In an item posted here in January about Fra Angelico’s painting, Conversion of St Augustine, I mentioned that Hugo van der Goes had referenced the work in his Monforte Altarpiece. At that time I wasn’t aware that Hugo had done the same in two other paintings he produced following his ‘breakdown’, thought to have been after 1480.
In yesterday’s post I pointed out the crib connection to St Augustine in Hugo’s painting of the Adoration of the Shepherds and the link to Fra Angelico’s painting of Augustine’s conversion. But there’s more. Hugo’s composition is actually based on the scene painted by Fra Angelico – a conversion process in itself.
Sometimes described as Old Testament prophets, the two men either side of the frame pulling back the green curtain are Hugo van der Goes (left) and Thomas Vessem, Prior of the Rood Klooster, who helped care for Hugo following his breakdown.
Hugo has depicted himself as the peacock, a symbol of pride, while Thomas Vessem represents the humble ‘desert father’, standing at the entrance of his cave – a ‘“little nook” – in Fra Angelico’s scene. Augustine and his friend Alipius (two converts) are matched by the two shepherds entering the cave where Jesus is born, symbolising two conversos entering the Rood Klooster monastery.
As for Hugo being seen as a figure of pride, he can also be viewed at the Prodigal Son whose father welcomed him and instructed his servants to bring out the best robe and put it on his son.
Notice also that Hugo and Thomas Vessem are each embedded in the lower corners of the picture – another example of Hugo’s fascination for the words of Thomas à Kempis: ““I have sought everywhere for peace, but I have found it not, save in nooks and in books.”
More on this in my next post.