. Huysmans ed, La sculpture des Pays-bas méridionaux et de la Principauté de Liège XVe et XVIe siècles, 1999. Paris, Galeries nationales, Grand palais, 6 October 2010 - 10 January 2011, France 1500: entre Moyen Âge et Renaissance, RMN, 2010.