Shown below are features from five different paintings which relate to each other in a specific way, and not just because each painting has a connection to a member of the Van Eyck family.
(1) November folio, Très Riche Heures, by Jean Colombe; (2 & 3) January folio, Très Riche Heures, by Bathélemy d’Eyck; (4) St Francis Receives the Stigmata, by Jan van Eyck; (5)Agony in the Garden, Turin-Milan Hours, attributed to Hand G, and likely Hubert or Jan van Eyck; (6 & 7) The Three Marys at the Tomb, by Hubert or Jan van Eyck.
The clue is the crouching stance taken by one or more figure in each example. The posture is a pointer to Edmund Crouchback (1245-1296), a son of the English Plantagenet king, Henry III, and also to Edmund’s own son, Henry of Lancaster (1281-1345).
The inspiration for this repeating theme was the Agony in the Garden miniature from which elements have been taken and translated, or reinterpreted, in the later paintings.
This figure is another “butterfly” featured in the January folio of the Très Riche Heures du Duc de Berry. His name is Sir Thomas Blount, a supporter of Richard II. He served as a napier at Richard’s coronation banquet in 1377.
Thomas was a participant in the Epiphany Rising to restore Richard after the king was dethroned by Henry Bolingbroke in 1399. But the rebellion was unsuccessful and Thomas was captured and put to death at a place known as the Green Ditch on the outskirts of Oxford. His execution was brutal and recorded later by a chronicler as follows:
Sir Thomas Blount was hanged; but the halter was soon cut, and he was made to sit on a bench before a great fire, and the executioner came with a razor in his hand, and knelt before Sir Thomas, whose hands were tied, begging him to pardon him his death, as he must do his office. Sir Thomas asked, “Are you the person appointed to deliver me from this world?” The executioner answered, “Yes, Sir, I pray you pardon me.” And Sir Thomas kissed him, and pardoned him his death. The executioner then knelt down, and opened his belly, and cut out his bowels, and threw them into the fire. While Sir Thomas was dying, one Erpyngham, the king’s chamberlain, insulting Blount, said to him, in derision, “Go, seek a master that can cure you.” Blount only answered, “Te Deum laudamus! Blessed be the day on which I was born, and blessed be this day, for I shall die in the service of my sovereign lord, the noble King Richard”. His head was soon after cut off and he was quartered.
Elements of the execution are indicated in Blount’s portrayal. The location is referenced by the figure in green standing immediately behind Blount. The green colour represents the Green Ditch. One of the figure’s identities is the painter Jan van Eyck. Ditch can be translated as dyke, a pun on the name d’Eyck or Van Eyck. Blount’s hanging is matched to the string of beads around his neck and his beheading to the black collar. Quartering of the body is when limbs are severed from the torso, hence the surcoat’s serrated design. Other references to quartering are the folded napkin and the four pieces of bread on the table. As for Blount’s disembowelment, this is indicated by what appears to be a belt but actually represents where Blount’s belly was opened. Notice also the demonic feature, formed by part of the serrated edge, appearing to look into the opened wound. The markings on the front of the red section of the surcoat are best understood if the image is turned upside down. Now the jagged edges can be recognised as representing rising flames and the markings as the eyes seen of a peacock’s feathers. The peacock is symbolic of eternal life. The flames are also associated with the mythical phoenix but this relates to another narrative associated with the Van Eyck figure.
The account of Blount’s execution where its states he was made to sit on a bench before a great fire, is mirrored in the group of men seemingly warming their hands “before a great fire” as they are commanded to approach by the marshall. In this scenario “the great fire” can be understood as the fire of Hell. The artist has also made sure that the prelate, in the guise of Cardinal Henry Beaufort, is portrayed seated on a bench with his hands raised. This, too, relates to another narrative that connects with the Epiphany Rising and recorded in the Ghent Altarpiece by the Van Eyck brothers.
So how is Sir Thomas Blount portrayed as a butterfly by the artist Bathélemy d’Eyck? His wings are meant to represent a butterfly, wings that were torn from its body when he was tortured and executed after his capture.
Jean Colombe picks up on this in his painting of the November folio in the Très Riche Heures. The two men in the wooded represent Jan and Hubert van Eyck (Hubert is a second identity applied to the Blount figure). They are clothed in white tops and wear black caps and stand apart, separated. This is a reference to Blount’s white and black wing features in the January folio. The figure of Barthélemy d’Eyck looking up is depicted in the process of shedding his outer coat to morph into a butterfly as the Van Eyck brothers. Notice his black cap and white undergarment, its hem shaped as a wing. In reality the artist is expressing Barthélemy’s conversion after witnessing a vision of the Lamb of God depicted among the oak trees. This is also a reference to another Van Eyck painting, The Stigmata of St Francis who is portrayed levitating when he is presented with a vision of the Crucified Christ portrayed as a six-winged seraph.
It’s worth remembering that there is more than one narrative attached to the figures and groupings in the January folio. The reason for this was Barthélemy emulating the composition system used by Jan and Hubert van Eyck of embedding several underlying themes and identities in their paintings, notably in the Ghent Altarpiece and The Three Marys at the Tomb.
The “Field of the Lord” at Saint-Hippolyte-sur-le-Doubs attracted pilgrims for many years because the claimed burial cloth of Jesus, now known as the Shroud of Turin, was displayed there at Eastertime to commemorate the Resurrection of Jesus – a transformation to a new life.
Barthélemy may have likened visiting pilgrims to butterflies, flitting from one pilgrimage destination to another. There were many at that time to choose from, mostly associated with the display of a saintly relic of some sort. But butterflies are also the result of a kind of metamorphosis or transformation, forming their shape through egg, larva and pupa stages to finally become a colorful adult creature of wonder.
Gathered around “The Lord’s Table” set for celebrating the Feast of the Epiphany, when the Magi – pilgrims from the East – travelled to Bethlehem to bring gifts and pay homage to the new-born king, are guests of all all types and status, from servants to ‘kings’, all clothed in an array of colours. Even the armoured soldiers fighting in the battlefield tapestry are decked in colourful coats of arms.
Arms, representing wings, is the key to recognising the butterfly theme in the January folio, and there is more than one narrative attached to the theme. Arms and wings also link to another theme in the picture, that of warfare and the equipment and methods used for conducting sieges and conquering castles. Notice also some of the figures are placed shoulder to shoulder, i.e. paired or yoked, suggesting they share a fellowship of some kind, or of the same ilk. For instance, take the identical livery colours of two men in the corners or wings of the frame. At top level they represent the Duke of Berry’s servants. However, the kneeling figure also represents Richard II whose father was the Black Prince, Edward of Woodstock. It was also rumoured that Richard was the illegitimate son of one of his mother’s servants. Hence the pairing of livery colours for the two figures.
So where are the butterfly depictions in the January folio? Apart from bearing in mind the colourful display of some of the men’s garments we can start with the man guzzling at the drinks table, and the man behind eating bread. A list of caterpillar behaviours published on Wikipedia states “Many caterpillars display feeding behaviors which allow the caterpillar to remain hidden from potential predators.” This explains why the faces of the two men are partially hidden. Predators include birds and the drinking man’s hat is meant to represent a pelican arguing with a griffin. An explanation of for this motif is at this link.
Further along the back line is the blue-collared figure with the floppy head cover. The hat combines with the ear-shaped legs of two soldiers in the tapestry to represent a hare, a play on the word hair and a clue to unravel the connection to the group of three men ahead in the line. The flat cap also represents a sow’s ear. Apart from defining a female pig, a sow is a name given to a slow-moving covered apparatus used in siege situations. This is also echoed in the bell shape collar decorated with musical notes and meant to represent a belfry or siege tower, another slow-moving structure. Notice the collar is fur-trimmed and here we have the first reference to the slow-moving caterpillar known to cause significant destruction to crops. Wikipedia states: “ The English word caterpillar derives from the old French catepelose (hairy cat) but merged with the word piller (pillager). The “Cat” was also a mobile shelter used to approach a castle under siege.
The next figure in line, and another hidden face, also has a caterpillar collar. The crown of the hat resembles the shape of a torte cake. Torte is a pun on both taught and torque (as in tension). The figure in this instance represents Henry Bolingbroke, the future Henry IV, who rebelled against Richard II and gathered a force against his cousin to usurp the throne. Torque applies to another medieval siege machine, that of a catapult or its larger version the trebuchet. The Old French word trebucher means “overthrow’. Torte also lends itself to the slow-moving tortoise and its tendency not to stick its neck out when danger threatens, hence Bolingbroke’s hidden face.
The figure representing Henry Bolingbroke is dressed in black and likely a reference to his deteriorating physical health, and being compared to the black and sometimes diseased condition of a caterpillar pupa. It is said that Bolingbroke was “cruelly tormented by festering of the flesh” and his body “completely shrunken and wasted by disease”. He died in 1413 at the early age of 45.
In this scenario the figure in front of Henry Bolingbroke is the Duke of Gloucester, Thomas of Woodstock. Dressed in silk garments, his fur-lined sleeves represent caterpillars dangling from a tree branch when in the process of creating a silk cocoon. The figure’s face is half covered, his mouth muffled. This motif echoes the muffling feature found in the Just Judges panel of the Ghent Altarpiece and also links to the tonsure feature of Henry’s hat, explained at this link.
The covering of the mouth is a visual pun on the word moth, a transformation of the silkworm. It is while the moth is in its larvae stage, before its cocoon and adult span that it damages and targets animal-based fabrics such as silk. It can also be understood as damage to the fabric and stability of society, In a sense, the artist has portrayed the Duke of Gloucester as his own worst enemy.
Thomas was an uncle to Richard II who made him Earl of Buckingham at his coronation in July 1377. Many of the figures portrayed in the January folio are taken from an extant list of nobles assigned to duties at Richard’s coronation. Thomas was also created Duke of Gloucester in 1485. However, Gloucester was opposed to the king’s royal advisors, namely Michael de la Pole, Earl of Suffolk, and Robert de Vere, Earl of Oxford. In 1388 Thomas led a group of nobles known as the Lords Appellant to impeach and force the dismissal of some of the king’s royal advisers which included Suffolk and Oxford. Afterwards Richard’s authority as king was somewhat limited but in 1389 with the help of his uncle John of Gaunt he was able to rebuild his power base and exert his authority as king once more. But after further fall-outs with Thomas the king clipped his uncle’s flitting wings and had him arrested and imprisoned in Calais. It is speculated that Richard ordered Thomas’s murder some months later when he was strangled or smothered, or both, and so another reference to the muffled mouth feature in the January folio.
The Duke of Gloucester did much to undermine his nephew’s authority as the rightful king, prompted in the background by another appellant and claimant for the throne, Henry Bolingbroke. However, Gloucester too would have felt undermined when Richard II’s father, the Black Prince, returned to England to assist in regaining his son’s control over his opponents.
Gloucester’s blue headdress is a reference to undermining, and a siege tactic where attackers dig or mine beneath a castle wall to weaken its structure. In medieval times miners believed in underground spirits named Kobolds or Bluecaps. Several legends are associated with them. Miners claimed the Kobbolds lived in the rocks and they could hear the spirits drilling and hammering. This is also a reference to the occupants of a castle under siege hearing the mining attempts of their aggressors on the outside. The colour cobalt blue takes its name from the Kobald spirit, hence the colour of Gloucester’s headdress.
The mining theme is also reflected in Gloucester’s ‘tunnelled’ sleeves and the ‘castle ramparts’ design of the cape covering his shoulders.
That Gloucester may have felt undermined on both sides is expressed both in the sense of the chaperon covering his head and as the two men chaperoning him on either side, his brother the Black Prince, and Henry Bolingbroke. Notice two fiendish shapes outlined on either edge of Gloucester’s blue headdress.
The three men as a group also refer to the maxim “see no evil, speak no evil, hear no evil. Bolinbroke has his eyes covered, Gloucester his mouth, and the Black Prince, his ears. This is another motif borrowed from Jan van Eyck’s Just Judges panel in the Ghent Altarpiece.
The figure wearing the light blue-grey chaperon and dressed in black silk with ‘caterpillar’ trims on the sleeves and collar, is Thomas’s elder brother, Edward of Woodstock, better known in history as the Black Prince. He was the eldest son of king Edward III and heir apparent to the English throne, hence the crown motifs on his black gown. The Black Prince died before his father and it was his son who succeeded to the throne as Richard II, bypassing any claim the duke of Gloucester or Henry Bolinbroke may have considered they had to become king.
The appearance of the trio warming themselves at the fire is not what it seems to be at first glance. There are other narratives embedded in the composition. Their arms are raised to reveal that there is nohing untoward is hidden in the sleeves of their garments. The marshall, in this instance depicted as Richard de Vere, Earl of Oxford, is inviting the three men to “Approach” but the trio appear hesitant. Hands are raised as if on guard. There are reasons for this: One is the fighting reputation of the marshall and another is the three figures behind him all died from the plague. Not only that the three guests represent English forces that fought on French soil in the Hundred Years War.
The royal heritage of the brothers Gloucester and the Black Prince is also depicted by their raised arms. The Black Prince strkes the pose of the heraldic Lion Passant Regardent. His head is turned as if looking over his shoulder, possibly wondering if his younger brother, the duke of Gloucester, may have ambitions to usurp his claim to the English throne. Gloucester strikes a similar pose except that both arms are raised to depict him as the heraldic Lion Rampant, while Henry Bolingbroke is shown with only one arm. Like his face, the other is hidden.
The Black Prince is heir apparent to his father’s throne, and here we have another pun incoporated by the artist – the word heir at the front of the sequence of the four-man group, and hare at the start of the line. In between there are several references to the word hair or hairy caterpillar. The pun is extended to the group of Appellants and the word apparent.
The identity of the figure at the start of the group is Jean Creton, a French knight and chronicler, who wrote The Metrical History of Richard II, hence the musical notes on his blue collar. The reference to his floppy hat being a sow – a siege apparatus – also points to the word creton as a French term for bacon fat.
Returning to the butterfly theme and the mention of riddles in an earlier post, here’s another:
First I was small, and round like a pearl; Then long and slender, as brave as an earl; Since, like an hermit, I lived in a cell, And now, like a rogue, in the wide world I dwell
The answer is butterfly, and I shall explain in my next post how this riddle is translated in the January folio.
At surface level, the January folio of the Très Riche Heures represents a banquet celebrating the Feast of the Epiphany, but there are other scenarios within the scene that connect to the date of the event, January 6, and the meanining of the word epiphany.
For instance, one of the identities given to the kneeling figure in the right hand corner is King Richard II. January 6 is the date of his birthday.
Pol Limbourg, depicted leaning on the seat behind the Duke of Berry, is one of three brothers associated with illustrating many of the folios in the manuscript. He is named after St Paul the Apostle, who experienced his ‘epiphany’ moment on the Road to Damascus. St Paul’s conversion is celebrated on January 25.
Another reference which links to the Richard II figure is the Epiphany Rising, the failed rebellion against Henry IV of England in January 1400. Thomas Blount the knight at the table folding the napkin, was one of ‘rebels’ executed. Henry IV is the figure dressed in black placed immediately above him.
The ‘Rising’ theme is extended to the tablecloth. It represents the burial shroud of Jesus, and his resurrection or ‘Easter Rising’.
The Resurrection theme extends to the five five figures front of table. Each of them are linked to the three guards and three women featured in the Van Eyck painting titled Three Marys at the Tomb. In fact there are several other references to paintings by Jan and Hubert van Eyck.
From these examples we can see how Bathélemy d’Eyck has taken his lead from the Van Eyck brothers to build his composition very much in the ‘jig-saw’ style used by Jan and Hubert in the Ghent Altarpiece, particularly in the Just Judges panel where four identities are applied to each rider. In the January folio the number of identities applied to each figure are usually two, but in the case of the napier in red and white, there are four. This likely a hat-tip to Jan and Hubert van Eyck as the figure behind the napier is Jan and one of the identities given to the napier is Hubert van Eyck (d.1426). The three others are Thomas Blount (d.1400), Amery of Pavy (d.1352), and Geoffroi II de Charny (d.1398) who was the son of the seated Geoffroi de Charny.
The biblical Epiphany story relates how three Wise Men from the East followed a star to Bethlehem to seek out a new-born king and “do him homage”. They brought with them gifts of gold, frankincense and myrrh. Hence the tradition of exchanging gifts at Christmas and New Year. So is Bathélemy paying homage to Jan and Hubert va Eyck. Hubert died in 1426, Jan in 1441. The folio is likely to have been painted sometime in the 1440s and probably as a work of homage after Jan had died, hence several pointers to paintings by the Van Eycks.
The Wise Men of Magi rmade their journey on camels, led by the light of the Star of Bethlehem. The Star and camels are also referenced in the painting.
The star is introduced by way of Geoffroi de Charny (mentioned in the previous post), a French knight who, along with the French king Jean II, founded the chivalric Order of the Star, sometimes referred to as the Company of the Star, in 1351. Geoffroi de Charney is the bald-headed figure seated opposite the Duke of Berry who also doubles up as King Herod.
There is an interesting folio (394) which forms part of the Grandes Chroniques de France (14th century) that shows the inception of the Order and some of the knights feasting at table. There can be little doubt that both illustrations were used as a source by Barthélemy for the composition of the January folio. The similarity of the table scene speaks for itself, but the group of knights approaching the French king is echoed in the group of figures huddled together behind the seated Geoffroi de Charney who is dressed in the same colours and style adopted by the Order of the Star.
As well as being father and son the two Charny figures are connected in two other ways. Charney senior was the first recorded owner of the claimed burial shroud of Jesus, now known as the Turin Shroud. It later passed into the possession of his son, hence the representation of the shroud as the tablecloth. Charney senior also wrote three works on chivalry, the most acclaimed being the Book of Chivalry. However, recent scholarship suggests that this treatise may have instead been written by his son to commerorate his father’s death, in a similar way that Bathélemy d’Eyck has honoured Jan and Hubert van Eyck with his painting of the January folio.
• More revelations about the January folio in my next post.
So what connects this miniature painting from the Metrical History of the Deposition of Richard II to the January folio in the Très Riche Heures du Duc de Berry?
For starters, both illuminations feature Jean Creton, an esquire to the French king Charles VI, and author of the Metrical History manuscript.
Secondly, the “French knight” standing before Creton probably represents Jean de Montaigu, master of the French king’s household. He doubles up in the January folio with his namesake John Montacue, 3rd earl of Salisbury.
Thirdly, the two men’s long-sleeved robes trigger the connection to the Marian miracle story of the Virgin’s short-sleeve gown written by Thomas Hoccleve and adapted as part of a pseudo version of the Plowman’s Tale associated with Chaucer’s The Canterbury Tales.
Lastly, the knight’s blue sleeve is meant to represent the Virgin Mary’s mantle covering a depiction of Jesus (the Body of Christ) as the sacrificial “Lamb of God”. This motif is echoed in the January folio, the figure of Hoccleve and his blue chaperon frames the communion host (the Body of Christ) he is about to be consume.
The tail of liripipe of the chaperon flows into the blue gown of the another figure whose face is partially hidden. This is Jean Creton. His right hand rests on the shoulder of the figure in green that doubles up as both Jean de Montaigu and John Montacue. The shoulder and sleeve is shaped as a shield. Creton is serving both men in the capacity of an esquire (shield carrier or bearer). Creton accompanied and served Montacue as part of Richard II’s entourage during his journey to Ireland and in the period before Richard was taken captive by Henry Bolingbroke. It was at Montacue’s request that Creton wrote his Metrical History of Richard’s deposition and death after he returned to France.
In my previous post I named three poets who are referenced in the January folio of the Très Riche Heures. There is a fourth, but anonymous, who wrote Richard the Redeless (“Richard without counsel”), a fifteenth-century English alliterative poem that critiques Richard II’s kingship and his court.
In a play on the word ‘redeless’ the painter Pol Limbourg has depicted Richard in livery which is ‘less red’ than what appears to be King Richard’s actual gown worn by his close friend and advisor Robert de Vere, the figure with the long baton.
The general opinion of art historians is that the figure in the corner is simply a servant feeding one of the Duke of Berry’s dogs, matched in the colours of the servant shown on the left side of the illumination. But there is a reason why the two men are depicted in similar style and colours.
Pol Limbourg is repeating, perhaps even confirming, a rumour that the isolated Richard II was the illegitimate son of one of his mother’s servants. Legitimacy and identity are major themes expressed in the January folio.
Officially, Richard was the son of Edward of Woodstock, known as “the Black Prince”. The appellation is said to derive from Edward’s black shield and his brutal reputation earned in battle, particulary against the French. The black cloth hanging from Richard’s waist represents the shield, while the reflection is that of the dog he is feeding. The shift from a white greyhound to a perceived black hellhound is probably a pointer to Richard’s own cruel reputation toward’s the end of his reign.
This illumination is from the Metrical History of the Deposition of Richard II. The chronicle was written by Jean Creton who served as a valet de chambre to the French king, Charles VI.
It shows Creton kneeling before an unknown French knight before starting out on his journey to England in 1399 “for amusement and to see the country”. Creton later wrote his account of the events surrounding the deposition of Richard II that happened while he was there.
His chronicle was later given to Jean duke of Berry and is listed in the duke’s inventory of 1413, about the time the duke commissioned the Limbourg brothers to produce the Très Riche Heures.
Pol Limbourg referenced the above illustration in the TRH January calendar to make an important connection to the work of poet Geoffrey Chaucer and also the Epiphany Rising witnessed and recorded by Jean Creton.
Christianity celebrates the Epiphany on January 6, a feast day commemorating the visit of the Magi to pay homage to Jesus the new-born king. The Magi are sometimes referred to as the Three Kings or Three Wise Men and it is this context they are represented in the January folio of the Très Riche Heures.
The three men are grouped, one behind each other, with their arms and hands extended. Commentators have suggested the men are looking to warm their hands at the fire as they are called to approach by the marshall and pay homage – not to John duke of Berry, but the newly crowned king of England, Richard II, (shown elsewhere in the painting and whose birthday is January 6). However, the artist Pol Limbourg suggests that the homage and gifts these three wise men desire to offer is akin to the false homage Herod the Great wanted to pay the infant KIng, Jesus.
But the marshall is wise to the false intentions of the three men. His call to approach is a signal for combat associated with knights competing against each other at a tournament. In reality the three men are backing away from the marshall. They are wise men to do so, but their surrender stance will not save them. Hell fire, French style, awaits behind the screen.
The marshall is Robert de Vere, a close friend of Richard ll, standing his ground ready to defend his king. The three men, right to left, are Edward of Woodstock (the Black Prince), Thomas of Woodstock, duke of Gloucester, and Henry Bolingbroke, the future King Henry IV, all opposed to Richard II and his rule as KIng of England.
The fourth man in the lineup (behind Henry Bolingbroke) is the artist Pol LImbourg. He does have a connection with the group but the reason is better explained with his association to another calendar date which occurs later in the month.
There is a key that Pol Limbourg has devised to lock and unlock the composition and its features in the January folio of the Très Riche Heures calendar section, also referred to as “labours of the month”.
Here’s a visual clue. It shows the facing page to the feasting illustration, a list of holy days, or saints’ days, for the month of January, some of which were considered more important than others. At least five of the feast days are referred to in the banquet illustration. There may be others:
Jan 1 New Years Day and the Circumcision of the Lord Jan 6 The Epiphany of the Lord Jan 18 St Peter’s Chair, Rome Jan 21 St Agnes, virgin and martyr Jan 25 Conversion of St Paul
The calendar is not the only list Pol has used to construct his illustration. There are two others, plus references to ‘list’ as a word in itself. The more important of these lists helps identify some of the figures and their placement in the painting. It is a legal document held at the National Archives and provides a list of magnates and their roles in the proceedings at Richard II’s coronation on June 23, 1377. A second list, or inventory, compiled for John duke of Berry, was also utilised by Pol Limbourg. There are three extant inventories covering 1400 to 1416 which list the duke’s possessions during that period. Richard II also produced a ‘treasure roll’ describing the jewels and plate in his possession. It is made up of 40 sheets of parchment and when laid out measures around 28 metres. From this we can see the significance of the tablecloth laden with plate in the Limbourg miniature.
Pol Limbourg fuses the lists of Richard and John to create another meaning to ‘lists’ – that of the boundary or partition associated with the sport of jousting, the Middle English word ‘liste’ meaning stripe or strip (of land) on which the knights would compete. He takes the meaning of stripe of strip and applies it another way, almost like a book or page marker. The spine edge of the illustration is a vertical strip or list placed beside the calendar list.
At the top of the strip is a set of lances and two distinct flags which I am unable to identify, but they probably represent the coming together of two families, possibly in marriage. There is also a steep hill in the background and, combined with the lances, may represent an emerald coloured stone to mount thorns taken from Christ’s crown of thorns, bought by the French king Louis lX in 1238, similar to the thorn mounted on a blue sapphire given to John duke of Berry, mentioned in a previous post.
Next item down is the man wearing a black chaperon, seemingly warming his hands at the fireplace. This is Michael de la Pole, 1st earl of Suffolk. He served as a trusted adviser to Richard II and was once tasked to arrange a marriage for the king. His waving hands are a pointer to his own marriage and wife Katherine Wingfield. A feature of the Wingfield coat of arms are three winged birds, inverted or ‘conjoined in lure’, meaning the tip of the wings point downwards. In this instance the hands or finger tips point upwards, and for two specific reasons.
The wings are symbolic of the Holy Spirit and the Light of God descending or hovering over Pol Limbourg. It represents a moment of conversion, from darkness to light. Whether Limbourg is implying a conversion experience in his own life, I can’t be sure, but what he is referring to is the Conversion of St Paul on his way to Damascus. St Paul’s feast day is celebrated on January 29 and is listed on the calendar.
Notice also the relaxed pose of Pol Limbourg as he leans forward on the back of the seat in front of him. Observe also that the fabric on the back of the seat is striped. Pol is a spectator or observer in the unfurling events happening before him. He is listless – not a participant. The striped fabric that extends past the end of the table represents the barrier or list between the jousting guests, not for any favours from the absent ladies but from the boy king Richard II and John duke of Berry. Richard’s coronation list provides evidence of competitiveness between high-ranking individuals seeking to be honoured and affirmed.
The distinct red scarf around Pol’s neck is a reference to the Welsh dragon and relates to another theme in the minature which I will explain in a future post. But it also connects to the next item on the list, the gold, boat-shaped ‘nef’ used as a container for tableware. The boat could be said to be listing, weighed down by its cargo of riches. However, it is kept buoyant and afloat by the saltcellar underneath. The bear and the swan are devices of John duke of Berry. Here the resting Pol Limbourg is referring to the passage from Matthew’s gospel where Jesus invites all who labour and are overburdened to come to him and find rest for the soul as his yoke is easy and his burden light (11:28-30). The ploughing analogy is echoed in the March folio of the Très Riche Heures.
The three plates are a reference to the tablecloth (a treasure roll) that is another theme Pol has woven into the painting and which I will explain at another time. Likewise the two small cats that represent a play on two words, catalyst and catastrophe.
So now we arrive at the last item on the list, the young man who has moved from the place of honour to a servant’s role of feeding the white greyhound. As explained in the previous post the placement represents the deposition of Richard ll who was ten years old when crowned king of England, hence the small figure compared to others in the illustration. The white greyhound belongs to the ‘usurper” Henry Bolingbroke, later Henry IV, who coerced Richard into giving up his throne in 1399. The dog at this stage is portrayed in a submissive, begging role, eagerly waiting to be fed by the hand of Richard. The roles later became reversed. Richard’s emblem was a white hart wearing a crown collar. Now it is Bolingbroke’s dog – a hunter – who wears the jewelled collar. It is said that Richard ll starved himself to death after he was captured and later imprisoned in Pontefract Castle. But notice also the black scarf around Richard’s neck. Is this Limbourg suggesting that the king may have been strangled and not starved, or is he referring to the earlier death of one of his enemies, Thomas of Woodstock, who is said to have been murdered while held prisoner at Calais on Richard’s orders? A manuscript of the time depicts Thomas being stangled by his own scarf.
Richard can also be linked to the calendar list. He was born on January 6, Feast of the Epiphany. A failed rebellion against Henry lV to to reinstate Richard ll as king was planned to take place on this feast day in 1400 and resulted in Richard’s capture and eventual death in February that year. It’s at this stage that the black chevron seen on the yellow flag at the top of the list, coupled with the inverted wings above Limbourg’s, head can be recognised as symbolic of hierarchical change. Limbourg has switched the visual references to the order of feasts. Pol, or St Paul, has been raised after falling frorm his horse, while Richard has fallen from grace and occupies the last place. St Paul’s ‘epiphany’ has taken presidence over Richard’s association with the Ephiphany. Richard was a firm believer in the divine right of kings to rule, but here Limbourg demonstrates that divine will is not always “done on earth as it is in heaven”. This links to another aspect of the ‘inverted’ symbols which I shall post on at another time.
Here’s more on Pol Limbourg’s January illustration from the Très Riche Heures produced for John duke of Berry. .
Apart from the battle scene depiction in the background, said to be a reference to the Trojan Wars, the main action of the painting centres on and around the banquet table.
The ‘pole’ position at the table is taken up by the host, John duke of Berry, wearing a blue gown. He is turned to isten to what the “man of the cloth” at the end of the table has to say. But notice the gap on the seat between the two men, seemingly guarded by the chamberlain stood behind the space. It’s a place reseved for a very special guest to sit at the right hand of the host. But who is he? Could he be one the group of men in a line approaching the chamberlain? No, they are there for other reasons. and not just to warm their hands at the fire.
Artist Pol Limbourg has purposely displaced the duke of Berry’s honoured guest and positioned him elsewhere in the frame, almost out of the picture! In fact, he is not even seen in the cropped image above. To discover him and the reason for Pol Limbourg’s inventive design the folio needs to be viewed in its entirety.
The ‘servant’ feeding the greyhound in the bottom right corner of the frame is the man who has given up his seat at the table, not that he has been asked to by the host. He is placed as a corner stone on which the main theme of the January folio is built upon.