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 there 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 shows 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 is known as the Holy Shroud – the Shroud of Turin – said to be 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.
• More on this in a future post.
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