En Brabant c etait le bois, a Tournai c etait la pierre in Brabant it was wood, in Tournai it was stone. With this sweeping generalization Paul Rolland concluded his 1931 article on the fifteenth-century Tournai school of sculpture and painting. His thesis has burdened subsequent art historical research with preconceptions that continue to dominate the literature on the topic even today. The study of sculpture in Brabant is all too often limited to wooden altarpieces, with works in stone receiving barely a mention, while the study of sculpture in Tournai (a name wrongly used by many as pars pro toto for the sculptural production of all Hainaut) is usually restricted to stone sculpture, with the importance of the local blue stone being emphasized all too often. Wood sculpture in Tournai and stone sculpture in Brabant are therefore pretty much terra incognita. All the same, thanks to data in a contract of 1466, Robert Didier has convincingly identified some fragments of a wooden Passion...

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