Category Archives: Leuven University

When Botticelli went to Leuven

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The Altarpiece of the Holy Sacrament (1464-68) by Dieric Bouts, St Peter’s church, Leuven

In my previous post I revealed how the portraits of Sandro Botticelli and Hugo van der Goes featured in corresponding versions of the Adoration of the Magi, suggesting that Van der Goes may have visited Florence in connection with his painting of the Adoration of the Shepherds, commissioned for the church of the hospital of Santa Maria Nuova.

Further research has produced evidence to suggest that Botticelli likely travelled to Flanders and, in particular, to the Flemish region of Brabant and the city of Leuven, now part of Belgium.

While in Louven, for whatever reason, it appears that Botticelli visited St Peter’s church and laid eyes on the famous altarpiece (still displayed there) painted by Dieric Bouts – the Altarpiece of the Holy Sacrament. The triptych was commissioned in 1464 and completed four years later in 1468.

As Bouts died in May 1475, it is likely that Botticelli’s visit would have occurred sometime during a seven year span between 1468 and the early part of 1475.

Botticelli’s Uffizi version of the Adoration of the Magi incorporates in detail some of the iconography and ideas embedded in the Bouts triptych, particularly in the centre panel depicting the Last Supper. I can only assume that this detailed knowledge was given to Botticelli by Dieric Bouts himself, which may further explain why Hugo van der Goes, a close associate of Bouts, placed portraits of the two artists side by side in his Adoration triptych known as the Montforte Altarpiece.

A look of admiration and appreciation from Sandro Botticelli for Dieric Bouts in the Monforte Altarpiece painted by Hugo van der Goes.
Botticelli’s Uffizi version of the Adoration of the Magi, inspired by not only by the works of Leonardo da Vinci but also the Altarpiece of the Holy Sacrament painted by Dieric Bouts, still displayed in St Peter’s church in Leuven.

The art of homage

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In earlier posts I revealed how the hands of four of the disciples sat alongside Jesus in The Last Supper painting by Dieric Bouts, represent the emblems of four colleges associated with the Old Louvain University.

Mention was also made that some of the disciples represent artists, Jan van Eyck being one of them. Another is Hugo van der Goes, portrayed as Judas. It begs the question, why would Dieric Bouts have chosen Van der Goes for the role of the disciple who ‘sold out’ on Jesus?

Following the death of Dieric Bouts in 1475, Hugo van der Goes went on to produce the Monforte Altarpiece. The surviving panel, Adoration of the Magi, references elements and themes from The Last Supper panel produced by Bouts; in particular, the four emblems associated with the Old University of Leuven: the Castle, the Falcon, the Lily, and the Boar (pig), as shown below.

The Old University of Louven and emblems of its four colleges represented in the Adoration of the Magi (Hugo van der Goes) and the Last Supper (Dieric Bouts).
The Castle, the Falcon, the Lily, and the Boar.

Hand servants

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More on The Last Supper panel of the Altarpiece of the Holy Sacrament painted by Dieric Bouts for St Peter’s Chuch, Leuven. Its Dean at the time the painting was produced was Dominic Bassadonis who also served as Chancellor of Leuven’s Old University, founded by Pope Martin V in 1425. The University’s four boarding schools were named: the Castle, the Falcon, the Lily, and the Boar (or Pig).

College crests… The Boar or Pig, the Lily, the Castle, the Falcon… Louvain Monumental

Each school had its own coat of arms or emblem, as shown above. These are referred to in The Last Supper painting, “assigned” to hands of the four apostles alongside Jesus. From left to right they are St Andrew (castle), St Peter (falcon), St John (lily) and St Thomas (boar or pig).

Hand signs… Castle, Falcon, Lily and Boar (or Pig)

Probably the most difficult to distinguish, but more meaningful, are the hands of Thomas. The four fingers of his left hand form the boar’s head, the thumb its ear. Thomas’ right hand covers his left for a reason. He had doubted the resurrection of Jesus and refused to believe unless he could touch the wounds of the risen Lord.

The French translation for boar is sanglier. However, Bouts splits the word in deference to Van Eyck’s use of word play in his paintngs. Jan is seated next to Thomas. When sanglier is split into two words – sang and lier – a new meaning evolves: blood and bond. So Thomas’ right hand represents a seal over the wound made in Christ’s hand when he was nailed to his cross – a reminder of a new covenant bond with God, sealed with the blood of Jesus. It was at the Last Supper that Jesus shared the cup of wine with his disciples and said to them: “This is my blood, the blood of the new covenant, to be poured out on behalf of many.”

There is another narrative that connects to both the boar sign and the issue of blood. In Judaism, physical contact with blood or a boar (pig) is considered unclean and requires the person to be ritually purified. Above the figure of Thomas at the door entrance is a receptable for washing. A basin and towel are also under the cupboard beside Van der Weyden.

For the hands of Thomas to represent uncleanliness at the table is a pointer to the teaching of Jesus when the Pharisees complained about his disciples breaking traditions by not washing their hands before eating food, and what is understood by a man being clean and unclean (Matthew 15 : 1-20). Thomas’ doubt was not washed away by ritual cleansing but by being invited to touch the wounds of Jesus.