Theodor van Thulden – The provinces of Brabant, Hennegau and Flanders pay homage to the Virgin. Kunsthistorisches Museum

The composition presents a hierarchical arrangement centered around a seated female figure and a child held in her lap. She is positioned on a raised platform, suggesting elevated status and divine authority. The womans attire – a rich blue garment adorned with gold detailing – further emphasizes this regal bearing. A fair-skinned young girl stands before her, clad in a vibrant red gown, facing the seated figure with an expression of reverence. Her posture conveys humility and submission.
To the right of the central female figure, another woman is depicted, also dressed in elaborate clothing, appearing to be observing the scene with a composed demeanor. The presence of two additional figures – putti – adds layers of symbolic meaning. One cherubic figure floats above, holding what appears to be a golden instrument or banner, while another kneels at the base of the composition, seemingly interacting with the kneeling woman in the foreground.
The color palette is dominated by warm tones – reds, golds, and browns – which contribute to an atmosphere of opulence and solemnity. The use of light is dramatic; it illuminates the central figures, creating a sense of divine radiance while leaving portions of the background shrouded in shadow. This contrast directs the viewer’s attention towards the primary subjects.
The kneeling womans gesture – bowing her head with hands clasped – indicates an act of supplication or homage. The overall scene suggests a formal presentation, possibly a ritualistic offering or demonstration of fealty. The arrangement and gestures of the figures imply a power dynamic where the seated figure embodies authority and those before her offer respect and devotion. The putti likely symbolize divine favor or blessings bestowed upon those who demonstrate piety.

The painting’s subtexts revolve around themes of religious veneration, political allegiance, and social hierarchy. It is probable that this work served as a visual representation of a formal act of submission to a powerful figure, possibly a patron saint or a ruling authority. The inclusion of the child in the womans lap reinforces her maternal role while simultaneously imbuing her with divine significance.