In my previous post I presented two paintings which connected to the Panel of the Friars. One was the portrait of St Thomas Aquinas painted by Sandro Botticelli which Hugo van der Goes utilised for his figure of Aquinas (back row, centre). However, Hugo had given Aquinas the eyes of Botticelli. It was his way of directing the viewer to another painting by the Florentine artist – the Uffizi version of the Adoration of the Magi and, in particular, to the group of figures on the left side of the frame as shown below.
Hugo was also inspired by two other artworks in creating his compostion – two frescoes – The Good and the Bad Judge, still to be seen in the old town hall of Monsaraz, Portugal; and a section of the cycle depicting the Legend of the True Cross in the church of San Francesco, Arezzo, Italy.
• More about the connecting details in the Panel of the Friars in my next post