Almost a year to the day after Sotheby’s set a new auction record for a work by the Renaissance Old Master Sandro Botticelli, it sold another work attributed to him for $45.4 million, making it the artist’s second-highest sale total ever. Details a this link.
I recently made mention of another version of The Man of Sorrows by the Flemish painter Petrus Christus and pointed out that Hugo van der Goes had referenced the work in the St Vincent Panels (Panel of the Prince). Hugo also ultilised Botticelli’s painting of St Thomas Aquinas in the Panel of the Friars.
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 multiple 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 identities to each of the ten riders in the Just Judges panel of the Ghent Altarpiece.
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.
In my previous post I stated that a section of Botticelli’s Uffizi version of the Adoration of the Magi was the inspiraton behind the composition Hugo van der Goes applied to the Panel of the Friars in the St Vincent polyptych.
For example, the figure in the top left corner and the figure of the friar beneath it are based on two-heads in the Botticelli painting that depict Bernardo Bandini Baronelli, one of the assassins in the Pazzi Conspiracy who cleaved the head of Giulianio de’ Medici, and the Italian poet and scholar Angelo Ambrogini, better known as Poliziano, who later wrote a commentary about the dramatic event. He is seen with his head turned looking directly at the viewer in a similar fashion to the friar in the Panel of the Friars.
The friar with the full head of wavy hair has multiple identities, one being João Álvares, a Portuguese chronicler held captive for several years alongside the royal prince Ferdinand who died in captivity at Fez. Five years after Ferdinand’s death, Álvares was succesfully ransomed, returned to Portugal and then commissioned by Ferdinand’s brother Henry (the Navigator) to chronicle his younger sibling’s life and deeds. This account was a source Hugo likely utilised for producing one of the themes in the St Vincent Panels, just as Botticelli used Poliziano’s account as a basis for his painting.
There are two references in Botticelli’s painting to Bernardo Bandini – eventually captured in Constantinople after his flight from Florence and brought back in chains by Antonio de Medici. He was hanged on December 29, 1479. Present at the time of Bandini’s execution was Leonardo da VInci who made a drawing of the hanged man. Part of this drawing is represented by the head of Bandini tucked behind Poliziano. This is to make clear that the account of Baldini’s execution was not part of Poiliziano’s report written soon after the attack on the Medici brothers. But Leonardo was still in town and recorded the event in one of his notebooks. Observe the reference to the rope, a vertical line which has been emphasised as part of the column in the background.
So how does this hanging man image connect to Pontius Pilate. There is a visual likeness – the red skull cap – and so a pointer to Golgotha, the place of the skull where Jesus was crucified or hung from a tree. The bark on the lower part of the tree behind the head of Bandini has been stripped, as Christ was stripped of his clothes, and above this area are the dangling legs of a man depicting the Crucifixion. Hugo van der Goes has matched this by depicting Pilate’s right ear as the lower half of Christ crucified.
There is another component that links to Baldini, the line that joins the two halves of Pilate’s tunic and falls in behind the head of Àlveres. This echoes the line that represents the rope seen behind the head of the assassin in the Botticeli painting. It’s a device applied by Hugo van der Goes to introduce another identity given to the friar and which, in turn, will eventualy lead back again to Botticelli’s Adoration of the Magi. The new identity appears in one of the cycle of frescoes known as the Legend of the True Cross, attributed to Piero della Francesca, and located in the San Francesco church in Arezzo, Italy.
The particular fresco, attributed to Piero’s assistant Giovanni da Piamonte, is the sixth in a series of thirteen and referred to as The Torture of Judas the Jew. Judas is seen being lowered into a well with a rope tied around his waist, although at first glance it appears the rope is attached to his neck. This is done in an effort make Judas reveal the location of the Cross on which Jesus was crucified. After seven days of torture Judas relents and reveals the location in Jerusalem where the True Cross is buried.
Judas’ curled hair is similar in style to the curls applied to Álvarez. To make any further connections between the two men, we now have to focus on one of the identities given to the second figure in the back row, Thomas Aquinas, and his portrait painted by Sandro Botticelli which I pointed out in a previous post.
After Aquinas had died on March 7, 1274, an Enquiry into Canonisation was held at Naples between July and September 1319. One of the witnesses, an elderly priest known as Peter of Montesangiovanni, was asked if he knew of any miracles worked by Thomas in life or death or after death.
He replied that during his stay at Maenza, Thomas’s health declined and his socius (comrade), seeing his weaakness, begged him to take some food: whereupon Thomas said, ‘Do you think you could get some fresh herrings?’ The socius repied, ‘Oh, yes, across the Alps, in France or in England!’ But just then a fishmonger called Bordonario arrived at the castle from Terracina with his usual delivery of sardines; and the socius (Reginald of Priverno) asked him what fish he had and was told (sardines). But on opening the baskets, the man found one full of fresh herrings. Everyone was delighted, but astonished too, because fresh herrings were unknown in Italy. And while the fishmonger was swearing that he had brought sardines, not herrings, brother Reginald ran off to tell Thomas, crying, ‘God has given you what you wanted – herrings!’ And Thomas said, ‘Where have they come from and who brought them?’ And Reginald said, ‘God has brought them!’
This incident later became known as the “Miracle of the Sardines”. Close inspection of Botticelli’s painting of Thomas Aquinas reveals the cuffs of the saint’s tunic and his collar depicted as herrings. The hood of the Cistercian friar below is also meant to match the herring form.
As for any reference to sardines, look no further than the shape and cut of the friar’s hair seemingly presented seemingly on a head-plate, the latter also a reference to John the Baptist whose head was presented on a plate to Salome. This alludes to the mirror Panel of the Relic where the kneeling cardinal is shown presenting part of a skull shaped as a dish.
Another connection Hugo van der Goes makes is to Botticeli’s Uffizi version of the Adoration of the Magi. Botticelli is depicted standing on the extreme right edge of the panel with his hands covered. To his right stands the bearded Hugo van der Goes. This combination of the two artists is matched in the Panel of the Friars to the bearded friar and the friar crowned with sardines, the latter being another identity given to the figure – Botticelli – a nickname meaning “Little Barrel”. Hugo has playfully returned the jibe directed at him in Sandro’s painting, which inferred he worked at a snail’s pace. Hugo has presented Botticeli as a “little barrel” of sardines.
• More about the Panel of the Friars and its connections in my next post.
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.