Sdint in Limbo

Three years ago, Hendrik G. Luitwieler, official restorer for Rotterdam's Boymans Museum, was examining an interesting 15th century painting up for sale. Titled Offering of the Jews, it showed solemn-faced men in bright robes about to sacrifice a lamb. The painter's name was unknown, but similarities in style clearly identified him as the painter of another work, now in the town of Douai, France, showing the Israelites receiving manna from heaven. Art experts call the unknown painter "the Master of the Collection of Manna," believe that he lived in northern Holland.

As Restorer Luitwieler studied the master's Offering, he spotted a heavy, black coat of paint on the back, suspected that this coat covered another picture. Other museum officials scoffed, but Luitwieler waited patiently, month after month, while the newly acquired painting was on display until finally he was allowed to examine it more thoroughly. Slowly the heavy, black coat on the back yielded to his "chemicals, and the figure of a bearded man appeared, standing atop a pedestal with a silver key in one hand. Below was the title: St. Peter.

After Boymans officials recovered from their surprise, they concluded that the second picture, painted right onto the wooden backing of the painting in front, was by the same artist (the shadowing, the angular folds of the robes, the grim expression of St. Peter's face were as legible as any signature). Experts guessed that the double picture was originally part of one altar panel.

The fascinating find posed problems. It could be hung so that both sides would be visible, or the two sides could be separated. But St. Peter's paint was flaking. Restoring it, thought museum officials, would not be worth the effort. They decided, to the dismay of Rotterdam's museumgoers, simply to hang the picture back up again the way it was before. Last week the Offering was in place for all to see, while St. Peter's face was turned to the wall, consigned to oblivion.

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