摘要：If several painters work in the same milieu, have access to a similar range of materials, and are taught within a single workshop, they will logically share certain techniques. The school of painters activeFig. 1 Cornelis Engebrechtsz, Triptych with the Lamentation of Christ, ca. 1508, oil on panel, 124.2 x 121.5 cm (center panel), 122 x 56.7 cm (wings). Stedelijk Museum de Lakenhal, Leiden, inv. no. S94 (art work in the public domain). Illustrated details are indicated by white boxes, and the location of the sample illustrated in fig. 30 is indicated by an arrow. in Leiden at the beginning of the sixteenth century is no exception: the artists’ techniques have many similarities but diverge in individual ways. The paintings owned by the Stedelijk Museum de Lakenhal in Leiden and the Rijksmuseum in Amsterdam give an overview of Leiden’s artistic production between 1500 and 1535. In the Schilder-boeck (1604), Karel van Mander described the master of the Leiden School, Cornelis Engebrechtsz, as an “energetic and skillful painter (cloeck en veerdigh schilder).”1 This praise could equally be applied to his pupils and followers
