Compare these two copies of a section from the Just Judges panel of the the Ghent Altarpiece. The left image is a photographic copy taken by art historian Max Friedländer sometime before the original panel was stolen in April 1934. The right image is a copy painting completed by the Belgian art restorer Jef Van der Veken in 1945 and used as a replacement part for the altarpiece.
There is a noticeable difference in the two copies. In the photographic copy the brim of the hat worn by the bearded man is extended to cover the mouth of the man behind him. In the Veken copy the wide brim is reduced so as to show the mouth.
It is claimed that Veken replaced one of the riders with the face of the Belgian king Leopold III to distinguish the copy painting from the original, which may explain the brim reduction, presuming, of course, the uncovered face is that of Leopold.
However, in doing so Veken also destroyed clues that could help identify three of the riders. Apart from the Frieländer photograph and the Veken version there is another copy painting which was produced by Michiel Coxcie sometime in the mid-16th century. It remains close to the original and retains the wide-brimmed hat.
As mentioned in previous posts, several identities are attributed to each rider, but in this instance the rider with the covered mouth represents the French king Charles VI or Charles the Mad as he was sometimes referred to because of his frequent bouts of psychosis, a symptom of which can be incoherent speech.
There is further connection to Charles’ covered mouth which relates to the rider above in the guise of Joan of Arc, but this is a seperate narrative to be revealed at another time.
The extended brim is also to identify the man wearing the ‘galero’ style hat as Henry Beaufort, bishop of Winchester, who was elevated to the rank of Cardinal in 1426, the same year Jan van Eyck’s brother Hubert died. Beaufort is also linked to other riders in the painting.
A second identity given to the figure is St Bavo, a nobleman who gave up his riches to lead the life of a hermit. He later received the ‘tonsure’ at a monastery in Ghent, hence the emphasised rim of of hair. St Bavo is the patron saint of the Ghent diocese.
A third identity is St Judoc whose body, according to tradition, was said to be incorrupt, and whose hair continued to grow after death and had to be continually cut. The inclusion of St Judoc is also a hat-tip to the patron of the altarpiece Joos (Judoc) Vijd.