There is somewhat of a Trinitarian theme detectable in the Agony in the Garden miniature (folio 30v in the Turin-Milan Hours) attributed to Jan or Hubert van Eyck.
There are three apostles, Peter and the brothers John and James, each wearing one of the primary colours related to physics that when mixed or overlapped produce a white light; there are three trees to the right of Jesus representing three crucifixions on Calvary; three principal figures are grouped behind the fence and represent the cohort arriving to arrest Jesus; there are three main grouping of stones among the apostles; and in the bible account relating to the Agony in the Garden Jesus returned to his sleeping followers three times.
Another painting attributed to either of the two Van Eyck brothers and which takes its inspiration and translates some of the iconography from the Gethsemane miniature is the Three Marys at the Tomb: three being the number of women and also the men guarding the tomb who, like the three apostles, are sound asleep. The three guards are also positioned in a similar fashion as the disciples: one is lying down as John; the guard suited in plated armour sleeps with his back against the tomb as Peter; and the third guard as James has his back resting against a rock at the far corner of the tomb.
There are also three other features that connect the guards to the three apostles. James’ hands are crossed, the guard, his legs; Peter’s hands rest on his lap while the armoured guard’s hands are arranged in a similar position; John’s hands act as a pillow under his head, so do those of the guard lying down.
The three guards at the tomb also connect to the three men behind the fence in the Gethsemane miniature. The armoured guard’s ear is mutilated, and has the appearance of having been sliced. This refers to the armoured figure behind the fence who represents Malchus. The servant of the high priest Caiaphas had his ear cut off by Peter’s sword.
Caiaphas is the central figure in the group of three men behind the fence. His red pointed hat, its wreath or torse, and the long hair covering his neck, are translated as the hat worn by the sleeping guard lying down. The hat is pointed, its green peak represents the wreath, and the neck protector the long hair. The third figure in the group behind the fence is Judas and is matched to the guard in green with his hand gripping the side of his jaw.
This feature is meant to mirror the heavy stubble or shadow on the jaw of Judas. The shape of the guard’s hat matches the bottle shape of the blue hat of the figure behind Judas. But its circular pattern is also designed to reflect the roped hat worn by Judas – and both the pseudo text and the extended peak is perhaps symbolic of the false heart of Judas and his lying tongue.
Another meaning the artist – Hubert or Jan – has applied to the guards at the tomb is they represent the three churches that share custody of the Church of the Holy Sepulchre in Jerusalem: Greek Orthodox, Armenian Orthodox and Roman Catholic.
The trinitarian theme also extends to the guards representing the Magi, the Three Kings or Wise Men who brought gifts to the Infant Jesus at Bethlehem. I shall explain the connection in my next post.
The artist, be it Jan or Hubert van Eyck, has translated one of the questions posed in Proverbs 30:“Who has wrapped the waters in his cloak?” as a basis for merging references to both sea and land.
The colours of the cloaks worn by the three disciples represent three seas: the Red Sea, the Sea of Galilee (also called Lake Tiberias), and the Mediterranean Sea (called the Great Green by the Ancient Egyptians).
The cloak worn by Jesus also represents water, the waters under and above the vault (called Heaven) created by God (Genesis 1 : 7-8).
In the next passage God said, “Let the waters under heaven come together under a single mass. and let dry land appear” And so it was. God called the dry land ‘earth’ and the mass of waters ‘seas’.(Genesis 1 : 9-10)
This quotation corresponds to another question in Proverbs 30: Who has set all the ends of the earth firm?
In all four figures can be found several references to Proverbs 30 and other verses from Scripture. However, the figure of Jesus is also shaped and presented to point to a series of events current during the life of the artist and known as the Hook and Cod Wars – “a series of wars and battles in the County of Holland between 1350 and 1490”. The ‘fish’ reference also links to the three disciples as being fishermen and also “fishers of men”.
The visual reference to Cod is Christ’s cloak, shaped as a trawl dragged behind a boat to catch fish – the bulging section is known as the ‘cod-end’. The hook is shaped as his bent arms and praying hands.
Another miniature from the Turin-Milan Hours which references the Hook and Cod Wars is the Prayer on the Shore, also said to be by Jan or Hubert van Eyck.
Some of the iconography embedded in the Agony of the Garden has been translated to the Arnolfini Portrait, possibly suggesting that Jan van Eyck painted both works. However, it can also be understood that Jan is simply paying homage to his brother by mirroring the iconography and so affirming the inscription on the Ghent Altarpiece declaring Hubert as “the greatest painter there was”.
Following on from my previous post, this version of the Resurrection is by another Flemish artist, Dieric Bouts. It’s unusual in that the medium used is distemper on linen. The painting is displayed at the Norton Simon Museum in Pasadena, California.
Dieric Bouts is portrayed as one of the soldiers guarding the tomb, the figure depicted awake with his arm raised in astonishment at seeing the Risen Christ stepping out of the sarcophagus. Notice that his legs are crossed, similar to the guard seen in the Three Marys at the Tomb painting attributed to either Hubert or Jan van Eyck. There is a reason for this. The artist is identifying himself by his boots, as in Bouts. Notice also the facial expression on—in the folds of one of the boots – a good-natured smile similar to a modern-day ‘smiley’ face.
Another interesting feature is disguised in the folds of the white tunic worn by the guard lying flat on the ground. It depicts both a lamb and a ram, meant to represent two sacrifices: Jesus as the Lamb of God, and the ram sacrificed by Abraham in place of his son Isaac. However, to recognise the iconography the shape has to be rotated in two directions, 90º clockwise to see the Lamb and its foreleg (accompanied by his mother the Ewe), and 90º to make out the head and horn of the ram. Half-closing one’s eyes helps in visualising the shapes.
Unfortunately, I have only been able to locate a black and white copy of this new find titled The Three Maries and attributed to the 15th century Italian painter Niccolio Antonio Colantonio, but the copy shows enough detail to see that the artist has made a composite of the two mentioned works in the previous post.
The three Marys are clearly modelled on the Tomb version (Hugo or Jan van Eyck?). While it shows only a single guard lying awake at the tomb, the figure is a blend of the three disciples depicted in the Gethsemane folio while it also references the three guards in the Resurrection painting.
Here’s how: The guard is bearded, as is the disciple St Peter; his legs are crossed as is the guard in the Tomb painting, which in turn referenced the crossed hands of St James in folio 30v. He is turned on his side as is St John and also the guard sleeping in front of the stone tomb.
The rock in the bottom left corner is meant to match the rock that appears in the same position in the Gethsemane painting. It has a biblical reference: “It was the stone rejected by the builders that became the cornerstone” (Matthew 21:42). There are several other scripture passages embedded in the rocks in all three paintings.
The three lozenge shapes on the front of the tomb are references to stones of another kind – diamonds. They represent the colours worn by the three disciples and which are repeated in the three women visiting the tomb: red and blue represent sapphire, and green, emerald. The disciples and the women are considered as precious stones embedded in the rocks – the bedrock and foundation of the Christian Church.
The painting above – The Three Marys at the Tomb – is generally attributed to Hubert van Eyck, but there is an opinion that the work may be by his brother Jan, or even a shared production as the Ghent Altarpiece was.
Another painting, Folio 30v from the Turin-Milan Hours depicting Christ’s Agony in the Garden of Gethsemane, also has an uncertain attribute. Generally classed as by Hand G, but considered to be the work of either Hubert or Jan van Eyck, the miniature shares many similarities with the Three Marys.
So are the two paintings the work of the same artist and if so, by Hubert or Jan? It’s not hard to see how the artist has rung some of the changes in the Three Marys picture, using the Gethsemane folio as the original source of inspiration.
For starters, the composition is very similar; three men asleep against a stone tomb. The central figure of Jesus has been replaced by an angel facing Mary the mother of Jesus and announcing his resurrection, similar in style to paintings of the angel Gabriel announcing to the `Virgin Mary that she was to conceive and bear a son.
The three Marys are substitutes for the three main figures behind the fence in the Gethsemane painting, the red, blue and green colours matched to the colours given to the three disciples asleep by the rocks.
The cohort coming to arrest Jesus are depicted against a background representing the Mount of Olives. One man’s hat is shaped and coloured as an olive. This corresponds to the three Mary’s bringing oil to the tomb to anoint the body of Jesus.
The figure asleep at the right of the tomb has his legs crossed. This echoes the sleeping disciple James (the brother of John) whose hands are crossed. Both men are dressed in green and placed at the edge of the frame. The shape of the guard’s hat is matched to the blue hat of the mysterious figure behind the fence in the Gethsemane painting, and his bandaged legs and knee protector links to the helmeted soldier and the torse supporting the red-peaked hat of the man alongside.
Another link to this group is the guard’s left hand pointing to his right ear. It’s a pointer to the armoured guard behind the fence seen with a pronounced ear protector attached to his helmet. The figure represents Malchus, the servant of the high priest Caiaphas. It was Malchus who had his right ear sliced off by Peter when the Jewish guards came to arrest Jesus, and that’s why it is hidden behind the ‘bandaged’ torse on the head of Malchus and explains why the crossed legs of the guard in the Three Marys painting are bandaged.
On the right shoulder of Caiaphas is Judas Iscariot wearing a hat depicted as a coiled rope. It has two representations: The betrayal and binding of Jesus in Gethsemane and the rope Judas used later to hang himself. In the Three Marys painting the rope feature is echoed in the lining of the red gown worn by the kneeling Mary Magdalene. It was this Mary who washed the feet of Jesus with her tears and wiped them with her hair before anointing them with ointment. The other connection to Judas is when he complained about Mary using the expensive pure nard when it could have been sold and the money given to the poor. But Judas was also a thief and robbed the common purse of which he was in charge of.
There are several other connections between the two paintings, enough to confirm that the artist who painted The Three Mary’s at the Tomb had detailed knowledge of the disguised and hidden iconography in the Gethsemane folio, enough to postulate that both works were produced by the same artist. My assumption is that the artist was Hubert van Eyck, as his brother later translated some of the features in both paintings to the Ghent Altarpiece as a tribute to Hubert who was the artist commissioned originally to produce the polyptych. Hubert died in1426 before he was able to finish the project and It was then given to Jan van Eyck for completion.
In a recent post (Lines of Succession) I mentioned the Latin ‘quatrain’ inscribed on four of the frames of the Ghent Altarpiece, part of which declares Hubert van Eyck “the greatest painter there was” and his “brother Jan second in art”.
Although Hubert was originally commissioned to produce the polyptych it was Jan van Eyck who later took on the commission after his brother’s death in 1426. The project was completed in 1432.
As to how much progress Hubert had made with the commission before his death is uncertain, but apart from the mention in the quatrain Jan acknowledged and paid homage to his brother in other areas of the altarpiece, which suggests where this is the case, the particular panels were executed by Jan “second in art”.
The method Jan used was not only to depict an image of Hubert in some of the panels but also to make reference to some of his brother’s earlier works, thereby building on his statement in the quatrain that his brother was “the greatest painter”.
Below is an example of Jan’s approach to reformatting a part of Hubert’s earlier work. I must say at this stage that the painting I am presenting for comparison is generally attributed to Jan himself, but there is a view held by some art historians that the work is by Hubert and not his brother.
The detail is from the Crucifixion panel of the painting known as the Crucifixion and Last Judgement diptych housed at the Met Museum of Art, New York. The comparison is made with detail in the Pilgrims panel of the Ghent Altarpiece.
The Crucifixion detail portrays a bearded man nose to nose with a white horse. The most striking feature is the open mouths displaying their white teeth, while the eye of the horse looks down on the seemingly closed eye of the man. The grouping is an analogy for the biblical expression, “eye for eye, tooth for tooth”.
Jan van Eyck echoes the expression in a different format. The woman is portrayed as The Wife of Bath, a feisty character who features in Chaucer’s The Canterbury Tales (a theme in the Ghent Altarpiece). In lines 605-606 she claims “I was fourty, if I shal seye sooth, but yet I hadde alwey a coltes tooth. Gat-tothed I was, and that bicam me wel… (I was forty, if I tell the truth; but then I always had a young colt’s tooth. Gap toothed I was, and that became me well…)”
So in this instance we have a match for the teeth and colt (horse) reference in Hubert’s painting. As to the eye reference in the bearded man and horse, this is portrayed in the man alongside, depicted with one eye as if blind, and his hat shaped as the muzzle of a horse resting on a cushion. Notice also in Hubert’s version how the horse’s muzzle is cushioned on the brim of the hat belonging to another figure of a man below.
• Jan van Eyck has included in the Ghent Altarpiece other elements of paintings attributed to his brother Hugo which I shall present in a future post.
The Monsaraz fresco known as The Good and Bad Judge, was discovered in 1958 during renovations to the town’s old court building. There is a consensus that the artwork was likely created in the latter part of the 15th century, although later additions (primarily depicting two coats of arms) and perhaps some restoration work were carried out later.
My understanding is that the fresco was painted at a much earlier date, before 1425 and the year the Flemish painter Jan van Eyck was part of the Burgundian diplomatic miission sent to Portugal to pave the way for the marriage of Philip ll, Duke of Burgundy, to Isabella, the only daughter of King John l.
There are elements of the fresco which afterwards Van Eyck incorporated in the Ghent Altarpiece completed in 1432, notably in the Just Judges panel.
In later years Hugo van der Goes seemingly had sight of and studied the fresco as he too was inspired to include some of its features in the St Vincent Panels in his attempt to emulate the Ghent Altarpiece and pay homage to the Van Eyck brothers.
As a citizen of Ghent, Van der Goes would have been more than familiar with the town’s famous altarpiece, and probably the hidden iconography embedded in its panels. For what other reason would Hugo choose to mirror many references to the iconic work of Jan and Hubert van Eyck in the St Vincent Panels?
Returning to the Monsaraz fresco as a source of inspiration for both Jan van Eyck and Hugo van Der Goes, it’s not difficult to match to sections in the St Vincent Panels. For starters, the three figures on the left side of the fresco’s lower register can be compared to the group of three men wearing white religious habits featured in the Panel of the Friars. Two are wearing black hats and one has a beard.
Van der Goes made some adjustment in his painting with the positioning of two of the friars, moving the notary to the front of the frame and the fairhead friar into the centre of the trio.
Now as to the question which artwork was produced first, the fresco or the St Vincent Panels, there are TWO notable clues in the fresco that provide the answer and which Hugo has referenced in his unique way in the Panel of the Friars.
The fresco is damaged in some areas. Paint and its plaster base is missing. In the lower section part of the right arm and hand of the seated judge is lost. Van der Goes has referenced the shape of this missing piece as the black hat worn by the kneeling friar and which covers the hands of the friar behind him.
The shape of the damaged arm in the fresco can also be matched to a ‘mirror’ image in the Panel of the Relic – the relic itself – confirming that Van der Goes had prior sight of the damaged fresco before he completed painting the St Vincent panels. Further confirmation is part of the hand protruding from beneath the damaged area. Hugo picks up on this as well and reproduces the fingers feature as extending from the sleeve of the bearded friar.
Another obvious missing section in the fresco is the top right segment of the upper register. The angel blowing the trumpet is almost obliterated, as is the head of the Suffering Christ in Glory as if decapitated from the body. A piece of the Saviour’s hair is all that remains visible. The word ‘hair’ is not only a key to discovering the Suffering Christ connection in the Panel of the Friars, but also to a series of embedded homophones revealing other identities and connections in the frame.
Van der Goes also references this missing feature in the Panel of the Friars. Look closely at the head of the figure first in line on the back row. In this instance his identity is the Roman governor Pontius Pilate who was the judge at the trial of Jesus, the judge who responded to Christ’s claim to have been born to witness to the truth: “Truth, what is that?” before handing Jesus over to be crucified.
Hugo has illustrated Christ’s crucifixion within the shape of Pilate’s ear, (a reminder that Pilate had listened to Jesus witness he was the Son of God. But notice that the head of Christ and part of the upper body is missing, hidden under Pilate’s hairline. This is not only a reference to the missing head of Christ in the fresco but also to the phrase found in the Nicene Creed: “He was crucified under Pontius Pilate.” Various references to the Nicene Creed can be found in other sections of the St Vincent Panels. Truth is also reflected in the head of Lambert van Eyck seen in the Panel of the Relic (and a pointer to Van Eyck’s famous mirror in the Arnolfini Portrait). Truth can be understood as the Holy Spirit shaped into Lambert’s hair, and to the first part of his name as Lamb (of God).
So while some may argue that the fresco was painted after and inspired by the St Vincent Panels, it is highly unlikely that whoever painted the fresco deliberately damaged the work to coincide with Hugo’s references to the missing limbs and head.Hugo has restored the missing parts of the fresco in new light, as if rediscovering or resurrecting lost relics.
“Then the One sitting on the throne spoke: “Now I am making the whole of creation new,” he said. “Write this, that what I am saying is sure and will come true.” And then he said. “It is already done. I am the Alpha and the Omega, the Beginning and the End…” (Revelation 21 : 5-6)
Notice the Alpha and Omega symbols below “the One sitting on the throne” in the upper register of the fresco!
• My next post will deal with a section of the fresco that inspired Jan van Eyck to utilise in the Just Judges panel of the Ghent Altarpiece.
Another written source Hugo van der Goes called on so as to link Jan van Eyck and his brother Hubert in the St Vincent Panel of the Relic was Pliny the Elder’s Naturalis Historia (Natural History). The Roman author’s ‘encyclopedia’ provides an account of a contest between two Greek artists, Apelles and Protogenes. Apelles was attached to the court of the Macedonian king Philip II, and later served his son Alexander the Great. His rival Protogenes resided in Rhodes.
“A circumstance that happened to him [Apelles] in connection with Protogenes is worthy of notice. The latter was living at Rhodes, when Apelles disembarked there, desirous of seeing the works of a man whom he had hitherto only known by reputation. Accordingly, he repaired at once to the studio; Protogenes was not at home, but there happened to be a large panel upon the easel ready for painting, with an old woman who was left in charge. To his enquiries she made answer, that Protogenes was not at home, and then asked whom she should name as the visitor. “Here he is,” was the reply of Apelles, and seizing a brush, he traced with colour upon the panel an outline of a singularly minute fineness. Upon his return, the old woman mentioned to Protogenes what had happened. The artist, it is said, upon remarking the delicacy of the touch, instantly exclaimed that Apelles must have been the visitor, for that no other person was capable of executing anything so exquisitely perfect. So saying, he traced within the same outline a still finer outline, but with another colour, and then took his departure, with instructions to the woman to show it to the stranger, if he returned, and to let him know that this was the person whom he had come to see. It happened as he anticipated; Apelles returned, and vexed at finding himself thus surpassed, he took up another colour and split both of the outlines, leaving no possibility of anything finer being executed. Upon seeing this, Protogenes admitted that he was defeated, and at once flew to the harbour to look for his guest.”
Jan van Eyck was sometimes referred to as Apelles by his contemporaries, such were his skills and knowledge as an artist, but there was another reason why he was compared to the Greek painter in this way. While Jan served Philip II, duke of Burgundy, as valet de chambre, he was also employed as the Burgundian court painter
“The Dukes of Burgundy saw their ambitions in historical contexts. The fascination with Alexander the Great, revealed in their patronage, demonstrated their ambitions to be compared to this great ancient model. This interest further enhanced the status of individuals like Jan van Eyck. The comparison was made between the court of Alexander with his painter Apelles and the court of Philip the Good with his painter Jan van Eyck.”
But by relating Jan and Hubert van Eyck to the Pliny account of Apelles and Protogenes, Hugo van der Goes intended yet another connection to the Ghent Altarpiece – the Latin ‘quatrain’ inscribed on four of the frames of the Ghent Altarpiece, part of which declares Hubert van Eyck “the greatest painter there was” and his “brother Jan second in art”.
However, although the consesus is that Jan is referring to himself as second best, Van der Goes may have interpreted the phrase “second in art” as “second in line”, that is Jan being the second artist born in the Van Eyck family, Hubert being the first – Protogenes (proto = original or first; gene = from genos, meaning generation of birth). Also, ‘Protogenes’… a subtle play on the word ‘Portuguese’ (Portogees) by Hugo van der Goes.
UPDATE July 21, 2021: So where in the Panel of the Relic is the “line of singularly minute fineness” to be found? It’s the black strap worn over the right shoulder of the figure of Jan van Eyck. In heraldic terms it represents a ‘bend’ or a line of partition placed on a shield (the shape of the white undergarment). A ‘bend’ is a band or strip running from the upper dexter corner of the shield to the lower sinster and can be further partitioned.
• More details about the Panel of the Relic in my next post.
In my previous post I pointed out the connection to the ‘coffin’ in the St Vincent Panel of the Relic to the ‘hollow tree’ that St Bavo made his abode for a time, and how this further linked to another theme in the panel, Halloween and All Saints Day (All Hallows Day)
What I didn’t mention at the time was also the connection to the birth name given to St Bavo – Allowin.
The Relic Panel is ‘mirrored’ in a section of Rembrandt’s 1639 etching Death of a Virgin, which I posted a year ago at this link. The ‘hollow tree’ is also featured in the etching, and features Rembrandt, aka St Bavo, looking into the scene through a gap (the hollow) in the curtain representing the tree.
The likeness of Rembrandt is similar to a 15th century limestone sculpture of St Bavo shown above, now housed at the Met Museum in New York. Look closely at Rembrandt’s left arm in the etching and you will see the faint outline of the shape of a bird. This represents a falcon, one of the attributes associated with St Bavo.
Another etching of St Bavo was published in 1650 by the Dutch artist Pieter Southam. The saint is depicted in all his glory as a noble soldier before his conversion, but notice the way his cloak is open widely and the similarity to Rembrant’s version of appearing through an open curtain. Is Southam’s illustration a hat-tip to his contemporary as Rembrandt’s is to the Flemish artist Hugo van der Goes?
That the representations of St Bavo appear to be stepping out from the coffin or from behind the curtain relates to a passage from St Matthew’s gospel: The veil of the Temple was torn in two from top to bottom; the earth quaked; the rocks split; the tombs opened and the bodies of many men holy men rose from the dead, and these, after resurrection, came out of the tombs and entered the Holy City and appeared to a number of people (29 : 51-53).
This passage also relates to Hubert van Eyck, placed right of the coffin in the Panel of the Relic, and one of his few extant paintings: The Three Marys at the Tomb (of the Risen Christ).
Rembrandt picked up on this, and made a group of the three women, two of them with their back to the viewer. (replacing Hubert and Lambert van Eyck). The Virgin Mary is seated on a ‘cushion’ chair, a reference to one of the other identities in the Panel of the Relic – the priestly figure in black, Pierre Cauchon.
Over the years art historians have speculated on the identity of the 60 figures in the St Vincent Panels, without ever able to agree on a definitive line-up. Their efforts, it seems, have always focused on linking the 58 males and two women to Portuguese society, perhaps led by the fact the panels were discovered in the 1880s – in the monastery of Saint Vicente de Fora, in Lisbon.
So for some figures multiple names have been posited for their identity. In a sense this mixed bag of identities held an answer historians were searching for, but had yet to consider since they were focused on producing a single identity for each figure. The fact is that each figure usually has more that one identity, depending on a particular theme the artist embedded. While the painting is officially attributed to the Portuguese painter Nuno Gonçalves, my preference is the Flemish artist Hugo van der Goes who is featured on the back row of the Panel of the Prince. It may be that the work and the commission was shared between the two men, similar to the Ghent Altarpiece attributed to the brothers Jan and Hubert van Eyck.
The Ghent Altarpiece is perhaps the principal source of inspiration for the St Vincent Panels, and especially for the concept of using multiple identities. In the Just Judges panel Jan van Eyck has applied four identities to each of the ten riders. This was the challenge for Hugo van der Goes, to create a similar work embedded with multiple identities. To truly get to grips with the St Vincent Panels one has to understand the embedded themes and iconography Jan introduced in the Ghent Altarpiece. Without this knowledge or understanding it is not possible to grasp and comprehend all that Van der Goes presented in the St Vincent Panels.
Another painter, Barthélemy van Eyck, had knowledge of Jan’s disguised iconography in the Ghent Altarpiece and incorporated parts in the January folio he produced for Les Très Riche Heures when the manuscript was later in the possession of René d’Anjou. It’s also likely, Lambert van Eyck, a brother to Jan and Hubert, had knowledge of the cryptic narratives in the Ghent Altarpiece.
In the Panel of the Relic, Hugo van der Goes depicted the likeness of the three Van Eyck brothers. Barthélemy is also referenced but not seen and is a second ‘hidden’ identity given to Jan van Eyck. Jan also appears as John the Baptist, his name saint and the name of the church the Ghent Altarpiece was originally commissioned for until it was later renamed as St Bavo after it was rebuilt in the 16th century. St Bavo is the patron saint of Ghent.
Hugo van der Goes sourced a painting by Rogier van der Weyden for the image of Jan Van Eyck. The painting, now fragmented, portrayed Jan as Joseph the husband of the Virgin Mary, The section, which is housed at the Calouste Gulbenkian Museum in Lisbon shows part of a church tower with a vacant aedicula to house a statue of some kind. The platform and canopy are there but the statue is missing. It’s very likely this motif partly inspired Van der Goes to portray Jan standing in front of an empty wooden box, which most observers presume is a coffin.
The wooden box acts as a visible link between the two Van Eyck brothers, so does it have other levels of meaning associated with the two figures? It’s constructed from a number of panels. Could it point to the wood panels that Jan and Hubert painted on to create the Ghent Altarpiece, perhaps a particular unfinished panel started by Hubert before his death in 1426? The Ghent Altarpiece is also known as The Adoration of the Mystic Lamb.
Observe Van Eyck’s red hat, shaped as a resting lamb, and a pointer to Jan’s self-portrait titled Man in a Red Turban, painted a year after the Ghent Altarpiece was unveiled. Hugo would have understood that the turban’s intricate folds also depicted the ‘Lamb of God’.
The Ghent Altarpiece was commissioned by the prosperous Flemish merchant and nobleman Joos Vijd, for his funeral bay chapel in the Ghent church of St John the Baptist. When completed in 1432 the painting was placed above the St Bavo altar in what became known as the Vidj Chapel.
St Bavo is the patron saint of Ghent. He came to faith late in life ‘after leading a worldly and dissipated life’ as a knight for nearly fifty years. His conversion came following his wife’s death and after listening to the preaching of St Amand. For a while he attached himself to a Benedictine monastery in Ghent but eventually moved out and lived a more secluded life out of a hollow tree in the forest of Malemedum, surviving only on herbs and spring water. The hollow tree, a natural harbour for shelter and rest, and a bay within the forest, has partly inspired Hugo’s empty wooden box. The mention of forest connects to the figure alongside of St Hubert whose conversion took place while hunting in a forest. However, the principle connection to the empty coffin or the hollow tree, is a pun to reference All Hallows’ Evening (Halloween, also known as All Saints’ Eve) followed by All Hallows Day – the Christian feast of All Saints; hence the many references made to Christian saints in the Panel of the Relic. The reference also serves to link to the phrase “communion of saints” (sanctorum communionem) declared in the Apostles’ Creed, which in turn connects to an earlier mention of the medieval poem: William’s Vision of Piers the Plowman.
There are other links. Understood as a niche or a nook, the box leads to a prevalent theme in the Panel of the Relic, that of books, and one of the most obvious being the holy book held by Jean Jouffroy. At the time of the painting Hugo van der Goes was a lay brother in a religious community known as the Brethren of the Common Life based at the Red Cloister priory near Brussels that housed an impressive collection of books as well as a workshop for book production.
The pious way of life adopted by the brothers of the community was also known as Devotio Moderna (the Modern Devotion). An early follower was Thomas á Kempis who wrote the popular book on Christian meditation, The Imitation of Christ. One of the famous quotes attributed to Thomas is used by Hugo to link the wooden box with books: “I have sought everywhere for peace, but found it not, except in nooks and in books.” Hugo repeated the quote in a later painting known as the Dormition of the Virgin, depicting Kempes gripping the headboard of the Virgin’s bed and decorated with the carved shape of an open book.
Another written source Hugo called on so as to link Jan and his brother Hubert to a specific feature of the Ghent Altarpiece was Pliny the Elder’s Naturalis Historia (Natural History). The Roman author’s ‘encyclopedia’ provides an account of a contest between two Greek artists, Apelles and Protogenes. Apelles was attached to the court of the Macedonian king Philip II, and later served his son Alexander the Great. His rival Protogenes resided in Rhodes.
It’s about three weeks since I last posted information about the St Vincent Panels and in particular the Panel of the Relic. All previous posts with links are listed in the masthead menu under the title St Vincent Panels.
In a post made in April I identified the figure in black from the Panel of the Relic as being two French prelates, Jean Jouffroy doubling up as Pierre Cauchon, and connected them to the French heroine Joan of Arc and the surplice worn by Hubert van Eyck, suggesting the shaped arch in the centre represented the stake Joan was tied to when burnt alive, and its pattern symbolised the flames.
There is also a secondary French connection to the shaped arch or stake which relates and plays on the name Jouffroy.
The link is what was a small island in the middle of the River Seine in Paris known as île aux Juifs – Jews Island. It was named for the number of executions of Jews that took place on it during the Middle Ages. The Island is also known as Île des Templiers – Templars Island – after several members of the Order of Templars were executed by being burnt at the stake on March 18, 1314.
One notable Templar was Geoffroi de Charney, Preceptor of Normandy for the Knights Templar – the name Geoffroi connecting to the name Jouffroi.
Also known as Guy d’Auvergne, Geoffroi de Charney and the Knights Templar reference is disguised as a third identity for the figure already revealed as representing Hubert van Eyck and St Hubert. The white surplice, the red colour and the black background to the figure are a combination of colours that make up the Templar beauceant; the cross-bow shape of the collar is substituted for the conventional red cross.
Another Geoffroi de Charny (not Charney) came to prominence as a French knight and author after the death of Guy d’Auvergne. He wrote books on chivalry and along with the French king John II was a founding member of the Company of the Star. De Charney was also the carrier of the Oriflamme (Golden Flame), the standard of the crown of France, and died at the Battle of Poitiers in 1356 defending the French king.
Observe that the ‘flamed’ centre section of the surplice is crowned, and the transparency of the fabric allows for “see through” to the red cassock underneath, a subtle pointer to the garment representing the Oriflamme. This provides a link to the ‘pilgrim’ figure of Jan van Eyck in the guise of John the Baptist, depicted wearing a white garment under his camel-skin coat.
The Company of the Star was an order of chivalry and its insignia was a white star on red enamel inscribed with the motto: The star show the way to kings, a reference to the star that led the three kings or magi to Bethlehem. So here we have a link to the star featured on the breast of Jouffroy representing the Order of Our Lady of Bethlehem. The star also unites with the two saints in the back row, Hubert and Lambert. Both served as bishops of Maastricht, and the city’s coat or arms features a white star on a red shield. As a group, the three red-shield references, link to the coat of arms of the de Charny family: three white shields or escutcheons emblazoned on a red shield.
Geoffroi de Charny and his wife Jeanne de Vergy were once owners of what was known as the Holy Shroud – the Shroud of Turin – said to have been the cloth that covered the body of Jesus when he was entombed after his crucifixion. Jan van Eyck referred to the Shroud in at least two of his famous paintings: The Arnolfini Portrait and his self portrait of a Man in a Red Turban. The Shroud is also featured in the illuminated manuscript The Turin-Milan Hours on one of the leaves attributed to Jan van Eyck, The Birth of John the Baptist.
The manuscript once belonged to John, Duke of Berry, third son of King John II of France, founder of the Company, or Order, of the Star. The Duke, a collector of books (as Jouffroy was) also owned another famous manuscript: Les Très Riches Heures (The Very Rich Hours), magnificently illustrated by the three Limbourg brothers, Paul, Herman and Johan but incomplete when all three brothers and the Duke of Berry died in 1416, probably of the plague. It is suggested that the calendar miniatures were worked on as late as the 1440s, possibly by Barthélemy van Eyck, thought to be related to the three Van Eyck brothers. Barthélemy was in the service of Duke René of Anjou who became the owner of Les Très Riche Heures following the death of John of Berry who is the third identity that Hugo van der Goes has given to the figure in red.
Barthélemy van Eyck is also identified with being the “Master of René of Anjou” and the alias “Master of the Shadows”, the latter associated with the shadow features depicted in Les Très Riche Heures. Van der Goes points to this style by showing the right elbow of the man in black ‘eclipsing’ the right arm of the pilgrim, except in this scenario the composition is points to a shadow or eclipse feature in the March calendar folio of the Très Riche Heures. Here we see a field being ploughed by two oxen. The one in the forefront is brown; the other black, seemingly eclipsed or a shadow of the brown ox.
The ‘elbow’ eclipse also refers to a solar eclipse where a segment of the Earth is immersed in shadow cast by the Moon partially blocking out sunlight. The brown colouring of the pilgrim’s coat represents the earth, while the crescent-shaped, white hair of the kneeling man in red represents the moon. Notice, too, the sun flare extending from the elbow, and another reference to the Oriflamme. More on this theme in a future post.
This eclipse motif leads to another identity given to the pilgrim figure, and is one of a “series of pointers’ Hugo van der Goes has embedded in the panel… pointing stars, pointed weapons, porcupine needles, pointing fingers and hands, pointed ears – hare and donkey and the left ear of Jouffroy, pointed stake, pointed saw teeth, cutting instruments, hence the reference to the plough (and symbolic of another heavenly navigator. All these pointed motifs can be summed up by the word ‘pierce’ – even the fingers and hand, a reference to Christ’s invitation to Thomas to examine the piercing he suffered on the Cross. And this brings us to connect the piercing action of the plough to the medieval poem: William’s Vision of Piers the Plowman, attributed to William Langland.
The above detail depicting John the Baptist is from the left wing of the Donne Triptych painted by Hans Membling and housed at the National Gallery in London. Model for the Baptist figure is Rogier van der Weyden. In the background is another Flemish painter, Dieric Bouts.
This pairing is repeated in the Panel of the Knights, the fifth section of the St Vincent Panels as shown here. Hugo van der Goes has featured several artists and made references to their paintings in the St Vincent Panels, usually placing them on the back row.
However, Hans Membling is given a more prominent position. He is one of the identities applied to the kneeling figure in the Panel of the Relic and is shown well advanced in age compared with the some of the other paintings in which he appears as a young man, sometimes in the role of the youngest apostle John the Evangelist.
Membling portrays himself as John in the right wing of the Donne Triptych, holding the poisoned chalice he was invited to drink from by a pagan priest. Hugo has also made a connection to the chalice and the skull fragment held by the ageing Henry Beaufort whose likeness is based on the painting of the Cardinal by Jan van Eyck.
Here Hugo has attempted to morph the two men into one likeness, just as Van Eyck did with himself and the figure of Philip the Good in the Arnolfini Portrait, and so we have another indication for Hugo attempting to emulate the work of Van Eyck.
But there is more to this connection. Beaufort had amassed a great fortune in his life-time and was considered to be one of the wealthiest men in England, so rich that kings and emperors came to him for loans to finance their military and war efforts.
According to the art historian Til-Holger Borchert, so successful was Hans Membling during his painting career and at making investments (he owned several houses) that he was listed among the richest citizens in Bruge, and so an obligatory subscriber to the loan raised by Maximillian I of Austria to finance hostilities towards France in 1480.
Was Hugo van der Goes making a judgement on the success of Membling, or was the reference to the descent into Hell featured in the red-robed figure (as explained in a previous post) a pointer to one of Memling’s most famous and dramatic paintings, The Last Judgment triptych, now housed at the National Museum in Gdańsk, Poland?
Close inspection of the St John figure and the poisoned chalice shows a fold in the red gown shaped to represent a demonic figure with its nose pointing to the rim of the cup.
A similar motif with a sharp nose can be seen “attacking” the skull fragment in the Panel of the Relic.
The chalice and the skull fragment connect to another narrative disguised in the St Vincent Panels, but more on this at another time.
Hugo also combines two elements from Membling’s two triptychs into one of his own – the towers which appear in the left wing of The Last Judgment and the right wing of The Donne Tryptich – to form the wooden upright box in the Panel of the Relic.
Finally, the inspiration for the coupling of Rogier van der Weyden and Dieric Bouts in the Panel of the Knights can also be found in The Last Supper painting by Dieric Bouts painted in the 1460’s and probably around the same time as Membling produced The Last Judgment.
The two portraits shown in the serving hatch of The Last Supper painting are Dieric Bouts and Hans Membling. Another ‘servant’ depicted in the painting is Rogier van der Weyden who died during the time Bouts was painting The Last Supper, and so another possible reason for Van der Goes to link Bouts and Van der Weyden in the St Vincent Panels. Bouts died in 1475.
More revelations on the Panel of the Relic in a future post.
It has never been established which saint or martyr the skull fragment depicted in the so-called Panel of the Relic belongs to. Is it St VIncent of Zaragossa or, as some historians have suggested, Ferdinand, known as the Holy Prince or the Saint Prince (but never canonised), who died as a captive in a Moroccan prison?
Hugo van der Goes, the Flemish artist who painted the St Vincent panels, has provided visible clues that point to another saint, possibly even two, which as far as I know have never been considered before by historians.
While the focus of the Altarpiece is on St Vincent, he is not the only saint or martyr represented in the panels. There are many. In fact, Van der Goes has made “uncovering saints” one of the main themes in the painting. This stems from a connection with the first figure of many representing a saint – in this instance St Ambrose of Milan, depicted in the top left corner of the Friars Panel. More on this connection at another time.
So it should not be assumed that the so-called ‘twin’ figures said to be of St Vincent simply represent that particular saint alone. We are invited to “uncover the saints and martyrs” represented in all of the six panels, as well as other idenities associated with the St Vincent figures.
Van der Goes links each clue to another, as a method of confirming identities and connections. He was influenced in this type of construction by Jan van Eyck who employed the same technique in the Ghent Altarpiece, particularly in the Just Judges panel where the ten riders interlock as jigsaw pieces.
Let’s explore how Van der Goes leads the viewer to discovering the saint associated with the skull fragment. The artist was well versed in producing heraldic decorations for the Burgundian court and the city of Ghent. In 1468 he was commissioned to do so for the marriage of Charles the Bold to Margareta of York and later other works for important occasions.
Aspects of Hugo’s knowledge and experience of heraldic disciplines and terminology feature in the St Vincent Panels. One particular term Hugo has utilised from the language of heraldry is ‘erasure’ which, according to The Oxford Guide to Heraldry, is the tearing off a part of a charge, to leave a jagged edge, and mostly applied to heads depicted with a ragged edge as if forcibly torn from the body.
In another post I pointed out that one of the works of art which Hugo borrowed features from to include in the St Vincent Panels was the Monsaraz fresco known as the Good and Bad Judge, most notably the damaged or ‘erased’ section that formed part of the Good Judge’s right arm and hand. This ‘erased’ or ‘hidden’ motif is utilised in all of the St Vincent Panels in a variety of ways – for instance: men with arms, men without arms, in a literal and military sense. Very few of the figures standing in the back row of the panels are depicted with arms or hands, and if they are, then there is usually a significant meaning to why this is so.
The Panel of the Relic is a typical example. Only the figure of Jan van Eyck doubling up as John the Baptist shows both arms and hands, and even his arms are partly cut off or covered. His two brothers on the back row, Hubert and Lambert, both named after saints, are also armless. The figure of the French prelate and diplomat Jean Jouffroy, twinned with Pierre Cauchon, another French bishop and also a prosecutor in the trial of Joan of Arc, are depicted with their right arm on show and hand on a holy book. Jouffroy later attacked Joan’s ‘saintly’ reputation in a eulogy given in 1459 to Philip the Good, duke of Burgundy, which may explain the symbolism of the hidden arm and underhand motif.
As to any visual reference to St Joan of Arc – yet another French connection – it is found in the patterned surplice worn by Hubert. Notice the stake-shaped arch in the centre and what appears to be rising flames, a reminder of how Joan suffered martyrdom by being burnt at the stake. The flames can also be understood as symbolic of the Holy Spirit.
The kneeling figure in the bright red gown depicts the French king Charles VI, referred to as ‘Charles the Mad’, who was plagued throughout his life with bouts of mental illness. The figure is also representative of Cardinal Henry Beaufort, said to have had a a hidden hand in the prosecution of Joan of Arc, although the absent left hand seemingly supporting the skull fragment also has a connection to the relic itself. Both Beaufort and Charles VI are also presented in Jan van Eyck’s Just Judges panel in the Ghent altarpiece.
As to the skull fragment itself, close inspection shows a ragged edge on its top side. This makes the connection to the heraldic term ‘erasure’ and a reason why Charles VI is holding the relic.
With its spiked back, the ‘torn’ fragment is meant to depict a porcupine and links to the French king’s younger brother, Louis I Duke of Orleans, who was assassinated on November 23, 1407, on the orders of John the Fearless, duke of Burgundy. He was lured to his death on a Paris street in broad daylight after being told his brother wished to meet with him. When he mounted his horse to start on his way a gang of fifteen masked men attacked and fatally stabbed him, cutting off one of his hands in the process, hence the image of his brother Charles depicted with one hand only.
As to the porpupine motif, this represents the chivalric Order of the Porcupine founded by Louis in 1394 to mark the occasion of the baptism of his son Charles of Orleans who was later held captive by the English as a prisoner of war for 25 years.
The Order’s insignia was represented by a gold porcupine standing on a green enamelled oval-shaped base, hence the green cloth base behind the skull fragment. The Order was sometimes referred to in France as the Ordre du Camail and here Hugo van der Goes makes another link to confirm his intended reference to the insignia. Depicted just above the king’s right shoulder is the coat of camel hair worn by John the Baptist. The word-play, camel and camail, is confirmed by the folds in the Baptist’s coat shaped to represent the legs of a camel.
But there is more to link to the Order of the Porcupine. Louis, duke of Orleans, did not enjoy the best of reputations with the people. He had many enemies and is said to have taken his brother’s wife as a mistress. It was also claimed that he dabbled in magic and the black arts, even necromancy. So when we look at the fuller figure in red, there are other clues that point to Louis, duke of Orleans. Saint he wasn’t, it seems.
To the right and slightly above the green cloth is the shape of demonic face with a sharp-pointed nose. It also has an open, laughing mouth with two teeth. The demonic face represents John the Fearless, noted for his long sharp nose, piercing the cameo, and the stabbing of Louis. This motif is also adapted by Hugo from the Monsaraz fresco, shown below.
But take a look at the green cloth to its full extent and we see portrayed another demonic feature, screaming on its way into the fires of hell. The folds in the red garment are angled and accentuated in a descending formation.
Some twelve years later John the Fearless was assassinated in similar fashion on the bridge at Montereau when an attempt to parley with the French dauphin and future Charles VII of France went amiss. One of the dauphin’s escorts panicked and attacked the duke of Burgundy with an axe to his face. The shape of the axe head can be made out in the demonic face of John the Fearless, cleaving his skull through to the socket of his eye.
So where is the saint feature in all of this? Van der Goes is pointing the way back to another Louis and another king, the only French king canonised by the Cathoic Church, Louis IX.
It was Louis who built a dedicated chapel, the Sainte-Chapelle, as a shrine to house the many relics associated with the life of Christ presented to him by Emperor Baldwin II of Constantinople. These included the Crown of Thorns and a fragment fo the True Cross, so the skull fragment held by king Charles VI can also be understood as a relic of St Louis and the porcupine’s thorns as the Crown of Thorns placed on the head of Christ during his Passion.
In all of this there is another connection to Jan van Eyck and a folio attributed to him in the Turin-Milan Hours depicting the Birth of John the Baptist. The minature refers to many of the items Louis IX received from Baldwin II and were kept in the Sainte-Chapelle. More recently, the Crown of Thorns was rescued from its sanctuary when the Paris cathedral of Notre Dame caught fire in April 2019.
The Order of the Porcupine is not the only chivalric company represented in the St Vincent panels. There are several, and at least three others in the Panel of the Relic.
• More on this and other connections to be discovered in the Panel of the Relic in my next post.
One of the world’s greatest masterpieces, and surely the most stolen piece of art of all time, Hubert and Jan van Eyck’s Adoration of the Mystic Lamb, also known as the Ghent Altarpiece, has a new €30m (£26m) glass-case home. Details at this link.
In my previous post I pointed out the connection in the Panel of the Friars to the Three Kings who travelled to Bethlehem with gifts for the new-born Saviour. The Magi motif is repeated in different ways in all of the six sections of the St Vincent Panels. It is why each panel is structured with groups of three figures in the forefront.
However, there appears to be an exception to this format in the Panel of the Knights where four knights are shown, and not three. The knights represent four sons of King John l of Portugal. Kneeling at the front is Henry (the Navigator). Behind him is Peter, Duke of Coimbra. Next in line is John, Constable of Portugal, backed by the ‘Holy Prince’ Ferdinand wearing the steel helmet.
I’ve mentioned in past posts that the St Vincent Panels is an altarpiece inspired by the Ghent Altarpiece produced by the Van Eyck brothers, Jan and Hubert, and probably the work of Hugo van der Goes and not the Portuguese painter Nuno Gonçalves it is currently attributed to.
The Panel of the Knights is a section inspired by another famous painting by Jan van Eyck – The Arnolfini Portrait, now displayed in London’s National Gallery. It is from this painting that Van der Goes makes the connection to the Three Kings, or Magi.
The Arnolfini Portrait is no only linked with an Italian merchant named Giovanni Arnolfini who had business connections in Flanders – but it also relates to Portugal and the House of Aviz. Philip the Good, duke of Burgndy is depicted alongside his third wife, Isabella, daughter of King John l of Portugal and sister to the four brotherly knights.
The Arnolfini Portrait is noted for its large mirror, centrally placed. It shows a mysterious reflection. The backs of the man and woman are clearly identifiable, but the other figures – there are three – are not. Some people speculate that the figure in red may represent Jan van Eyck painting the portrait.
Certainly, other artists of the time understood the composition of the reflection in the mirror, notably Rogier van der Weyden, but some 80 years later Joos van Cleeve revealed the mystery in his panel painting of The Annunciation which also depicted a scene of the Three Wise Men behind the open door of a tabernacle. So Van Eyck’s three figures represent in this sense the Magi arriving to pay homage to the infant-king and Philip and Isabella arere portrayed as a type of Joseph and Mary.
Van Eyck’s tabernacle is housed behind the mirror. It probably contained the miraculous ‘bleeding Host of Dijon’ given to the couple as a gift by Pope Eugenious IV, and therefore considered the Real Presence of Christ by the Catholic Church.
In another sense, Isabella was about to or had recently given birth to her third son, Charles Martin, later nicknamed The Bold, and so the Wise Men or Three Kings had come to pay homage to the new-born heir.
The Panel of the Knights is primarily intended to depict the reflection seen in Van Eyck’s mirror. The first three knights represent the Magi who followed the Star of Bethlehem. The bearded fourth knight, the Holy Prince Ferdinand, is depicted as an image of Christ, his steel cap representing the tomb in which he was laid to rest. Its highlight is matched to the beam of light above the head of one of the kings in Van Eyck’s mirror reflection. The red hat and jacket worn by John can also picked up in the refelection, as can the blue and black colours in the sleeve of Henry’s undercoat.
That the wise men were guided by a star is echoed in the celestial symbols attached to the garments of the knights. The most notable is the quadrant for measuring angles worn on Henry the Navigator’s elbow.
This brief presentation is simply to reveal the connection to The Arnolfini Portrait. There is much, much more to ‘break open’ but at another time.
Meanwhile, there is a detailed analysis of the Arnolfini Portrait at my other websitearnolfinimystery.com
This detail is from the Ghent Altarpiece – produced by Jan and Hubert van Eyck – and forms part of the centre panel known as the Adoration of the Lamb. The young man looking up represents the Roman Emperor Constantine experiencing a vision he had prior to a battle with another Roman Emperor, Maxentius. His vision entailed seeing a Christian cross appearing out of the sun along with the words: “Through this sign you will conquer”. Constantine adopted the symbol and ordered it to be marked on the shields of his soldiers. The next day Constantine proved victorious against Maxentius at what is known as the Battle of the MIivian Bridge.
A younger version of Constantine is also included in the Pilgrims panel of the altarpiece.
Hugo van der Goes paid tribute to Jan van Eyck by incoporating many features from the Ghent Altarpiece into the St Vincent Panels. Although this work is attributed to the Portuguese painter Nuno Gonçalves, there is evidence to argue that Van der Goes instead was the artist.
Constantine’s appearance in the two panels of the Ghent Altarpiece is referenced by Van der Goes in the Friars section of the St Vincent Panels, though not apparent at surface level because the clues are intentionally cryptic, as is most of the iconography used to assist identificaton of the six figures.
Like Van Eyck’s Just Judges panel, four identities are given to each figure in the Friars panel. To add to the mix and assist with identification of figures and themes, Hugo also made references to other painters and their work.
After visiting Ghent in 1495 the humanist Hieronymous Münzer wrote of a famous Flemish painter who had “been driven mad and melancholy” in his attempt to “equal the Ghent Altarpiece in his own work”. It’s likely that painter was Hugo van der Goes. Münzer’s claim is supported by a report recorded in the Chronicle of the Red Cloister stating Hugo had suffered a breakdown and made an attempt to take his own life.
Historians date Gaspar Ofhuys’ entry in the monastery’s chronicle between 1509-1513. However, Van der Goes, who is said to have died in 1482, was still alive when Ofhuys likely recorded Hugo’s setback because the artist refers to the chronicler and the event in several of his later paintings after his recovery.
In fact, Gasper Ofhuys is one of the identities given to the kneeling man in the forefront of the Friars panel(pictured above).
His black cap identifies with a missing section from a painting at Monsaraz in Portugal titled The Good and Bad Judge(see below). The fresco was sourced by both Van der Goes and Van Eyck for their respective altarpieces. The cap applies to two of the other identities the figure represents. But what is its significance when applied to Ofhuys? Could it point to the blackcap bird known to perch and repeatedly twitter. A gossip, and perhaps even a complainer?
There are other ‘buried’ clues to confirm the identity of Gaspar Ofhuys, one of them relates to the numeral 3, as in Trinitarian or, as mentioned in a previous post, to the Three Crowns – the group of three figures standing at the back – Petrarch, Dante and Boccaccio. The three friars are also positioned to represent three ‘wise men’ travelling from the East to pay homage and bring gifts.
For Caspar, read Gaspar. The friar to his left can be understood as Melchior and the bearded friar as Balthazar. The subtle reference to the Magi is part of a ‘confession’ theme in the panel and links to the time of Hugo’s attempt at self-harm on his return with a group of other friars to the Red Cloister monastery after making a pilgrimage to the Shrine of the Three Kings in Cologne Cathedral.
Gaspar Ofhuys was not part of the group. He claims the account of Hugo’s breakdown was related to him by another friar, named Nicholas, Hugo’s half-brother.
It can now be understood that the Three Crowns reference was a pointer to the Three Kings or Magi. Constantine’s vision, the Sign of the Cross, represents the self-blessing action made by Christians to confess their belief in the Trinity – Father, Son and Holy Spirit.
Why do the St Vincent Panels show a double image of the martyred deacon in the two centre frames, and almost identical in presentation? What or who inspired this ‘mirror’ effect. Is it designed to prompt the viewer to contemplate and ‘reflect’ on a particular mystery, or does it simply relate to two episode’s in St Vincent’s life and perhaps those who surround him?
Standing near to the deacon in the Panel of the Prince is the Hugo van der Goes (right), and probably the Flemish artist responsible for the painting and production of the St Vincent Panels, and not Nuno Gonçalves the Portuguese artist the work is currently attributed to.
I would go as far as to say that the St Vincent Panels may be the painting the German humanist Hieronymous Münzer mentioned in his diary after visiting Ghent in 1495, and attributed to “another great painter” who was “driven mad and melancholy” attempting to emulate Jan van Eyck’s Ghent Altarpiece. He did not mention Hugo by name, but historians generally agree that Münzer was referring to Van der Goes who suffered a breakdown late in his life.
Hugo has made several references in the St Vincent Panels to the work of Jan van Eyck – also to other Flemish painters. Jan and his two brothers Hubert and Lambert are presented in the Panel of the Relic.
Van der Goes has sourced the Ghent Altarpiece for his two versions of St Vincent, deacon and martyr. Jan van Eyck included two tonsured deacons standing next to each other in the central panel of the Ghent Altarpiece, walled in between a line of three popes and a row of seven bishops (right). The two deacons are St Stephen and St Lawrence. The latter shares a common birthplace with St Vincent. Both were born in Huesca in Spain.
St Stephen, who was stoned to death, is identifiable by the rocks gathered in his dalmatic vestment, and the collar resting on his shoulders, studded with precious stones. St Lawrence holds a Gospel book but can be more readily recognised by the pattern on his collar, a reference to the manner of torture he suffered when he was placed on a gridiron with hot coals underneath. Another clue is that Lawrence is turned facing away from the direction most of the group are looking toward. This is a reference to the length of time he was being roasted and quipped to his torturers: “I’m well done on this side. Turn me over!”
Van Eyck placed these two particular deacons together for a reason, St Stephen was martyred in Jerusalem but eventually his relics were brought to Rome and laid to rest alongside those of St Lawrence, martyred in Rome. It is said that when Stephen’s bones were reinterred, Lawrence’s relics miraculously moved to one side to accomodate those of Stephen’s – perhaps another reason why Lawrence is shown turned towards his neighbour. The two deacon’s remains are interred under the high altar in what is now known as the Basilica Papale di San Lorenzo fuori le mura.
Although there is much mystery about the origin and history of the St Vincent panels, the assumption that the six sections formed part of a larger altarpiece dedicated to St Vincent in Lisbon Cathedral is widely promoted and referred to as the “Vicente thesis”.
At some time during its history, the six panels were presumed lost – as was the rest of the Lisbon Cathedral altarpiece – until they were discovered in the 1880s at the monastery of Saint Vicente de Fora in Lisbon. This find has led some researchers to consider the six panels were never part of the Cathedral altarpiece dedicated to St Vincent, and instead formed a single work commissioned solely for the São Vicente de Fora monastery. The monastery was founded in the 12th century by Portugal’s first king Alfonso Henrique for the Augustinian Order. It was rebuilt between 1582 and 1629, which may explain why the St Vincent panels were discovered “covered in dirt and soot” among scaffolding some 300 years, perhaps having been relocated during the reconstruction of the monastery – the monastery descibed as being “outside the walls”, just as the Basilica of St Lawrence in Rome is also descibed as being “outside the walls” (San Lorenzo fuori le mura).
So has the artist who painted the St Vincent Panels provided a clue to the location the polyptych was originally commissioned for by linking the two deacons in Van Eyck’s work to the double image of St Vincent and the fact that the two churches are referred to as being “outside the walls”?
Although a Vicente theorist, the Portuguese art historian Reynaldo dos Santos (1970) proposed the retable was destined for the monastery of São Vicente de Fora because he considered the only obvious relics of St Vincent depicted in the panels were the skull fragment and coffin, which were in possession of the monastery and not Lisbon’s cathedral.
Another point to consider is that Hugo van der Goes – if he was responsible for painting the St Vincent Panels – was also a lay brother from 1477 at the Rood Klooster (Red Cloister), an Augustinian priory near Brussels. It was around this period that he suffered a breakdown and attempted to self-harm. The method and instrument he used is illustrated in at least three of his later paintings including the St Vincent Panels.
The Red Cloister takes its name from the red tiles of the roof which could explain why the two St Vincent figures are wearing red hats – the artist confirming the work was produced during the time he lived at the priory. Or is this simply a hat-tip to Jan van Eyck’s self portrait of a Man in a Red Turban, shaped as a red rooster and a pun on Red Klooster? Perhaps both.
St Vincent’s red hat could also be viewed as a pointer to another painting by Jan van Eyck – the Arnolfini Portrait and its prominent mirror on the wall. Not only does it reflect the backs of the two main subjects but also shows two or possibly three other obscure figures in the room, one of whom is considered to be Van Eyck in the process of painting the couple and wearing his red hat.
This famous painting was echoed in a manuscript illumination attributed to Loyset Liédet and forrms part of a book titled Histoire de Charles Martel. The compiler of the text is thought to have been Jean Wauquelin, but the minature actually features David Aubert who transcribed or translated the text, and is shown wearing a similar red hat to St Vincent. His pose is also reminiscent of the saint as seen in the Panel of the Archbishop.
This folio provides the link to identifying two more of the figures in the St Vincent Panels. The man holding a book and standing at the right end of the line is Jean Wauquelin. Turning his head toward Wauquelin is David Aubert, minus his red hat. Van der Goes has ‘translated’ the hat onto the head of the figure in front who is Anthony of Burgundy, Aubert’s main patron and the favourite bastard son of Philip the Good. Anthony also features in the Loyset Liédet illumination. He’s the figure in the blue gown, wearing a gold chain and pointing to Aubert’s work.
The facial features of St Vincent are adapted from the Good and Bad Judge fresco in the old town hall of Monsaraz, where Van Eyck visited during his year-long diplomatic excursion to Portugal. The judge’s double-face or turned head was probably another feature what partly inspired Jan’s portrayal of the two deacons in the Ghent Altarpiece.
My previous post pointed out the connection between the two end panels of the Merode Altarpiece and the two end sections of the St Vincent Panels.
Another link is the pair of pincers seen on the workbench in the St Joseph Panel, used to identify the figure standing next to the coffin in the Relic Panel. He is Jan van Eyck’s brother, Hubert. On Hubert’s left is another brother, Lambert van Eyck. The three brothers, Jan, Hubert and Lambert were all artists.
The circumstances of Hubert’s death are unknown. He died in September 1426 and was buried in St Bavo’s Cathedral in Ghent, next to his sister Margaret. Wikipedia states that one of his arms was preseved in a casket above the portal of St Bavo. Hubert never married and it is thought he may have belonged to a minor order of the Church.
When Jan van Eyck died in July 1441 he was buried in the graveyard of St Donatian’s church in Bruges. A year later, his brother Lambert organised for Jan’s body to be exhumed and reinterred inside the church next to the baptismal font.
Rogier van der Weyden, a contemporary of Jan van Eyck, recorded this new place of rest in the Seven Sacraments Altarpiece. In fact, Jan is depicted in all of the seven scenes. Hubert and Lambert also show up, standing behind Jean Jouffroy – the duke of Burgundy’s almoner at the time – between the two scenes depicting Baptism and Confirmation. The third figure alongside Jouffroy is Jan van Eyck to complete the trio of brothers.
Hugo van der Goes has repeated this arrangement of the four figures in the Panel of the Relic.
Another painting attributed to Van der Weyden and his workshop that features the three Van Eyck brothers is The Exhumation of Saint Hubert, housed at the National Gallery, London. Hubert is shown wearing a cotta over his red cassock, and in conversation with the Burgundian prince Charles the Bold. But seemingly Hubert’s left arm has been overpainted in a neutral grey colour, covering the cassock’s red sleeve.
Could this overpaint signify and confirm the claim that Hugo’s left arm was removed and put on display in a casket after his death?
So where does the pair of pincers come into this? Hugo van der Goes has matched them, to the shape of Hubert’s collar. They also double up as the shape of a bow – hence the ‘double collar’. The doubling-up reference is a pointer to the legend of the conversion of Holy Hubertus, or St Hubert.
When Hubert’s wife died giving birth to their son he retreated from court life for a pastime of hunting in forests. One Good Friday morning while pursuing a stag, the animal turned to face Hubert who was shocked to perceive a crucifix fixed between the stag’s antlers. A voice then warned Hubert that he needed to turn back to God and directed him to seek out Lambert, a bishop at Mastricht, who became his spiritual director.
Hubert van Eyck’s red collar represents both a hunter’s bow and the stag’s antlers. The anguished face of Van Eyck represents his final agony shared with the suffering Christ on his Cross. Jan van Eyck was away on ducal business, possibly in England, when his brother Hubert died. So the burial arrangements were most likely undertaken by Lambert van Eyck. It was Lambert who also arranged for the translation of Jan’s remains to be moved inside St Donatian’s church.
There are very few extant examples of Hugo’s work. He was commissioned to produce the Ghent Altarpiece but after his death the work was offered and completed by his brother Jan. Another painting considered to be by Hubert is The Three Mary’s at the Tomb. What is noticeable in this work is the wooden coffin lid laid across the open stone tomb. Christ has already risen.
The Resurrection theme, the open coffin and lid is echoed in the two end frames of the St Vincent Panels, the lid and coffin both upright. Van der Goes has placed the coffin lid next to the figure of Robert Campin in the Friars Panel, while the upright coffin stands beside Hubert van Eyck in the Relic Panel. There is a reason for this placing, Van der Goes is acknowledging a similar Resurrection scene (right) from Campin’s Sielern Triptych which shows Christ stepping out from his stone tomb, its lid askew, and suggesting that perhaps this was the inspiration for Hubert’s version. And instead of Three Marys portrayed beside the tomb, Hugo has shown three Van Eyck brothers.
A common theme throughout the St Vincent Panels is the translation of relics, of bodies and bones, and not just those of St Vincent. This theme is also extended to translation in other senses – of words and languages –crypt to cryptic – visual to verbal, of shifts in power and authority, of inspiration, both human and divine.
Although the St Vincent Panels are generally attributed to the Portuguese painter Nuno Gonçalves, my choice for the painting the Panel of the Relic would be Hugo van der Goes. It’s the same choice that Dutch painter Rembrandt made some 170 years later when he ‘translated’ many references to Hugo’s work in his etching known as The Death of the Virgin.
This view of Shaftesbury’s famous Gold Hill was painted by artist Steve Crisp. It’s one of the ‘postcard’ scenes used in a wide range of jigsaws produced by Gibson Games.
It can also be said that “Jan van Eyck was here!” as he made telling references to the hill and Shaftesbury itself in the Ghent Altarpiece.
Not only that, the elevated view from Gold Hill is a pointer to the high persective position Van Eyck adopted for the five inner panels in the lower register of the Ghent Atarpiece.
Is it possible that the expansive panorama from the height of Shaftesbury inspired these viewpoints?
The elevation theme also points to Henry Beaufort, one of four identities designated by Jan to the rider on the white horse in the Just Judges panel. A second identity is Jan’s brother Hubert who died in 1426, coincidently, the same year Henry Beaufort was elevated to the rank of Cardinal by Pope Martin V.
Could it be that Jan van Eyck was in England that same year, commissioned to paint the Cardinal’s portrait?
Canterbury, Cirencester and Wells are other English towns referenced in the Ghent Altarpiece. All were popular pilgrimage destinations at the time. It is known that Jan was sent on pilgrimage on behalf of the Duke of Burgundy, Philip the Good. The ducal accounts show in August 1426 that Jan was paid for a pilgrimage he made in lieu of the duke, but the destination is not recorded.
Earlier that year, on March 12, Henry Beaufort was forced to resign as Lord Chancellor of England. Two months later he was created Cardinal on May 24. The Ghent Altarpiece reveals that Van Eyck was in Shaftesbury the same month. Could it be that it was around this time that Van Eyck painted Beaufort’s portrait, not in his cardinal’s robes which were presented to him in Calais the following year, but in a red ‘woolsack’, a sort of symbolic ‘sackcloth’ to acknowledge his faults while Lord Chancellor?
It’s interesting to note that the sleeves of the robe are shaped as donkey’s ears, the humble donkey on which Jesus entered Jerusalem. It was around this time that Beaufort had expressed a desire to make a pilgrimage to the Holy Land. But the ‘ears’ also probably point to Beaufort’s reputation of stubbornness and refusal to always listen. It’s not without reason that Van Eyck depicted Beaufort as one of the Just Judges with his ears covered! In the portrait painting he is shown with his hair razored and shorn – a sign of repentance – and prepared to listen with his ear uncovered. The donkey’s ears also show up in the pattern of the gown of St Cecilia depicted in the Musical Angels panel of the Ghent Altarpiece.
Further investigation of The Goldsmith in his Shop by Petrus Christus leads me to advocate a new scenario for this painting, and one which relates to Jan and Hubert van Eyck’s Ghent Altarpiece. It introduces three new identities not mentioned in my earlier presentation.
The first is Jan van Eyck, the gentleman central in the frame; the second is Joan/Jean Beaufort, illegitimate daughter of Henry Beaufort; the third is Edward Stradling, the man chosen by Henry Beaufort (represented by the goldsmith) as a husband for his daughter. Stradling is represented in the guise of Jan van Eyck who referred to the marriage in the Ghent Altarpiece.
Just as van Eyck used several identies for each rider in the Just Judges panel of the Ghent Altarpiece, so Petrus has done likewise.
Genealogists identify Jean’s mother as Alice Fitzalan, whose husband John Cherleton died in 1401. But Jan van Eyck knew different and both the Ghent Altarpiece and the Petrus painting identify the mother as someone other than Alice.