The Master of Iserlohn is so called on account of his authorship of the painted wings of a carved altarpiece for the Marienkirche at Iserlohn, which is between Dortmund and Paderborn. Eight elements remain in situ, and represent the gospel story from the Annunciation to the Massacre of the Innocents, followed by the Dormition of the Virgin. Two further panels, depicting the Coronation of the Virgin, are in the Westphälisches Landesmuseum in Mnster, which also houses a panel of the Virgin and Child in a domestic Interior (see P. Pieper, Die deutsche, niederländische und italienische Tafelmalerei 1350-1530, Catalogue of the Westphälisches Landesmuseum, Mnster, 1986, pp. 204-11). The sculptural parts of the altarpiece are Netherlandish, and date to around 1400, but it is generally agreed that the Master of Iserlohn must have been active c. 1440-60. The marked influence of Netherlandish painters such as Robert Campin and Jacques Daret on his work has been noted, and it has even been suggested that he may have emulated now lost compositional prototypes by these artists. There has been less scholarly accord over whether he was a Netherlander pure and simple, or whether he was a Westphalian master close to Johannes Koerbecke but influenced by the arts of the Netherlands. What is clear, however, and is exemplified by this addition to his extremely small surviving oeuvre, is that he was possessed of a highly distinctive artistic personality. This is particularly evident in the fact that the scene is set in a mid-fifteenth century house as opposed to an imaginary evocation of the Temple at Jerusalem, with Christ leaning casually on a wooden chair of the period.