JEAN-BAPTISTE MOREL (Antwerp, 1662-1732); last third of the 17th century. Orla de flores" ("Flower border"). Oil on canvas, Re linen backed. Signed in the lower central area. It has a French frame from the beginning of the 18th century. Measurements: 109 x 79 cm; 134 x 104 cm (frame). The floral repertoire that isbined in the work offers an attractive variety, identifying a good number of species: tulips, anemones, roses and chrysanthemums, among other floral species. The wide range of colours in the black background that forms the wholeposition is a striking feature of the work. It should be noted that behind the flowers, especially in the central area, there is a dark-toned oval frame that serves as the base for the floral wreath that dominates the scene. Despite the chromatic variety of the flowers, it should be noted that the artist has ed darker and even ochre tones in the flowers around the outer perimeter of theposition. This indicates that the artist has ed a spotlight that shines directly into the centre of theposition, leaving the side areas in a certain semi-darkness. During the 17th century a new formula developed in Flemish painting, deriving from the genre of flower painting, which was recreated by a large group of artists and workshops and achieved considerable success throughout the century in much of Europe: the garland of flowers as a framing and enhancing element for a central theme of a religio nature. Brueghel de Velours, known as Brueghel the Elder, was the initiator of this type ofposition, particularly linked in his work to the depiction of the Virgin and Child. However, it was his disciple, the Jesuit Daniel Seghers, who was the dominant figure in this specialised production and the creator of a prototype that would serve as a model for the numero Flemish and foreign followers and imitators of the genre. It should be noted that in this type ofposition the flowers are not simply a secondary or accessory element, but are worked with the same care and of the same quality as the image they ually frame. In fact, on occasions they even reveal a more skilful hand, as these works were often the result of the collaboration between a painter of flowers and a painter specialising in the human figure. In this particular work a great deal of skill can be seen in the floralposition, while in the centre the space is empty, so it is very likely that the piece is still unfinished. Jan Baptiste Morel began his artistic training in the studio of the still-life painter Nicolaes van Verendael. After his studies he specialised as a painter of still lifes, particularly of flowers and garlands. Due to his recognition as an artist, Morel was summoned to Brsels by the governor Maximilian II Emanuel to work on the decoration of vario buildings in the city. It was at this time, in 1669, that he joined the Guild of Saint Luke in Brsels. In 1710 he returned to his native city of Antwerp, although he eventual