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.
This post sets out to illustrate another example of how Jan van Eyck translated iconography from the Agony in the Garden miniature to the smaller version of St Francis Receiving the Stigmata.
One of the original followers of St Francis was Brother Juniper. He was received into the Order of Friars Minor by Francis himself who once said about his follower: “Would to God, my brothers, that I had a whole forest of such Junipers.”
The expression was not lost on Jan van Eyck, as he was also partial to planting puns and other forms of word play in his paintings.
Placed behind St Francis is a line of spiky shrubbery – Juniper – not only a reference to Brother Juniper but also as a symbol of protection. It’s meant to echo the pointed fence that surrounds Jesus and three of his disciples in the Garden of Gethsemane miniature. It also relates to a story about Brother Juniper’s great power against demons recorded in the Little Flowers of St Francis.
“The devils could not endure the purity of Brother Juniper’s innocence and his profound humility, as appears in the following example: A certain demoniac one day fled in an unaccustomed manner, and through devious paths, seven miles from his home. When his parents, who had followed him in great distress of mind, at last overtook him, they asked him why he had fled in this strange way. The demoniac answered: ‘Because that fool Juniper was coming this way. I could not endure his presence, and therefore, rather than wait his coming, I fled away through these woods.’ And on inquiring into the truth of these words, they found that Brother Juniper had indeed arrived at the time the devil had said. Therefore when demoniacs were brought to St Francis to be healed, if the evil spirit did not immediately depart at his command, he was wont to say: ‘Unless thou dost instantly leave this creature, I will bring Brother Juniper to thee.’ Then the devil, fearing the presence of Brother Juniper, and being unable to endure the virtue and humility of St Francis, would forthwith depart.”
Van Eyck uses simple pointers to direct the viewer to specifics. In this instance the tip of Francis’ cowl points to the head of the ‘demoniac’ covered by the spiky juniper leaves.
This in turn relates to the impaled head of Judas, one of the twelve apostles chosen by Jesus, positioned left in the group behind the pointed fence in the Gethsemane scene. Luke’s gospel (22-3) states: “Satan entered into Judas, surnamed Iscariot, who was numbered among the Twelve.” From that moment he set out to betray Jesus and hand him over to the chief priests and the officers of the guard.
Judas had earlier complained about the woman at Bethany wasting expensive spikenard to anoint the feet of Jesus, saying it could have been sold and the money given to the poor (John 12 : 1-8). Judas was in charge of the common purse, but also a liar and a thief who used the purse for his own needs—unlike Brother Juniper who had a tendency to give any items to the poor that he found lying around, which occasionally belonged to other brothers of the Order..
However, there was one particular Franciscan brother who some considered to have been a ‘Judas’ in betraying the Order and the way of life followed by its founder, even to the extent of furnishing himself a worldly lifestyle from funds he raised to build a basilica in honour of St Francis. His name was Elias, a form of Elijah the biblical prophet. This connection refers back to Van Eyck’s depiction of the juniper shrub and its mention in the First Book of Kings when Elijah fled in fear from Jezebel and sat under a juniper tree in the desert, wishing himself dead (1 Kings 19 : 4). So the demoniac embedded beneath the juniper shrub is a reference to Brother Elias, also referred to as Helias (Latin) and which Van Eyck would pun as “He lies”, comparing his words and deeds to the transgressions of Judas. The Gethsemane fence is considered the ‘pale’ — a perimeter, a kind of city wall built for protection from attack by enemies; hence the juniper shrub as a protective measure around Francis.
The line of juniper shrub also extends to the right of Francis and in this section can be seen another vague visage. It’s a cross between a cow and a lion. Again, the feature originates in the Gethsemane miniature among the group of men on the Mount of Olives coming to arrest Jesus. At the rear of the group is a faceless figure whose hat is shaped and coloured as an olive. In front of him is a figure wearing a blue hat. The hat is bottled shaped and represents a container for the olive oil retrieved from Gethsemane (meaning oil-press) – holy oil, hence the hat’s blue colour.
The hat is also shaped to represent a horn and refers to the horn God commanded Samuel to fill to anoint David as king, and take with him a heifer to sacrifice (Samuel 16 : 1-13). The somewhat mysterious face beneath the hat represents a heifer. The heifer also links to comparisons of Samson with Jesus as a saviour of his people. Sansom referred one time to his wife as a heifer (Judges 14 : 18).
The connection to the cow in the Stigmata painting derives from a play on the word cowl, as worn by Brother Leo, its tip indicating the feature just as Francis’ cowl points to the other face disguised in the juniper shrub. The founder had a love for all creatures and called them brothers, often blessing and curing sick animals, even cattle.
The lion motif is also associated with the name of Brother Leo. Another Leo, Pope Leo IV, who ordered a protective wall to be built around part of the city of Rome following the sacking of Old St Peter’s Basilica in 846 by Muslim raiders. It is now known as the Leonine Wall. Here we can see the connection Van Eyck has made to Brother Elias and his ambitious project to build a basilica in honour of St Francis.
The building projects also link to the voice Francis heard in the spring of 1206 while contemplating an icon depicting the Crucified Christ. The voice commanded Francis to “Go and repair my house which, as you see, is falling down.” Francis thought the instruction meant to repair the church of San Damiano in which he heard the voice, and proceeded to do so and also repair other churches elsewhere. He never asked for money from anyone to do so, only for stones, of which plenty feature in Van Eyck’s painting, stacked high in all shapes and sizes!
So now we have three references to building projects, that of St Francis, Pope Leo IV, and Brother Elias. But Jan van Eyck introduces another, and by doing so gives a clue to who commissioned the painting — the Adornes brothers from Bruges, Pieter and Jacob. It is likely Pieter who actually ordered the work, portrayed here as St Francis and adopting the position of patron or donor, while Jacob is seen meditating, or even asleep!
When the Adornes brothers returned to Bruges from making a pilgrimage to the Holy Land in the 1420s, they started to rebuild a family chapel which was erected earlier by their forefathers in memory of the Passion of Christ and his Holy Sepulchre. The private chapel, known as the Jerusalem Chapel, was consecrated on Palm Sunday 1429 and is still in the ownership of the Adornes family.
It’s possible that both the large and small versions of Van Eyck’s paintings were commissioned as a reminder of the brothers’ pilgrimage to the Holy Land, perhaps one for each brother, or maybe one for use as private devotion and the larger painting for display in the newly built chapel.
• Further analysis of the iconography in St Francis Receiving the Stigmata will be presented in a future 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”.
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.
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.
Turin’s Cathedral will be making the image of its Holy Shroud available through televison and social media channels on Holy Saturday (April 9).
The announcement by Vatican News reminded me of Jan van Eyck’s special interest in the Shroud and also the face cloth, known as the Sudarium, left in the cave after Jesus rose from the dead.
A sudarium is a sweat cloth but was also used as a cloth to seal an annointing with oil, especially when administering the last rites.
The Flemish artist Rogier van der Weyden showed this in his famous Seven Sacraments painting. The dying man depicted is Jan van Eyck, and van der Weyden has compared Jan’s suffering in death to the that of the crucified Christ – as being on the cross.
But there is another reason why Van der Weyden has shown Van Eyck’s head covered in a sweat cloth. It’s a pointer to a painting produced by Jan early in his career for the illuminated manuscript now known as the Turin-Milan Hours. Several of the miniatures are dated to around 1420 and attributed to an artist referred to as “Hand G”, believed by art historians to be Jan van Eyck.
The particular minature that relates not only to the Sudarium but also to Christ’s cross, therefore matching the connection made by Van der Weyden, is titled the Finding of the True Cross. It depicts the story of Helena, mother of Constantine the Great, discovering the wood of Christ’s cross during a pilgrimage she made to the Holy Land in the 4th century.
Three workmen are shown uncovering the buried relic, one of whom is Jan van Eyck who is wearing a sweat cloth.
As to the man on his right, could it be Jan’s brother Hubert van Eyck?
The masthead used for his blog shows detail (in reverse) from Jan van Eyck’s Portrait of a Man, thought to be of the artist himself, and dated October 21, 1433. It is on display at the National Gallery, London. More information about the painting can be accessed at this link.
Whether the date on the painting is the completion or start date, I cannot say, but it places the work in the year following the installation of Van Eyck’s famous Ghent Altarpiece in St Bavo’s Cathedral on May 6, 1432. As well as the proximity in completition dates, Van Eyck has inked the two works in other ways.
Jan van Eyck began his artistic career as an illuminator of books and manuscripts. Some samples of his early work appear in the Turin-Milan Hours manuscript, and he also referenced the work of other illuminators, notably the Limbourg brothers, in the Ghent Altarpiece.
An illuminator’s role was to illustrate the text in and decorate the pages of a book, creating a visual interpretation of a storyline or theme. In some cases the illustration would have more impact with the reader than the words. Invairably, some illuminators would shine the light beyond the subject matter and embed other narratives that were not part of the text. Jan van Eyck did this and continued with the technique when he started to paint on panels with oils, sometimes cross-referencing his embeded narratives with other works, his own included.
Perhaps a simple example of this is the Portrait of a Man (in a Red Turban) shown here. Jan van Eyck’s signature motto is inscribed on the frame, as is the date, so the painting is generally viewed as a portrait of its time, and probably of the artist himself, Jan van Eyck.
However, that the work is signed by Van Eyck suggests there is more to appreciate and discover in the painting than a striking portrait of a 15th century man.
There are hidden narratives which art historians have not uncovered.
This is a clip from the Prayer on the Shore illumination mentioned in yesterday’s post. Unfortunately the detail is not the best. Nevertheless it is sufficient to make a comparison with a similar feature in the Just Judges panel.
My assessment is that the two men represent Jan van Eyck and John the Fearless, duke of Burgundy. The minature from the Turin-Milan Hours is attributed to Hand G, generally thought to be Jan van Eyck or his brother Hugh.
The Prayer on the Shore makes references to the Hook and Cod wars, “a series of wars and battles in the County of Holland between 1350 and 1490.”
Jan’s hood is shaped as a trawl dragged behind a boat to catch fish – the bulging end is known as the “cod-end”. The tail of the duke’s chaperon is shaped to represent a hook.
The two men face in opposite directions to represent the polarised positions taken up by the Hook and Cod factions over the title to the Count of Holland.
The shape of the space between the two heads also corresponds to the area of Holland in dispute; the red region representing the hook countered by the hood or cod-end shape on the opposite side of the bay.
Here’s how Jan van Eyck replicated the iconography when he came to paint the Just Judges panel.
The clip alongside shows the bearded man wearing a hooded chaperon with a “cod-end”. The man below represents Philip the Bold, and his grandson Philip the Good who doubles up as Jan van Eyck (a common motif repeated by the painter and also used in the Prayer on the Shore). Jan’s chaperon is tied and shaped to form a hook. The hook is also meant to refer to the hook nose common to the three Burgundian dukes, Philip the Bold, John the Fearless and Philip the Good.
The cod-end also picks up on the painting’s connection to The Canterbury Tales. In this instance it represents a pelican’s elastic pouch designed for catching fish! This in turn is used by Van Eyck to link to the fish as a Christian symbol and the biblical reference to “fishers of men” (Matthew 4 :19), not forgetting that the pelican is also a symbol of Christ’s Passion and the Eucharist.
Succession is a prominent theme in the Just Judges painting, most obvious in Jan van Eyck succeeding his brother in completing the Ghent Altarpiece after Hubert’s death in 1426.
The two rows of riders can also be viewed as being placed in succession, one following another, akin to each pilgrim’s story in Chaucer’s The Canterbury Tales.
Hereditary examples of succession also feature – kings and princes – as do talents and trades passed down through families.
Jan van Eyck makes these connections through ‘groupings’. For example, I pointed out in the previous post that the principal identity he assigned to the central rider in the Just Judges panel is the French king Charles VI (d. 1422). Other identities are Philip’s court painter Jan Maelwael (d. 1416), the sculptor Claus Sluter (d. 1405/06), and his nephew Claus de Werve (d. 1439)
A key ‘connector’ in this grouping is the relationship of uncle:
• Jan Maelwael was the uncle of the three Limbourg brothers whose work is referenced elsewhere in the panel.
• Claus Sluter was the uncle of Claus de Werve. Their work is also alluded to in the painting.
The ‘uncle’ key also helps unlock the grouping and one of the identities of the rider in black next to Charles VI as being Philip the Bold, an uncle of the French king. When Charles inherited the French throne at the age of 11, the government was entrusted to a regency council comprising his four uncles until he reached the age of 21.
Another point Van Eyck is making about succession is that what follows each rider is the certainty of death and a final judgment.
He illustrated this point (or was it his brother Hugh?) in the Prayer on the Shore illumination, an earlier work that forms part of the Turin-Milan Hours. As in the Just Judges the composition is based on a procession of riders. The main group is followed by three men with visors closed on their skull-shaped helmets. They are a personification of death.
With the coming of evening that same day, Jesus said to them, “Let us cross over to the other side.” Mark 4 : 35
Prayer on he Shore by Hand G, Turin-Milan Hours, Biblioteca Nazionale Universitaria di Torino
A couple of days ago I made mention of Jan van Eyck paying homage to another artist when he painted the Just Judges panel of the Ghent Altarpiece. In fact, it may have been one or even three artists known as the Limbourg brothers, famous for the illuminations they produced for the Très Riches Heures du Duc de Berry manuscript.
The Van Eyck brothers, Jan and Hubert, are also said to have worked on illuminating manuscripts, in particular some of the pages that formed what is is now referred to as the Turin-Milan Hours, although there is no certainty as to which folios belong to which artist. The various artists are categorised as “Hands” A to K. Hand ‘G’ is considered by most art historians to be Jan van Eyck; others say his brother Hubert, while there is also an opinion that Hand G is neither of the brothers.
One of the folios from the TMH is known as The Prayer on the Shore by Hand G. It was destroyed by fire in 1904, but a photographic copy exists and is reproduced below. It is one of the leaves attributed to Hand G. What is interesting is that many of its features are replicated in the Just Judges painting, which suggests that it was produced before the completion of the Ghent Altarpiece in 1432
In a previous post, I posited that the Just Judges was painted by Jan and not his brother, on the basis that one of the riders is Joan of Arc, who did not arrive on the scene until 1429, three years after Hubert had died.
It’s very probable that the Prayer on the Shore was produced by one of the Van Eyck brothers, but which one? I propose the page was painted by Hubert and that Jan has repeated elements to acknowledge and pay homage to his brother in the same way he has adapted features from a leaf attributed to the Limbourg brothers: Christ Led to the Praetorium shown below. In a sense, this tribute, is Jan’s way of identifying his brother’s contribution to this section of the Ghent Altarpiece
There is another illumination attributed to the Limbourg brothers that Jan has referenced in the Just Judges. It also helps identify Hubert van Eyck as the rider depicted in the forefront.
More on this in another post.
• The Prayer on the Shore, by Hand G, Turin-Milan Hours • Christ Led to the Praetorium, Limbourg Brothers, Très Riches Heures du Duc de Berry
This domestic scene showing the Birth of John the Baptist is from the illuminated manuscript known as the Turin-Milan Hours. While there is some debate about the attribution to Jan Van Eyck for this folio, the consensus is that it is by Jan’s hand and painted between 1422 and 1425 during the period he was employed by John III of Bavaria.
Having previously demonstrated how the iconography in the Arnolfini Portrait points to the Turin Shroud, this domestic scene showing the Birth of John the Baptist sheds further light on Jan van Eyck’s fascination with the relic claimed by some to be the burial cloth of Jesus.
That the miniature has similarities to the Arnolfini Portrait has not gone unnoticed by art historians; the red bed, the woman in the green dress, the dog in the forefront, the pattens pointing to the edge of the frame, the beams supporting the ceiling, together suggest that Van Eyck sourced his earlier work and replicated some of its features in the Arnolfini Portrait. Seemingly, the Birth of John the Baptist served as a ‘precursor’ to the later painting dated by Van Eyck at 1434.
Beneath this representation of the biblical account of the Baptist’s birth (Luke 1 : 5-25, 57-79) is another narrative, one similarly found in the Arnolfini Portrait. In both paintings the setting corresponds to a chapel housing holy relics.
The chapel scene and contents in the Birth of John the Baptist represents the Sainte Chapelle in Paris, built in the 13th century by Louis IX to house the many holy relics (including the Shroud) ceded to him by Baudouin II of Constantinople.
Van Eyck also incorporates his interest in astronomy with references to celestial objects, and points to the heavenly light transmitted through passages from Scripture. Just as John the Baptist (Jan) was commissioned as a witness to speak for the light (John 1 : 8), so also is Jan van Eyck in his role as an artist and illuminator.
The Birth of John the Baptist is my next presentation at arnolfinimystery.com which I plan to post at the end of August. It will focus on the iconography in the scene representing some 20 holy relics from an inventory produced by Baudouin ll for Louis IX in 1247.