The Werl Triptych

The Werl Triptych (or Triptych of Heinrich von Werl) is a triptych altarpiece completed in Cologne in 1438, of which the center panel is now lost. The two remaining wings are now in the Prado in Madrid. It was long attributed to the Master of Flémalle, now generally believed to have been Robert Campin, although this identity is not universally accepted. Some art historians believe it may have been painted as a pastiche by either the workshop or a follower of Campin or the Master of Flémalle.

The right wing depicts a seated, pious Saint Barbara, who is shown engrossed in her reading of a bound and gilded holy book, seated in front of a warm open fire which lights the room with a golden glow. The left wing has a donor portrait of Heinrich von Werl, who kneels in prayer in the company of John the Baptist facing the missing devotional center-panel scene, which is lost and unrecorded. The two extant panels are in Madrid and renowned for their complex treatment of both light and form. The panels became influential on other artists from the mid-15th until the early 16th century, after when Early Netherlandish painting fell out of favour until it was rediscovered in the early 19th century.

From an inscription in the left wing, the panels are known to have been commissioned by Heinrich von Werl, provincial head of Cologne during 1438. He is shown in the left wing kneeling in devotion alongside Saint John the Baptist. This panel contains a number of elements indebted to Jan van Eyck, notably the convex mirror in the midground, which as with the 1434 Arnolfini Marriage, reflects the scene back at the viewer.

Although the center panel is lost with no surviving copies, inventory records or descriptions, it has been speculated that it was set in the same room occupied by Saint Barbara. This is likely given the abrupt end of the lines of the beams of the roof and the frames of the window, as well as the direction of the falling light. The center panel may have formed the setting for a Virgo inter Virgines. Given that there is no surviving evidence of the triptych's influence on Cologne art until the middle of the century, it was likely the triptych was until then positioned either in private or in an inaccessible place in the church large enough to hold a number of altarpieces. However it became influential from the mid-15th century.

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