The compositions of this small panel with Christ as the Man of Sorrows and its pendant The Virgin as Mater Dolorosa (SK-A-1484 or fig. d) exist in many versions. The combination of both scenes in a devotional diptych originated in Byzantine and Italian 13th and 14th-century painting. Diptychs of this kind met a need on the part of the faithful to meditate on Christ’s physical suffering during the Passion, and on the Virgin’s sorrow.7 The subject became popular in the Low Countries in the second half of the 16th century, and countless versions were produced until late in the century, chiefly in the workshops of the Louvain painters Dieric and Aelbert Bouts.8 The underdrawing with schematic-looking contour lines and hatchings suggests that a cartoon was used for this diptych (see fig. a, infrared reflectogram assembly of (SK-A-1484). The thin layers of paint follow it precisely. Dendrochronological examination has shown that the panels were painted after 1559, and more probably after 1573. That late date can be confirmed by the use of smalt in the Virgin’s dress, which is a pigment that only came into common use in the second half of the century.9 There has long been a suspicion that the Rijksmuseum diptych, as well as the many other versions, were painted in the southern Netherlands.10 They were probably part of the high output of devotional diptychs in Antwerp in the second half of the 16th century. One possible clue to the place of origin is the so far unidentified panel maker’s mark on the back of both paintings, which Wadum sees as confirmation of an Antwerp origin (fig. b).11 In the Amsterdam diptych, Christ with the crown of thorns and the Virgin are shown half length, both with crossed hands and standing in front of a low, marbled wall. The monogram of Albrecht Dürer and the date 1511 were later added in the top right corner of the panel with Christ. Neither scene, though, is based on a work by Dürer but in all probability on a lost diptych by Lucas van Leyden.12 That prototype is known from an etching with the monogram L and the date 1522 which must have been made around 1600 (fig. c). The etching is an example of the great revival of interest in the work of Lucas van Leyden at that time, with several other variants being preserved in print.13 One work that is probably of an earlier date is a woodcut of The Virgin with the Rosary that is attributed to Lucas, in which the Virgin is almost identical to the one in this painting.14 There are many versions of the diptych, most of them probably emanating from the same workshop. At present there are close on 30 known versions of both panels, almost 20 of them complete diptychs.15 On the evidence of the photo documentation in the RKD, seven pairs can be added to the eleven listed by Smith.16 In addition, three more versions of The Virgin as Mater Dolorosa unaccompanied by a pendant have been found in the files of the RKD to add to the five mentioned by Smith,17 and the three versions listed by Smith of Christ as the Man of Sorrows unaccompanied by a pendant can be joined by three more.18 As well as all these versions there are mentions of similar diptychs by or after Lucas van Leyden in 17th-century inventories in Antwerp and The Hague.19 One such is found in the inventory of Claes Claesz van Leeuwen, who died in Leiden on 23 January 1645: ‘Two scenes, being Christ and Our Lady, copies after Lucas van Leyden’.20 (Menno Balm/Jan Piet Filedt Kok)