拍品專文
A version is recorded in the Mrs. O Mathiesen Collection, London (M.J. Friedländer, Early Netherlandish Painting, VIII, 1972, p.104, n.96, plate 97, as one of a pair, the pendant depicting the Nativity and where dated circa 1519). As pointed out by Friedländer, op.cit, p.82, the artist leaded the most productive painter's studio of Brussels in the period 1520-1540. His working method of making an invention available for execution by his assistants was to be followed in the large studios of Pieter Coecke van Aelst, Frans Floris and Rubens. The artistic output of Orley shows his acquaintance with comtemporary Italian art, especially the works of Raphael. With the latter he shares a sense of design, which Friedländer has called 'impressive', showing itself in the wealth of figures, the diversity of their postures, tonal qualities and the compositional rythms.