Here’s more information about the Panel of the Friars, the first of six sections that make up the polyptych known as the St Vincent Panels and now housed at the National Museum of Antique Art in Lisbon Portugal.
As explained in earlier posts, each of the six figures have been given mutliple identities, seemingly four. This is a clue to the artist Hugo van der Goes’ emulating a similar method of construction used by Jan van Eyck when he applied four indentities to each of the ten riders in the Just Judges panel of the Ghent Altarpice.
Aside from any other suggested identities provided previously, the three men standing on the back row can be identified as the group known as the Three Crowns, major writers associated with the early Italian Renaissance: Francesco Petrarch, Dante Alighieri and Giovanni Boccaccio. The latter is probably best known for his collection of tales known as The Decameron, and subtitled Prince Galehaut.
Boccaccio is ‘twinned’ or paired with Dante Alighieri for the reason that it was Boccaccio who dubbed Dante’s Comedy“Divine”, so prompting The Decameron to be nicknamed “the Human Comedy”.
Another clue to Boccaccio’s identity is the translation of his name as “big mouth”, depicted by the rim of the hat worn by the man placed in front of him, on which is a fiery sun symbol. In this instance the symbol refers to the location where The Decameron tales take place – Fiesole (fire sun) –“twin hills” that overlook Florence in Italy.
The sun motif also connects to Dante’s Divine Comedy and the Fourth Sphere of Paradise, the so-called sphere of the sun where Dante and Beatrice meet the teachers of Wisdom, Saint Thomas Aquinas being one of them, and who is another identity shared with the figure of Dante.
In my previous post I mentioned that the likeness of Aquinas was sourced from a painting by the Italian artist Sandro Botticelli. Hugo van der Goes makes another connection to Botticelli through the Dante figure. The Florentine artist also produced a series of illustrations – 92 still survive – to be included in a manuscript of the Divine Comedy. Another connection is the vast influence the work of Aquinas had on Dante.
One of the challenges for anyone attempting to identify the 60 persons contained in the six sections representing the St Vincent Panels, is realising the artist has applied more than one identity to many of them. Very rarely is any figure a stand-alone representation of who they appear to be at surface level.
The artist – and my preference is Hugo van der Goes, not Nuno Gonçalves – took his lead from Jan van Eyck’s Ghent Altarpiece, particularly the Just Judges panel in which four identities are applied to each rider.
Perhaps in this way Hugo not only intended to pay homage to Van Eyck but also echo the emergence of Portugal’s “Age of Discoveries” which began at the start of the 15th century, and so invite the viewer to explore and navigate their way around the altarpiece, panel by panel, increasing their knowledge and understanding of the artist’s mapping and connectivity techniques as they do so.
I have commented about the Panel of the Friars in previous posts and mentioned that one of the identities given to the figure standing extreme left in the back row is Pontius PIlate, the Roman governor who gave up Jesus to the Jews to be crucified.
The figure also represents Pope Boniface VIII. Alongside him is Saint Thomas Aquinas. Not only can these two figures be identified from other paintings but also by the iconography Van der Goes has embedded and connected to the group.
I can’t date the painting of Pope Boniface VIII shown below; neither do I know the name of the artist. But excluding the papal tiara there is a distinct resemblance to the first man on the back row.
Another person who can be added to the mix is St Ambrose of Milan. He is the third identity applied to the first figure in the back row. Like Pilate, Ambrose was also a Roman Governor. To complete the set of Roman governors – all men of authority – is Pope Boniface VIII, consecrated bishop of Rome in 1295.
The second figure in the back row can be matched to the Thomas Aquinas portrait by Sandro Botticelli dated 1481-1482. Of course, date attributions are not always accurate, but if this is close to the mark then it also helps to date the Panel of the Friars to a period after Botticelli’s painting and probably before a time Hugo is thought to have died around 1482. There is no record of Hugo’s death except a vague mention without a date in a chronicler’s journal said to have been written between 1509 and 1523.
There is a noticeable difference in the eyes of the two portraits. Hugo’s version has embedded the eyes of Botticelli from another painting – the Monforte Altarpiece. He did this not only to make a connection to Botticelli’s Uffizi version of the Adoration of the Magi because it portrays Van der Goes, but for two other reasons which link the work to the Panel of the Friars.
The identity of the Aquinas figure can be confirmed by iconography that forms part of the white-haired Cistercian friar who, in this instance, is another saintly figure, Bernard of Clairvaux. The same applies to the portrayal of Boniface VIII. He too is connected to the Cistercian figure, not only portrayed as Bernard of Clairvaux but also as Bartolomeo Platina , the Vatican librarian who compiled and wrote a book on the Lives of the Popes (1479).
• I shall explain more about these group of figures and how they connect to each other in my next post.
When Hugo van der Goes set about including choristers in two panels of the St Vincent polyptych there can be no doubt he was inspired by the two prominent panels of singing and musical angels that Jan van Eyck had painted in the Ghent Altarpiece. However, instead of angels, Hugo preferred Flemish painters in the guise of choristers.
Another reason was to point to the period in his life after he joined the Rood Klooster, an Augustinian community, in 1475 and suffered a mental breakdown some five years later. To aid Hugo’s recovery the prior Thomas Vessem arranged regular choral sessions as part of the painter’s therapeutic treatment. This rationale was based on the biblical account of David playing his harp for Saul who was plagued by an evil spirit. Whenever the evil spirit bothered Saul, David would play his harp, Saul would relax and feel better, and the evil spirit would go away.(1 Samuel 16 : 14-23)
Rembrandt picked up on this in his etching referred to as Death of the Virgin (1639), except that the person in the bed is Hugo van der Goes and not the Virgin Mary! Hugo is surrounded, not by choristers or musicians, but by the many characters from the paintings he produced after his recovery.
Centuries later, and based on a chronicle account by Gaspar Ofhuys, a monk who resided at the Rood Klooster during Hugo’s time there, the Belgian artist Emile Wauters created a painting in 1872 showing a manic Hugo seated and listening to four choristers and two musicians.
The work even drew comment from the Dutch painter Vincent van Gogh in letters he wrote to his brother Theo, stating he likened his own appearance to the depiction of Hugo.
So does Hugo’s pointer in the St Vincent Panels to the treatment he received after his breakdown suggest that the polyptych was completed after his recovery, sometime during the years he was at the Rood Klooster, between 1475 and the less-than-certain date of 1482 given for his death?
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 dalmic 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.
Having already identified references to the Turin Shroud in some of Jan van Eyck’s paintings, notably the Arnolfini Portrait and the Ghent Altarpiece, it came as no surprise when I discovered that Van Eyck’s Portrait of a Man in a Red Turban is another work linked to what is claimed to be the burial shroud of Jesus. The painting is dated 1433, a year after the unveiling of the Ghent Altarpiece, and the two works are connected.
The website of the National Gallery in London, where the portrait is housed, provides a high-res image, some key facts and a brief description. Wikipedia also publishes a page with details, particularly about the inscription on the frame of the painting.
The most obvious focal point of the portrait is the sitter’s vivid red chaperon and its intricate folds, but there is a more subtle feature paired with the headwrap – the Christ-like face unveiled on the sitter’s left temple.
The modified chaperon is contoured in ways that refer to the passion and death of Jesus, particularly his denial by Peter, the disciple who had been entrusted earlier with the mission to build Christ’s church on earth and pasture his flock. After Jesus was arrested and taken into custody, Peter denied he knew him three times when questioned. At the third denial Peter wept bitterly when he remembered the words Jesus had spoken to him earlier: “Before the cock crows, you will have disowned me three times.” (John 13:38)
Van Eyck has portrayed himself as a rooster staring out from the darkness. The red chaperon represents the bird’s comb, the black coat its body, the sharp nose its beak, while the piercing, hooded eyes keep careful watch on all who come near to its roost. So is Van Eyck issuing a wake-up call of some kind with this portrait, a possible warning or reminder of betrayal? The rooster is an iconic emblem of Christianity. Also, as a weathercock and a familiar sight on church towers, it indicates which way the wind is blowing.
Jan van Eyck was known to travel abroad on missions for the Duke of Burgundy, Philip the Good. It is possible that one such excursion brought the artist to England in 1426. Ducal records show that Van Eyck was paid for trips that year on assignment for Philip. One such payment was made in October, perhaps to cover his expenses for an upcoming journey. It is notable that Jan was absent when his brother Hubert died on December 18th that year.
In England, Van Eyck’s turban or chaperon would be called a cocks-comb and, presuming he did travel there on a secret mission for the Duke of Burgundy, he would be familiar with the term. So what would be Jan’s reason for emphasising this feature in the portrait, apparently painted some seven years later? In the first instance the comb is meant to combine with the temple feature – TEMPLE and COMB. When the two words are cleaved or joined they form TEMPLECOMB(E), which identifies a small village in Somerset.
Van Eyck would often employ punning examples in his work. His name Eyck as a signature motto on the frame of this painting is an example – AIC IXH XAN (AS I CAN). That he used Greek letters for this is not without reason and provides a further clue to unravelling the painting’s narratives and features disguised in the turban.
Jan’s motto is not only a pun on his name but can be also understood as “AN ICON”, or even “JAN ICON” – a religious work of art – its iconic features or themes to be found in the red chaperon. The icon theme also connects to the village of Templecombe and what is known as the Templecombe Head, a painting on wooden boards, discovered in the roof of an outhouse in the village in 1945. It is claimed by some to represent the head of Christ with a link to the Turin Shroud. Details of its discovery and further information at this link.
That the painting was discovered beneath the roof of an outhouse makes another connection to the rooster theme in Van Eyck’s portrait. The building is thought to have been part of the Templecombe Preceptory established in the village by the Knights Templar in 1185. After the suppression of the Knights Templar in 1307 the Preceptory was granted to the Knights of St John until the Dissolution of the Monasteries in the 16th century. The Templecome Head is considered to date to the 13th century and is now displayed in the village Church of St Mary. It is also referenced by Jan van Eyck in the Ghent Altarpiece and in this way connects to his Portrait of a Man in a Red Turban.
Two panels from two altarpieces, both possibly by the same artist – Hugo van der Goes! On the left is the Panel of the Knights from the set of six frames known as the St Vincent Panels. On the right is the Donor Panel from a set of four known as the Trinity Altarpiece.
The right panel was probably produced c1477 while the left panel is undated but likely completed in the early 1470’s. The donor panel is attributed to Hugo van der Goes while the Portuguese painter Nuno Goçalves is credited with painting the St VIncent Panels. However, I would judge that both panels are by Hugo van der Goes.
The four principal figures in the Panel of the Knights are generally identified as four sons of King John l of Portugal: Henry the Navigator (kneeling), Peter Duke of Coimbra (in green), John Constable of Portugal (in red), and Ferdinand, wearing the steel helmet.
Certainly, the four knights have second identities, perhaps more. It’s a technique Jan van Eyck applied to the many figures in the Ghent Altarpiece and which Van de Goes tried to emulate, In fact, in the Just Judges panel Van Eyck gave each of the ten riders four identities! In the Arnolfini Portrait he morphed himself with the identity of the Duke of Burgundy.
Van Eyck’s influence is also seen in the donor panel of the Trinity Altarpiece and reminiscent of the Angel Musicians scene from the Ghent Altarpiece.
According to some researchers, Henry the Navigator pops up in two places in the St Vincent Panels: as the moustached man wearing the black bourrelet and standing alongside St Vincent in the Panel of the Prince, and secondly, as the foremost kneeling knight in the the Panel of the Knights, grey haired and without a moustache. The latter identification seems the most plausible, especially as he is grouped with three of his brothers.
The Panel of the Knights has a somewhat liturgical feel about it. Their coats of purple, green, red and blue could be said to represent the colours of liturgical vestments. The four men in surplices standing at the back resemble choristers, although in fact they are Flemish artists, identified left to right as Lambert van Eyck, Jacques Daret, Rogier van der Weyden and Dieric Bouts. They are likely to be lined up in order of their passing with Bouts being the last of the quartet to join the “celestial choir”. He died in May 1475. Could this feature provide an indication to dating the panel?
The four Portuguese princes or infantes were also dead prior to the painting, Henry (the Navigator) being the last of the brothers to survive. He died in 1460.
So what connection does this panel have with the Trinity Atarpiece panel? That the same artist was probably responsible for both works provides an important clue in discovering the second identity given to Henry the Navigator. The two kneeling figures are similar in features. We know the identity of the kneeling donor in the Trinity Panel. He is Edward Bonkil, the Provost of Trinity College Kirk in Edinburgh, Scotland. The Bonkil coat of arms appears on the angel’s chair: three buckles surrounding a chevron.
The same motif is disguised within the kneeling figure said to represent Henry the Navigator, except that it refers to the second identitiy given to Henry – that of another member of the Bonkil family, and likely Edward’s elder brother, Alexander. Three buckles feature on the belt, while the shape of the chevron (a rafter) is formed by the hands joined at the fingertips.
Although similar in features to Edward, Alexander’s hair is grey. His nose is not as sharp as his sibling’s but we have to take into account that the portrait is also morphed with Henry whose nose is pointed.
I’m now beginning to consider that the St Vincent Panels attributed to the Portuguese painter Nuno Gonçalves may instead be by the Flemish painter Hugo van der Goes who had “been driven mad and melancholy” in his attempt to “equal the Ghent Altarpiece in his own work”, according to what the humanist Hieronymous Münzer wrote when he visited Ghent in 1495.
Be it Gonçalves or Van der Goes who had brush in hand, there is certainly a strong Flemish influence to be found in the St Vincent Panels. Not only are there portraits of at least seven Flemish artists, the panels also incorporate several references to the Ghent Altarpiece and other Flemish works.
A close associate of Hugo van der Goes was Dieric Bouts (pictured), one of the Flemish portraits in the SVP. Bouts was famous for his work known as the Altarpiece of the Blessed Sacrament, produced for and still housed in St Peter’s Church, Louvain. Hugo, or was it Nuno, adapted one of the triptych’s panels (shown below) as the basis for the Panel of the Friars in the St Vincent Panels.
The two men fitted out as friars are in fact two theologians associated with the original Louvain University, Johannes Varenacker and Egidius Bailluwell, who were assigned to assist Dieric Bouts on theology content in the painting.
The bearded friar was inspired by the biblical figure of Abram whose right hand is raised in blessing (as in the SVP). Even his cream-coloured cloak is matched. The cloak covers Abram’s left hand. This motif has been transferred to the central friar portrayed as Varenacker. The foremost friar is represented by Bailluwel.
The ‘twins’, the two lookalikes behind the bearded friar, are mirrored by the men guarding the armoured king of Sodom and his white horse – two Dieric’s, like father, like son – both artists!
The king of Sodom is also name-checked in another of the St Vincent Panels, the Panel of the Archbishop. He’s the kneeling knight to the right of St Vincent.
One of many questions asked about the St Vincent Panels is: Why are there so many figures crammed into the panels and who do the men standing in the back rows represent?
It’s as if each panel is divided into two sections – front stage and back stage. In all there are a total of 60 figures in the panels. The St Vincent figure is featured twice and central around which the other 58 figures are gathered, perhaps explaining why the painting is sometimes referred to as the Adoration of St Vincent.
A scene akin to this is the central panel in the lower register of the Ghent Altarpiece – the Adoration of the Lamb. That an adoration scene is common to both works is not without coincidence. Both paintings drew inspiration from the Monzara fresco known as The Good and Bad Judge. Jan van Eyck and his brother Hubert were the first to incorporate elements of the freso in their famous work. The painter of the St Vincent Panels knew this and followed the example of the Eyck brothers, except that he also drew further inspiration from the Ghent Altarpiece which had been completed in 1432.
There is little doubt that Jan van Eyck visited Monsaraz during one his diplomatic excurrsions to Portugal. The infamous stolen Just Judges panel of the Ghent Altarpiece points to the Good and Bad Judge fresco in Monsaraz. The Knights of Christ panel references Monsaraz castle and its Templar connections. The Hermits panel, is a pointer to the caves in the area adopted as hermitages. The Pilgrims panel is probably the most interesting. It depicts St Christopher leading pilgrims across the river, probably the Guadiana that borders Spain and Portugal and runs close to Monsaraz.
With his collared hair and flowing beard, St Christopher, reputed to stand over seven feet tall, has the appearance of a hairy dog. Van Eyck has even given the saint’s nose a shine. Closer inspection of others in the pack with their squinting eyes suggests they too have a-bit-of-the-dog about them.
The explanation is that in Eastern Orthodox iconography St Christopher is represented with the head of a dog. Apparently it came about from a mistranslation of the latin word Cananeus which means Canaanite (Cana in Galilee is where Christopher, who was originally named Reprobus, is said to have come from). Along the way Cananeus became misinterpreted as Canineus (canine). There was also a belief that a race of people with a head of a dog really did exist at one time!
The adjective describing someone as having the head of a dog, or jackal, is cynocephalic, and it is this term that Van Eyck has taken and linked to local landmarks near to Monsaraz – the megalithic stones of Herdade de Xerex (since relocated to a new site close to Monsaraz) and in particular the large phallic menhir that stands central among the square ring of stones. Van Eyck has referenced these stones in three of the Ghent Altarpiece panels, sculpting them into a form representing biblical scenes.
Some of the stones are inscribed with symbols and these too have been incorporated into both sets of panels by the painters.
Nuno Gonçalves has also taken the stones and reformed them to represent the figures in the St Vincent Panels, particularly the Saint himself portrayed as the tall menhir. Fifty-five stones form part of what is now known as the Xerex Cromlech. There may even have been 60 before the stones were relocated, which would have matched the number of the figures in the painting. A similar site known as the Almendres Cromlech is near to Évora, about halfway between Monsaraz and Lisbon. This megalith may also have inspired both artists, although there are almost 100 stones still standing.
While Gonçalves made some canine mentions in his painting he chose instead to generally refer to a race of people generally known as Beakers. He did this in two ways, first by alluding to the making of pottery and secondly by emphasising the noses of some of the figures to link to narratives in the painting about birds and beaks.
For instance: the brown earthy colours prominent among some of the men in the background are meant to suggest the earth in which the monoliths stood, but in in the Panel of the Knights the four men wearing cottas (or surplices) is linked with the word ‘terra’ (earth) to form terracotta, the brown colour of the earthenware produced by local potters. The range of ‘beaker’ styles are represented by some of the men’s hats.
Last week I published an article on my website revealing how The Good and Bad Judge fresco at Monsaraz in Portugal, partly inspired the famous St Vincent Panels attributed to the Portuguese painter Nuno Gonçalves. I also stated that the SV Panels were also influenced by the Ghent Altarpiece.
What I didn’t know at the time is that Jan van Eyck had also sourced The Good and Bad Judge fresco for the Ghent Altarpiece. At sometime during one of his diplomatic visits to Portugal he must have travelled to Monsaraz and viewed the fresco.
Here’s an example of how Van Eyck recycled some of the fresco’s iconography for the Pilgrims panel in the Ghent Altarpiece. The youth in red is meant to portray a young Jan van Eyck. Just as his statement on the wall in the Arnolfini Portrait, Van Eyck was visually confirming: “I was there!”
My presentation on The Good and Bad Judge is at this link.
Some months ago I discovered that Jan van Eyck had embedded in the Ghent Altarpiece the identity of the Pearl Poet, author of Sir Gawain and the Green Knight. Jan wasn’t the first artist to do so. Pol Limbourg included him as one of the figures in the January folio from the book of hours known as the Très Riche Heures du Duc de Berry.
Recently I came across another painting that features the Pearl Poet – the St Vincent Panels attributed to the Portuguese artist Nuno Gonçalves.
The St Vincent Panels was an attempt to emulate the lower register of the Ghent Altarpiece, It includes several references to the work of the Van Eyck brothers and even a portrat of Jan in one of the panels, as there are of other Netherlandish artists.
The Pearl Poet appears in the first frame titled the Panel of the Friars. He is the figure with long hair and a straggling beard. His right hand is placed on a plank of wood. He wears a similar habit to the other two friars but a darker shade. On his head is a fez-type hat marked on the front with a cross amid what appear to be flames of fire.
Like Van Eyck in the Ghent Altarpiece, the artist has applied more than one identity to each figure – in this instance, three. The iconography that points to the name of the Pearl Poet is less detailed than that created by Van Eyck but, like Jan, the artist has split the name into three syllables: Hugh-Staf-ford.
Why the darker shade of the man’s habit? For this, read HUE. The staff is the STAVE or plank of wood he his holding. The FORD is the crossover he is about to make to the water reference in the panel alongside and also the mirror panel on the far side, referred to as the Panel of the Relic. In this scenario the plank is seen as the lid of the coffin placed behind the figure of Jan van Eyck who is presented as a poor pilgrim.
Sir Hugh died at Rhodes while returning from a pilgrimage to Jerusalem. His bones were translated back to England by his squire and entombed at Stone Priory alongside his wife Philippa Beauchamp who had died a few months earlier. The translation of bones and relics supports the painting’s subject of St Vincent’s bones being recovered from what is now known as Cape St Vincent and taken by boat to Lisbon.
Van Eyck also pointed to Sir Hugh by referencing text from Sir Gawain and the Green Knight. So has Gonçlaves, and from the same passage: “Face fell as the fire, and free of his speech.” The fire reference is the symbolic flames at the end of his beard – a kind of singeing of the beard which also refers to another narrative in the painting.
The second identity given to the figure is the artist Robert Campin, considered the first great master of Flemish painting. He is one of several Flemish artists featured in the St Vincent Panels.He can be identified in three ways.
Firstly, In other Flemish paintings he is generally portrayed with a beard and as the third king or wise man that followed a star to Bethlehem to pay homage to Jesus, the new-born king of the Jews, hence the celestial motif on his hat.
The second connection to Campin is the ‘mirror’ image in the far-right frame – the Panel of the Relic. The man wearing the black habit is Jean Jouffroy, almoner to Philip the Good duke of Burgundy. The image is adapated from Roger Campin’s painting, Portrait of a Stout Man. The motif on the front of the habit represents the Order of Our Lady of Bethlehem.
A third connection to Campin is his placement alongside the plank. In this scenario it represents a door to to a sanctuary and is borrowed from a feature in Campin’s painting of the Merode Altarpiece where he has portrayed himself standing next to an open door that leads into a garden and the scene of the Annunciation.
I shall reveal the figure’s third identity in a future post.
In my previous post I explained how the iconography relating to the pages of the mysterious script in the Panel of the Relic translated into a passage from Isaiah (40 : 3-5), and is echoed in John’s gospel(1 : 23) by John the Baptist. But the artist also used another source to translate from: a section of the Knights of Christ panel that forms part of the Ghent Altarpiece.
The translation is focused on the central knight leading two other knights and a group of kings and princes. In this particular narrative the knight is a depiction of two people of a young age, Jan van Eyck and Henry Beaufort. Both men are also placed in the Panel of the Relic. Beaufort, as a Cardinal in later life, is on his knees holding the relic.
In the Knights of Christ panel the group is making a “straight way” to the Holy Land or the “New Jerusalem”.
So how is the passage from the Book of Isaiah, referenced by John the Baptist in John’s Gospel, identified in the iconography surrounding the knight? At this stage it is worth repeating Isaiah’s words:
A voice cries, “Prepare in the wilderness a way for Yaweh. Make a straight highway for our God across the desert. Let every valley be filled in, every mountain and hill laid low, let every cliff become a plain, and the ridges a valley; then the glory of Yaweh will be revealed and all mankind shall see it; for the mouth of Yaweh has spoken.”
The “straight way” is the red cross on the knight’s shield, similar to the vertical and horizontal spaces between the written words on the pages displayed by Jean Jouffroy in the Panel of the Relic. The valleys, mountains, hills and cliffs are the various shapes formed from the shields. The ridges are the highlight’s on the knight’s breastplate but “made plain” on the front of the knight to his right.
Another “straight way” is the straight strap across the knight’s breastplate. It’s stems from a descending, scrolling pattern of light, symbolic of the Holy Spirit, and ends in shadow at the point of the cross on the shield, and also at the elbow of the knight alongside the central knight. “Elbow” translates as EL-BOW, God’s bow (a rainbow) symbolising his Covenant promise (Genesis 9 : 12-13).
Amidst the shadow area is a red triangular shape intended to represent the head of Christ as he hangs on his Cross. The upward sweep of the strap represents one of his arms, while his back is connected to another arm, that of the red cross on the shield. This represents God’s New Testament or New Covenant fulfilled by Christ’s death and resurrection.
Below this motif is a galaxy of “stars’ on a blue background. However, one star has risen to appear in the groove of the shield. Not only is symbolic of the Resurrection but it also represents the rising star the wise men saw and followed and which led them to Bethlehem to pay homage to the infant king. So the three knights can also be viewed as “wise men” making a straight way to Bethlehem. A similar motif is seen in the composition of the Panel of the Relic (and other panels) – the three front men are arranged as three wise men bearing gifts and paying homage.
The straight strap is also present in the Panel of the Relic. It falls across the chest of Van Eyck the pilgrim and ends at the elbow of Jean Jouffroy. While the prelate’s hand turns the pages in the book, the star is settled above another passage from Isaiah that prophesied “the coming of the virtuous king” (Isaiah 11 : 1-2).
In the previous post I mentioned what appears to be a head under the camel coat of Van Eyck, portrayed also as John the Baptist in the Panel of the Relic. The shape represents the head of the Baptist who while imprisoned was beheaded on the orders of Herod because the king had promised Salome anything she wanted after dancing for him. She requested the head of John on a dish.
The bloody head of John appears on the right arm of the knight from the Ghent Altarpiece, mounted on a green cushion. The curved piece of armour supporting his head is the dish.
This piece of iconography relates to the latter part of Isaiah’s prophecy: “… then the glory of Yaweh will be revealed and all mankind shall see it; for the mouth of Yaweh has spoken” – the mouth of Yaweh being both Isaiah and John the Baptist.
Unfortunately, since the recent restoration of the Ghent Altarpiece the face depicted on the arm is now hardly noticeable. The version shown here is before the altarpiece was “restored”.
The fact that the knight is a double image – Jan van Eyck and Henry Beaufort – is interesting. A connection is being made between the two men and the head of John the Baptist. Nuno Gonçlaves also connects the two men and the head in the Panel of the Relic, the relic beign a part of John’s skull. Both paintings also point to a location in England – Templecombe in Somerset – where a painting of John the Baptist was discovered in the roof of an outhouse that had a connection with a Templar priory and later the Knights Hospitaller (Order of Knights of the Hospital of Saint John of Jerusalem), John being John the Baptist.
This section of the St Vincent Panels is known as the Panel of the Relic, so called because of the kneeling prelate holding the fragment of a skull. Some say the relic belongs to St Vincent of Zaragoza, the saint who is the focus of the two panels in the centre of the altarpiece, while others suggest it belongs to Ferdinand the Holy Prince, the youngest son of John l of Portugal who was taken as a hostage following the Siege of Tangier and eventually died in captivity.
The panels are attributed to the Portuguese painter Nuno Gonçalves and one of the main narratives is the translation to Lisbon of the relics belonging to St Vincent and Ferdinand. But what makes the Panel of the Relic notably different from the rest is that there are no Portuguese representatives. The kneeling prelate is English whose father was Flemish, and the four other men represent the House of Valois-Burgundy. So why should any of them be associated with a relic of St Vincent or Ferdinand the Holy Prince?
If the relic belonged to neither of these two saintly men then what relic could link the Portuguese House of Aviz with Cardinal Henry Beaufort, son of John of Gaunt, and the rest of the group of Flemings? The clue lies is in ‘translating’ the open pages of the book held by the prelate dressed in black. He is Jean Jouffroy, one time almoner of Philip the Good, Duke of Burgundy. The two men standing in the back row are assistants to Jouffroy, but unnamed. The figure portrayed as a humble pilgrim is Jan van Eyck.
Gonçlaves has sourced two of Van Eyck’s paintings and the work of another Flemish painter, Rogier van der Weyden, to build on the ‘translate’ narrative found in the altarpiece. Van der Weyden is portrayed as one of four artists featured in the Panel of the Knights.
The two works of Van Eyck are the Knights of Christ panel in the Ghent Altarpiece, and the portrait of Henry Beaufort, currently mistitled, Portrait of Cardinal Niccolò Albergati. The Van der Weyden paintings are: The Seven Sacraments, the Altarpiece of the Virgin and Child with Saints (now fragmented with some parts lost) and the Exhumation of St Hubert.
By using some of the iconography created by other artists in their paintings and translating it to a new location, Gonçlaves is, in a sense, paying homage to the particular artist and their work. This echoes the foremost theme of the St Vincent panels – paying homage and celebrating the translation of St Vincent’s lost relics to Lisbon, and so establishing a new creation and a spiritual rebirth for the city, commemorated annually.
The translation of Jan van Eyck
There is a reference by the art historian James Weale in his book on the life and works of Hubert and John van Eyck, that in March 1442, at the request of Lambert van Eyck, the Chapter of St Donatian, Bruges, “grants permission for the body of his brother John, buried in the precincts, to be, with the bishop’s licence, translated into the church and buried near the font, on condition of the foundation of an anniversary and of compliance with the rights of fabric.”
In his Seven Sacraments painting, Van der Weyden depicts this translation of Van Eyck’s remains as the raised stone covering the grave and supporting the baptismal font. Hence the ‘raised’ coffin also signifying the upright baptismal font. The child in the baptism scene is Van Eyck’s own, and the Sacrament signifies being raised to new life in Christ. And so in death Van Eyck is resurrected to new life through the Sacrament. Close inspection of the priest performing the baptism reveals the same priest that stands next to the coffin Van Eyck is placed in front of in the Panel of the Relic.
But there is another reason why Jan is portrayed standing in front of the coffin, and it connects to another painting by Rogier van der Weyden. It’s part of the cut-down altarpiece referred to as the Virgin and Child with Saints. The figure of Joseph is represented by Jan van Eyck, frail and seemingly approaching the end of life. The head and upper part of his body is now a portrait presentation housed at the Calouste Gulbenkian Museum in Lisbon.
The building in the background shows an empty tabernacle or aedicula. The pedestal and canopy are there but the statue is missing. This may be seen as Van der Weyden preparing to elevate his humble friend Jan to kingly or even saintly status. “King of Painters” was an epithet awarded to Jan.
So the empty coffin is also symbolic of the empty tabernacle. However the surplice worn by the priest alongside the coffin also depicts a tabernacle, but not vacant. It contains the presence of the Holy spirit, symbolised by the flames shown within the veil.
The Holy Flame is reflected in the Panel of the Friars, under the figure with the long beard. The figure also has his right hand placed on what is said to be the lid of the coffin behind Van Eyck. But the plank has other meanings as well.
The figure of Jean Jouffroy, who later became an influential ‘Prince of the Church’ – a Cardinal – is shown holding open a book of Scripture. The text is unreadable (although it has been claimed that some Hebrew words can be identified) but its message can be understood when read as a piece of iconography. It relates to the passage from Isaiah (40:3-5), echoed in John’s gospel (1-23) by John the Baptist:
A voice cries, “Prepare in the wilderness a way for Yaweh. Make a straight highway for our God across the desert. Let every valley be filled in, every mountain and hill laid low, let every cliff become a plain, and the ridges a valley; then the glory of Yaweh will be revealed and all mankind shall see it; for the mouth of Yaweh has spoken.”
Close inspection of the book’s pages reveals the straight highways between columns and verses, and the ridges and valleys on the turning pages. The wise men who came from the East to pay homage to the new-born King had to travel across the desert, and were led straight to Bethlehem by following a star. That’s the red star seen on the front of Jouffroy. It also represents a military order of that time known as the Order of Our Lady of Bethlehem.
A second connection to John the Baptist is the Jan van Eyck figure dressed in a camelskin coat. The hind legs of the camel are shaped in the folds below his belt. His coat is opened at the front and beneath the belt is a suggestion of a head in profile. The profile is facing the head of Henry Beaufort, and in his hands he holds part of the skull of John the Baptist. How the relic came into the possession of Van Eyck and eventually Beaufort is another story, but for the artist to link this feature to a painting that is primarily about St Vincent and the Portuguese House of Aviz is a pointer to where the skull relic was translated from to arrive in England.
The connection also links to what is known as the Templecombe Head, a painting on wooden boards of a head discovered in 1945 in the roof of an outhouse in Templecombe. The painting is of the beheaded John the Baptist.
• More on the Panel of the Relic in a future post.
In October 2018 I posted an item titled Brim of Extinction, pointing out that the repainted verson of the Just Judges panel in the Ghent Altarpiece was missing an important detail that was present in the stolen original.
Recently, I discovered that the missing detail represents part of the maxim: “see no evil, hear no evil, speak no evil”, an appropriate expression for the Just Judges.
The detail is a hat brim which coverered the mouth of one of the central riders, the French king Charles Vl who, at times, was inclined to shout his mouth off, so to speak, during his frequent bouts of psychosis. It’s there on the original version but missing on the copy painted in 1945 by the Belgian art restorer Jef Van der Veken.
“Hear no evil” is depicted by the front rider’s hat covering his ears, and “see no evil” is the self portrait of Jan van Eyck looking out from the picture directly at the viewer. Was Van Eyck saying he saw no evil in anyone, or was this just another “mirror” technique like that in his famous Arnolfini Portrait?
A painter very much influenced by the work of Jan van Eyck was Hugo van der Goes. He lived in Ghent and would no doubt have studied the Ghent Altarpiece in detail. Both Van Eck and Van der Goes are featured in a six-panel altarpiece known as the St Vincent Panels. Like the Ghent Altarpiece there is mystery about some of the detail in the painting and who the sixty figures are or represent.
The St Vincent panels are attributed to the Portugues artist Nuno Gonçalves but there is also some speculation that Van der Goes may have had a hand in the work or contributed to it in some way. It so happens that the “hear, see, speak no evil” maxim also appears in the first frame of the St Vincent Panels (referred to as he Friars Panel), as it does in the first panel of the Ghent Altarpiece.
The three men standing at the top of the panel, depict the maxim in the order of: “hear no evil, see no evil and speak no evil”. The latter is easy to recognise, his mouth, like the French king, is covered by a hat. Next to him is the man who sees no evil, because he does not see the plank held by the the bearded man. The plank also represents part of a crucifixion analogy.
The third man is Pontius Pilate who does not want to hear the cries of the crowd chanting for Christ’s crucifixion. Close inspection of his ear reveals it is shaped as the lower half of Christ’s body on the cross and the overlap of white hair represents his Spirit he offered to the Father. And the reason for Pilate being placed in the corner is that he cannot escape the crowd’s will to have Jesus crucified because of their threat to report him to Ceasar.
This three-part maxim can be applied as an attribute of Pilate’s judgement. He didn’t want to HEAR the demands of the people; he didn’t SEE anything wrong in what Jesus had done; and he didn’t SPEAK evil of him.
This three-man motif is mirrored on the far right panel of the altarpiece, except that only two men appear in the back row lineup. The third place is occupied by an empty coffin.
Like Pilate, the man in the corner has no choice. His windswept hair is symbolic of the Holy Spirit coming down and resting on him – “Do not be surprised when I say you must be born from above. The wind blows wherever it pleases; you hear its sound but you cannot tell where it comes from of where it is going” (John 3 : 7-8). This is the man who hears the good and not evil.
Next to him is the man who sees no evil. Like the Van Eyck self portrait he is staring out directly to the viewer. Is he blind?
Finally, the third place ocupied by the coffin represents the maxim of not speaking evil of the dead. Simple as that!
Staying with Hugo van der Goes and his self portrait in the Adoration of the Shepherds.
On visiting Ghent in 1495, some years after Hugo’s death in 1482(?), the humanist Hieronymus Münzer wrote that the Ghent Altarpiece had no rivals and “another great painter” who had attempted to equal the Ghent Altarpiece in his own work had been “driven mad and melancholy”. Art historians assume that Münzer was writing about Hugo van der Goes.
Whatever pressures Hugo put himself under which may have affected his mental state, it appears that he came through his crisis and all was well at the end. So well that he was able to recognise and accept the reasons for his affliction and record his ordeal and recovery in his latter paintings – the Adoration of the Shepherds being one of them.
It would be surprising that living in Ghent and able to admire the Ghent Altarpiece at any time, Hugo would not be influenced by the exceptional creativity of Jan van Eyck and, like oter artists of the time, he incorporated and acknowledged Jan’s influence in his own work – a hat-tip, so to speak. He did so in the Adoration of the Shepherds. The Joseph figure represents Jan van Eyck, but the motif is borrowed from the work of Rogier van der Weyden, another admirer of Van Eyck.
The self-portrait of the well-again Hugo looking upwards to heaven is borrowed from Van Eyck’s self portrait of himself as a young man that appears in the centre panel (Adoration of the Lamb) of the Ghent Altarpiece. Jan is also looking up. As Augustine heard the voice of a child saying “Take and read” (the bible), so Hugo is listening to the voice of the young Van Eyck to take and read his paintings. And that’s why, like Van Eyck, Hugo’s paintings encompass so many Scripture references.
Another self-portratit of Hugo is found the Vienna Diptych – The Fall and Rise of Man, mournful and repentant as the crucified Christ is taken down form his cross. Hugo has matched this pose with the so-called Mr Arnolfini from Van Eyck’s famous Arnolfini Portrait. In fact the man has a dual personality (notice the cleft chin): Philip the Good, Duke of Burgundy, as a repentant sinner, combined with the features of Jan van Eyck who sometimes acted as the duke’s proxy, especially when making pilgrimage. Notice also how Hugo has featured the fur trim and the hand that seems to be making a blessing.
Finally, Hugo’s red skull cap, is a match for the ‘skull’ portrait of Philip the Good, a traditional symbol usually featured at the foot of the cross to remind the viewer that life is short, but the red strap of Hugo’s cap also indicates his despair when he declared himself unworthy and damned while returning from visiting Cologne – a pilgrimage – with members of his community. The hand sign is the action of a cut across his throat. Such is Hugo’s self-loathing and lack of peace that he looks down towards the place he is convinced he is heading for.
Fortunately for Hugo he was brought through his crisis of faith and self-doubt, as witnessed by his transformation depicted in the Adoration of the Shepherds.
• More on Hugo’s Adoration of the Shepherds in a future post.
The arrangement of Apostles in The Dormition of Mary echoes TheLast Supper panel produced by Dieric Bouts between 1464-1468. Hugo’s painting of the Virgin Mary on her deathbed and surrounded by the twelve apostles of Jesus was completed at least a decade later.
Some of the Apostles are easily recognised, Peter and John, for example, but the whole group, it seems, has never been clearly identified by art historians. Jesus had a habit of renaming his disciples and giving them new identities, which may have partly inspired Hugo to take the same approach and apply more than one identitity to each man. But he does provide visual clues and each figure is usually placed to connect in some way to one next to it. This was the approach Dieric Bouts took with The Last Supper. So did Jan van Eyck when he painted the Just Judges panel of the Ghent Altarpiece.
First the identities of the twelve Apostles as placed by Hugo in the painting. Starting with the figure gripping the headboard and moving clockwise around the bed, they are: Thomas, Peter, Philip, Jude, Matthias (the replacement for Judas Iscariot), Simon (the Zealot), James (the Lesser), Matthew, James (the Greater), Bartholomew, John, and Andrew.
• More on this and some of the other identities in my next post.
The scene depicts Mary the mother of Jesus on her deathbed surrounded by his twelve apostles, and relates to an account from the Golden Legend by the Italian chronicler Jacobus de Varagine.
But there was a more local source that also inspired Van der Goes, the Just Judges panel of the Ghent Altarpiece by Jan and Hubert van Eyck. In Hugo’s version the ‘just judges’ are the twelve apostles appointed by Jesus to judge the twelve tribes of Israel (Matthew 19 : 28).
On visiting Ghent in 1495, some years after Hugo’s death in 1482, the humanist Hieronymus Münzer wrote that the Ghent Altarpiece had no rivals and “another great painter” who had attempted to equal the Ghent Altarpiece in his own work had been “driven mad and melancholy”. Art historians assume that Münzer was writing about Hugo van der Goes.
A feature of Jan van Eyck’s Just Judges panel is the multiplication of identities – four– given to each of the ten judges. Hugo adopted a similar approach of creating multiple identities for The Dormition.
As mentioned in a previous post Hugo van der Goes applied several identities to the figures in the Montforte Altarpiece, probably inspired, as other artists of his era, by Jan van Eyck who created various identities for the riders in the Just Judges panel of the Ghent Altarpiece.
The Monforte Altarpiece was likely commissioned for display in the monastery of San Vincento do Pino. The saint is one of the identities given to the tall man on the right who, at surface level represents one of the magi, Balthazar. Local tradition has it that there was a pine tree in the old monastery dedicated to St Vincent and so the Dominican building became known as San Vicente do Pino.
But the saint is better known as Vincent of Saragossa (where he spent most of his life), or Vincent the Deacon, patron saint of Lisbon and Valencia. He was martyred during the reign of Emperor Diocletian early in the 4th century. Wikipedia describes his death in this way:
“He was stretched on the rack and his flesh torn with iron hooks. Then his wounds were rubbed with salt and he was burned alive upon a red-hot gridiron [its bars were framed like scythes, reports another account]. Finally, he was cast into prison and laid on a floor scattered with broken pottery [shells, in some accounts], where he died… Vincent’s dead body was thrown into the sea in a sack, but was later recovered by the Christians and his veneration immediately spread throughout the Church… According to legend, after being martyred, ravens protected Vincent’s body from being devoured by vultures, until his followers could recover the body. It was taken to what is now known as Cape St. Vincent; a shrine was erected over his grave, which continued to be guarded by flocks of ravens. In the time of Muslim rule in the Iberian Peninsula, the Arab geographer Al-Idrisi noted this constant guard by ravens, for which the place was named by him “Kanīsah al-Ghurāb” (Church of the Raven). King Afonso I of Portugal had the body of the saint exhumed in 1173 and brought it by ship to the Lisbon Cathedral. This transfer of the relics is depicted on the coat of arms of Lisbon.”
The most obvious reference which links the figure to the monastery of San Vicente do Pino is the gold, pine-cone-shaped vessel containing myrrh, given by Balthazar as a homage gift to the new-born infant Jesus.
Vincent was a deacon of the Church and so the front part of his green garment is shortened to represent a dalmatic vestment worn by deacons. The position of the sword below the edge of the garment also points to his life being cut short when he was martyred. It has been mentioned that the bars of the gridiron he was tortured on were framed like scythes. Notice the scythe shape of Vincent’s collar. Then there is his elongated body and long neck, indicating the time he was stretched and tortured on the rack.
There are two references to Ravens. The first is Vincent’s dark hair, shaped to represent the wing and head of one the ravens that protected his body after he was martyred. The Lisbon coat of arms depicts two ravens, one at each end of the ship that transported Vincent’s body to the Portuguese city. The second raven appears on the sleeve cuff of Vincent’s left arm, above which is a string of looped pearls, meant to represent the looped sails seen on the ship’s mast.
There is another reason why Van der Goes has drawn attention to Vincent’s left arm in this way. It is still displayed as a relic in Valencia Cathedral (see below).
It’s likely that Van der Goes had access to another painting relating to St Vincent, that known as the St Vincent Panels said to have been produced by the Portuguese painter Nuno Gonçalves between 1450 and 1471. There are parts of his painting that are echoed in the Monforte Altarpiece. The orginal retable consisted of more than twelve panels and was on display in Lisbon Cathedral until near the end of the 17th century. The remaining six panels are now housed in the Museu Nacional de Arte Antiga.
There are more references to St Vincent but they crossover into the figure’s other identities and so probably best left to present at another time. This post was simply to point to some of the iconography that confirmed the identity of San Vicente do Pino in the Monforte Altarpiece.
It is documented that Hugo van der Goes suffered from mental health issues towards the end of his life and that he unduly worried about completing his paintings. He had spent most of his life working in the Flemish city of Ghent, in the shadow of the great Jan van Eyck and his brother Hubert’s most famous work, the Ghent Altarpiece.
On visiting Ghent in 1495, some years after Hugo’s death in 1482, the humanist Hieronymus Münzer wrote that the famous Ghent Altarpiece had no rivals and “another great painter” who had attempted to equal the Ghent Altarpiece in his own work had been “driven mad and melancholy”.
Art historians assume that Münzer was referring to Hugo van der Goes.
In the Ghent Altarpiece, particularly on the Just Judges panel, Van Eyck applied mutiple identities to some of the figures, as many as four in some instances. Van der Goes did the same when he painted the Monforte Altarpiece, obviously influenced by Van Eyck, as were other artists of the time.
In the Monforte Altarpiece Hugo also acknowledges his mental health issues and his period of “insanity”. He makes it very clear that time is running out for him and he is close to death. To be able to portray this in his painting suggests Hugo was of “right mind” and completely prepared for his death in 1482 when, I believe, this work of art was probably completed.
In my previous post, I mentioned that the painting was likely commissioned by the Ist Count of Lemos Pedro Alvarez Osario, possibly for display in the Dominican monastery of San Vincento do Pino adjacent to the Castle of the Counts, and in memory of his first wife Beatriz Enriquez de Castella who had died in 1455.
The count’s coat of arms and those of his first wife Beatriz can still be seen on the castle tower known as the Homage Tower as seen in the image below.
Hugo has referenced the sets of arms in an unique way using the four figures placed behind the wooden fence (not those seen on the hill in the background – that’s another story.)
The four men, two shown as youths, refer to an event that took place in Florence in 1478 known as the Pazzi Conspiracy, when members of the Pazzi family set out to displace the Medici family as rulers of Florence. The plan was to assassinate the brothers Lorenzo and Giuliano de’ Medici and the attempt was made on April 26, 1478. Lorenzo was wounded but Giuliano was killed. Vengeance was taken by the Medici and several of the plotters were executed and the Pazzi family banished from Florence.
The two men with their backs to the wall are two of the plotters. One of them grips a dagger in his left hand. The two youths represent Lorenzo and Giuliano. Lorenzo is depicted with his cloak covering his left shoulder, a reference to how he used it to defend himself during the attack. At Lorenzo’s risght shoulder can be seen part of a castle wall with an entrance and rampart. Lorenzo’s flowing golden locks are also significant and symbolic of a lion’s mane representing the Marzocco, the famous heraldic lion of the Florentine Republic.
In his right hand Lorenzo holds a cap in front of his brother’s chest. The round, gold-coloured shape represents a bezant, a gold coin, symbolic of those found on the Medici family’s coat of arms, of which there are five. Now we can begin to see how Hugo is constructing his reference to the Medici family and the Pazzi conspiracy; Lorenzo’s coat covers his arm (coat of arms). His brother Giuliano wore no armour or any protection on the day he was murdered. Even his wealth and status was unable to protect him from assassination. He was stabbed 19 times and his wounds are represented by the indented hat band. The hat or bezant shape is also cleaved by the black hat rim, an indication that the fatal blow to Giuliano was by a sword wound to his head.
So now we have the elements associated with the Pazzi Conspiracy and the Medici family that can be referenced and combined with elements found in the combined coats of arms assocated with the Count of Lemos and his wife.
The count’s arms depict two running wolves. These are the two assassins standing with their backs to the wall. The arms of Beatriz Enriquez de Castella show a castle, a lion rampant and six roundels or bezants. Hugo has shown the castle positioned at Lorenzo’s right shoulder; the lion is represented by Lorenzo, symbolic of the Marzocco; and the round hat represents the roundel or bezants depicted not only on the Medici arms but on those of Beatriz as well.
Can this unique creativity seriously be the product of an insane mind? There are other connections made by Hugo to the Pazzi conspiracy, but one in paticular is signficant and involves word-play, similar to the word associations Jan van Eyck would embed in his paintings. The word is Pazzi but by replacing the last letter with another vowel to make ‘pazzo’, then this translates as “insane”!
Perhaps the artist was trying to say that if some judged him as “insane” then what did that say about the insanity of the Pazzi Conspiracy and its consequences for all involved – even for a Pope who had a hand in the conspiracy and the outcome, portrayed here as Sixtus IV on his knees before the Infant Jesus.
When my fourth husband was on his bier, I wept for hours, and sorry did appear – As wives must, since it’s common usage, And with my kerchief covered up my visage. But since I was provided with a mate, I only wept a little, I should state. To church was my husband borne that morrow, With neighbours that wept for him in sorrow, And Jankin, our clerk, was one of those. So help me God, when I saw him go After the bier, I thought he had a pair Of legs and of feet so fine and fair, That all my heart I gave to him to hold. He was, I swear, but twenty winters old, And I was forty, to tell the truth, But yet I always had a coltish tooth. Gap-toothed I was, and that became me well; I’d the print of Venus’ seal, truth to tell.
Some months ago I posted this detail from the Pilgrim’s panel of the Ghent Altarpiece, and wondered who the smiling woman at the back of the group might represent.
Could she be the Wife of Bath, one of the pilgrims featured in Geoffrey Chaucer’s The Canterbury Tales? Could she also be Margaret van Eyck, the woman Jan married in 1431, just a year before the Ghent Altarpiece went on display?
The Wife of Bath married five times. Her fifth husband was a young apprenticed clerk named Jankyn, a religious and studious man according to the tale she told to the other pilgrims in the group on their way to Canterbury. After a turbulent start the marriage settled into a happy and loving relationship.
The young Jankyn is the beardless youth with the bowl-shaped hair style, and wearing a red cloak. He stands out among the crowd of hairy, elderly men, but not above the colossus of a man leading the group of pilgrims. He is St Christopher – the Christ Bearer – who carried Jesus on his back across a raging river.
Jesus is depicted as the young man on St Christopher’s shoulder, with curled hair and looking straight ahead with his Father’s words in mind: “Let your eyes be fixed ahead, your gaze be straight before you.” (Proverbs 4 : 28)
Jesus represents the New Adam. The Original Adam (mankind) is the man on his right with eyes cast downward. (Compare this likeness to the panel dedicated to Adam in the top register of the altarpiece.) The face of the grey-haired head alongside is covered by the martyr’s red cloak and is symbolic of Christ’s saving grace for the world through his own death and resurrection.
St Christopher is known as the patron saint of travellers. The Wife of Bath was a pligrim. She says in her account she made visitations – to religious feasts and processions – to listen to preachers and to plays about miracles. St Christopher is also the patron saint of batchelors, which may explain why the Wife of Bath with her track record in finding husbands is featured as the only woman among the group of ageing men, and also the reference to Van Eyck’s recent marriage.
While Jesus heeds the words of his Father and fixes his eyes firmly ahead, the eyes of the young Jankyn, the apprenticed clerk, look upwards to the towering giant in front, but not in the guise of St Christopher. In this instance Jankyn is presented as Jan van Eyck himself, in awe of and apprenticed to a painter with a giant reputation who led the way before him – Roger Campin.
The colossus Campin and the smaller Jankyn (notice the rhyming association pun) are paired in another way. While Van Eyck’s reputation is renowned, – he is depicted as the Colossus of Constantine with his fringed forhead and visible ear – his stature is not as great as his teacher and a probable father-figure.
However, Campin also had a reputation other than as a painter. He was a convicted adulterer. Perhaps Van Eyck is hinting that Campin, just as the Wife of Bath confessed, also had ‘a colt’s tooth’ (a euphemism for having youthful and lustful desires) – although he is not portrayed “with teeth set wide apart” that “becomes the woman so well”.
Campin is often portrayed with a turban or, in the case of the St Christopher image, just with a Bourrelet, as shown in the images below.
Opinion differs among researchers as to whose head this painting represents – Jesus Christ or his forerunner John the Baptist.
Most of the speculation has centred on the hypothesis that the head depicts Jesus Christ and is associated with the image which appears on the burial cloth known as the Turin Shroud, believed by many to be the shroud that wrapped Christ in his tomb.
The panel painting, rediscovered in 1945 under the roof of a Somerset outhouse in Templecombe, is also considered by many to have a connection to the Knights Templar.
My own research leads me to believe the face on the panel is a depiction of John the Baptist, not Jesus, and its connection is to the Order of St John (Knights Hospitaller), that took over the assets of the Knights Templar when it was supressed and then disolved in 1312 by Pope Clement V.
The evidence to support my claim can be found in three early 15th century paintings:
January folio of the Calendar section in the Très Riche Heures du duc de Berry.