This is the second part of a sequence demonstratrating how Hugo van der Goes ‘translated’ iconography from Leonardo da Vinci’s unfinished painting of Jerome in the Desert (see previous two posts) to the Panel of the Relic, the sixth section of the St Vincent Panels.
The Vatican Museums which houses Leonardo da Vinci’s painting of Jerome dates the unfinished work to c1482, the year that is also put forward for the death of Hugo van der Goes.
Below are details from two versions of the St Jerome painting, before and after its latest restoration. At some time the oil on wood panel was cut into five parts, generally considered to have happened after Leonardo had died in 1519. You can see some of the cut marks on the earlier version that frame Jerome’s head. The latest restoration has also brought back to life the sky backdrop which tapers to a sharp point and which had been overpainted on a previous restoration, probably at the time the cut-down pieces were reassembled.
Apart from representing tassels hanging from a cardinal’s hat, the larger mount and the smaller one next to it equate to the ears of both donkey and hare, attributes associated with the story of St Jerome in the desert.
Both the tapering gap between the rock formation and the vertical cut mark which runs through Jerome’s shoulder are two key components adpated by Hugo van der Goes for linking Leonardo’s Jerome painting to his own version of Jerome in the Panel of the Relic.
There is another scenario to this coupling which refers to an injury sustained by Leonardo which I shall put aisde for posting at another time.
Hugo has converted the tapering sky section to represent the ears of the donkey and the hare. As for the cut mark, was the panel already in pieces when Hugo had sight of the painting? Possibly, because he has shown a saw blade cutting into the shoulder of his version of Jerome, parallel with the representation of the hare. But in this instance the hare now becomes a blade. Here we see Hugo punning on saw (sore) shoulder and shoulder blade!
Another pun made by Hugo is hare to hair. Leonardo was noted for writing fables and humerous anecdotes in his notebooks. One such fable in Notebook XX is about a razor blade:
The razor having one day come forth from the handle which serves as its sheath and having placed himself in the sun, saw the sun reflected in his body, which filled him with great pride. And turning it over in his thoughts he began to say to himself: “And shall I return again to that shop from which I have just come? Certainly not; such splendid beauty shall not, please God, be turned to such base uses. What folly it would be that could lead me to shave the lathered beards of rustic peasants and perform such menial service! Is this body destined for such work? Certainly not. I will hide myself in some retired spot and there pass my life in tranquil repose.” And having thus remained hidden for some months, one day he came out into the air, and issuing from his sheath, saw himself turned to the similitude of a rusty saw while his surface no longer reflected the resplendent sun. With useless repentance he vainly deplored the irreparable mischief saying to himself: “Oh! how far better was it to employ at the barbers my lost edge of such exquisite keenness! Where is that lustrous surface? It has been consumed by this vexatious and unsightly rust.”Fables of Leonardo da Vinci (Book, 1973) [WorldCat.org]
The same thing happens to those minds which instead of exercise give themselves up to sloth. They are like the razor here spoken of, and lose the keenness of their edge, while the rust of ignorance spoils their form.
I previously identified the “rustic peasant” as Jan van Eyck representing John the Baptist, but there are two more identities asociated with the figure which I shall reveal in one of my next posts in this series.
Hugo’s Jerome figure also represents cardinal Henry Beaufort, one of the richest men in England during his lifetime. The portrait is adapted from Jan van Eyck’s version of Beaufort, and not just because of his razored haircut. Notice in Van Eyck’s Beaufort (not dressed as a cardinal) the gament’s sleeves lined with sheep-wool – and shaped to represent the ears of a donkey – a reference to Beaufort’s Midas touch at turning everything into riches!
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