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Chevalier Alexandre de Lestang-Parade, Aix-en-Provenance, by 1823.[1] Count Melchoir de Lestang-Parade, Aix-en-Provence; (sale, Hôtel Drouot, Paris, 19-20 May 1882, nos. 105, 106, as anonymous fifteenth century). Baron Etienne Martin de Beurnonville [d. 1881], Paris; (sale, Hôtel Drouot, Paris, 21-22 May 1883, nos. 43, 44, as Burgundian School, fifteenth century). M. Watel, Paris, 1883.[2] (Paris art market, by 1937.)[3] (Wildenstein and Co., Paris and New York, 1938-1946;) purchased 1946 by Samuel H. Kress Foundation, New York; gift 1952 by exchange to NGA.

Exhibition History
Wildenstein Jubilee Loan Exhibition 1901-1951: Masterpieces from Museums and Private Collections, Wildenstein & Co., New York, 1951, no. 11, repro.
France 1500: Entre Moyen Age et Renaissance, Galeries nationales du Grand Palais, Paris; Art Institute of Chicago, 2010-2011, no. 178 (Paris) and no. 33 (Chicago), repro.
[Porte, Jean-Baptiste-François]. Aix ancien et moderne, ou Description des Édifices sacrés et profanes, Établissemens, Monumens antiques, du moyen âge et modernes,... Aix-en-Provence, 1823: 147.
Gaszynski, C. In Mémorial d'Aix (13 June, 1841): 2.
Champeaux, Alfred de. "Deux vues de la Cité de Paris au XVe siècle." La Chronique des Arts et de la Curiosité no. 23 (1883): 186-187.
Reinach, Salomon. Répertoire de peintures du moyen âge et de la Renaissance (1280-1580). 6 vols. Paris, 1905-1923: 2(1907):744, no. 2, repro.
"Meister des hl. Agidius." In Thieme-Becker. 37 vols. Leipzig, 1907-1950: 37(1950):6-7.
Friedländer, Max J. "Der Meister des hl. Ägidius." Amtliche Berichte aus den königl. Kunstsammlungen 34 (1912/1913): 187-188.
Conway, Martin. The Van Eycks and their Followers. London, 1921: 190.
Lemoisne, Paul André. Die gotische Malerei Frankreichs vierzehntes und fünfzehntes Jahrhundert. Leipzig, 1931: 113.
Held, Julius S. "Zwei Ansichten von Paris beim Meister des heiligen Ägidius." Jahrbuch der königlich Preussischen Kunstsammlungen (Jahrbuch der Berliner Museen) 53 (1932): 3-4, 10-15, fig. 2.
Jong, Johannes Assuerus Bernardus Maria de. Architectuur bij de nederlandsche schilders vóór de hervorming. Amsterdam, 1934: 54.
Friedländer, Max J. "Le Maître de Saint-Gilles." Gazettte des Beaux Arts 17 (1937): 223-231, figs. 6, 10.
Dimier, Louis. "Les primitifs français." Gazette des Beaux-Arts 20 (1938): 234-235.
Sterling, Charles. La peinture française: les primitifs. Paris, 1938: 135, fig. 170.
National Gallery, London. Supplement to the 1929 Catalogue Including Accessions to the End of 1937. London, 1939: 27.
Réau, Louis. La peinture française du XIVe au XVIe siècle. Paris, 1939: 14, fig. 10.
Sterling, Charles. Les peintres du moyen âge. Paris, 1942: 51, 64, pl. 140.
Luttervelt, R. van. "Chineesche zijden stoffen en tapijten in Europa in vroeger eeuwen." Maandblad voor beeldene Kunsten 20 (1944): 45-46, fig. 1.
Davies, Martin. National Gallery Catalogues. Early Netherlandish School. London, 1945: 71-72 (2d ed. 1955: 82-83; 3d ed. 1968: 108-109).
Davies, Martin. Paintings and Drawings on the Backs of National Gallery Pictures. London, 1946: xi.
Hébert, Michèle. "Les monuments parisiens dans l'oeuvre du Maître de Saint Gilles." Fédération des sociétés historiques et archéolog. de Paris et de l'Ile-de-France. Mémoires 1 (1949): 213-214, 231-235, pl. 11.
Ring, Grete. A Century of French Painting 1400-1500. London, 1949: 33, 230, no. 240a, fig. 40.
Frankfurter, Alfred M. "Interpreting Masterpieces: Twenty-four Paintings from the Kress Collection." Art News 50 (1951): 112-113, repro. 107.
Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation 1945-1951. Introduction by John Walker, text by William E. Suida. National Gallery of Art, Washington, 1951: 186-189, no. 83, repro.
Tietze, Hans. Treasures of the Great National Galleries. New York, 1954: 123-124, pl. 197.
Walker, John. National Gallery of Art, Washington. New York, 1956: 36, color repro.
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 332, repro.
Réau, Louis. Iconographie de l'art chrétien. 3 vols. Paris, 1955-1959: 3, part 3(1959):1146.
The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 4.
Seymour, Charles Jr. Art Treasures for America. London, 1961: 66-67, 202, 218, fig. 60.
Cairns, Huntington, and John Walker, eds., Treasures from the National Gallery of Art, New York, 1962: 64, color repro.
Châtelet, Albert, and Jacques Thuillier. French Painting from Fouquet to Poussin. Geneva, 1963: 92-93.
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 108, repro.
Hinkle, William M. "The Iconography of the Four Panels by the Master of Saint Giles." Journal of the Warburg and Courtauld Institutes 28 (1965): 110, 113-124, 127, 129-130, 139-144, pls. 21g-h, 22b-c, 25A-B.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 87.
Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:92-93, color repro.
Laclotte, Michel, Primitifs français. Paris, 1966: 45, pl. 36.
European Paintings and Sculpture: Illustrations (Companion to the Summary Catalogue, 1965). Washington, 1968: 76, no. 1098, repro.
Montesquiou-Fezensac, Blaise de, and Danielle Gaborit-Chopin. Le Trésor de Saint-Denis. 3 vols. Paris, 1973/1977: 105, pl. 93a.
National Gallery, London. Illustrated General Catalogue. London, 1973: 444.
European Paintings: An Illustrated Summary Catalogue (National Gallery of Art). Washington, 1975: 224-225, no. 1098, repro.
Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 241-243, fig. 231, text fig. 53.
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 140, no. 140, color repro.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 257, repro.
Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 169-176, color repro. 168.
Denny, Don. "Baptism." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 1:107.
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 74-75, no. 54, color repro.
The Arts of France from François Ier to Napoléon Ier. A Centennial Celebration of Wildenstein's Presence in New York. Exh. cat. Wildenstein & Co., Inc., New York, 2005: 50, fig. 1, 71 (not in the exhibition).
Mullally, Evelyn. Guide de Paris au Moyen Age. Paris, 2011: 110-111, color repro.
Technical Summary

Like 1952.2.14, the panel was thinned and cradled sometime before 1937, leaving no traces of the grisaille formerly on the back. There are two vertical joins approximately 15 and 30 cm in from the left edge and a split approximately 39 cm from the left edge. These correspond to the joins and split on the grisaille of Saint Denis, presumably destroyed. The paint surface is in good condition. There is some fill and inpainting along the split where it extends down through the head of the priest holding the bishop's robe. There are many scattered small losses in the paint and ground layer, with a larger loss in the lower right corner. Rather extensive abrasion has resulted in the loss or breaking up of some of the fine highlights and transparent glazes in areas such as the heads of the priests at the right and of the king, queen, and man to her left. Two small losses, to the left of the left eye and beside the right eyebrow of the queen, have probably not altered her expression unduly.[1] The somewhat disturbed appearance of the surface is due in part to extraordinarily extensive changes in every area of the painting, including a complete reworking of the setting and a repositioning of the heads of most of the foreground figures. These changes were made at all stages of the painting process, in the underdrawing and in the lower and upper paint layers.

[1] Eisler 1977, 242, suggested that her dour expression was due to restoration.