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Hidden
Symbolism
in
Jan
van
Eyck's
Annunciations*
John L. Ward
right from the divine light that strikes the Virgin from her
right or "good" side.4 Millard Meiss noted in a classic study
that the divine light, which passes through the window
without breaking it, is equated with Christ, who passes
through the Virgin's body without destroying her virginity.5
Yet such is the truly incredible complexity, subtlety, and
inventiveness evident in the painting that these analyses
have touched on only a small part of the ideas expressed.
For example, what of the prominently placed footstool?
Panofsky says without explanation that it "may or may not
be an allusion to Isaiah LXI, I" (which I take as a misprint
for Isaiah LXVI, I), "thus saith the Lord, the heaven is
my throne, and the earth is my footstool." This is indeed
the idea represented here and, elaborated by further
associations, the footstool is a profoundly expressive image.
Together with the Virgin, it is one of the focal points of the
painting, not only visually but conceptually. The idea
conveyed is of a place prepared for the infant Christ, who
has given up his heavenly throne to become man.6 Its
modest size and placement at the bottom of the space,
farthest from the heavenly zone, express Christ's humbling
of himself. Yet the footstool is also a miniature throne prepared for the infant Christ and hints at his Second Coming
and eternal reign. With its soft, splendid cushion and its
explicit emptiness, it bears a striking resemblance to Byzantine representations of the heavenly throne vacated by
Christ upon his Incarnation and that prepared for his
Second Coming. A twelfth-century Greek manuscript represents Gabriel returning to Christ's now-empty throne,
which is both backless and cushioned (Fig. 2).
The dual implications of humility and royalty in the
footstool are also seen in the Virgin. Her plain blue dress
forms a striking contrast with the celestial messenger's
brocaded robes, crown, scepter, and rainbow-hued,
peacock-feathered wings. But the ermine trim reminds us
that she is a descendent of King David, shown in the pavement below (as the humble shepherd boy who kills the
3 Panofsky, 1953,
138-39, 414, n. 1391. His belief that the signs were
arranged in rows of 2-3-4-3 belies his contention that the angel kneels
on Aries. In my view, there are only three rows of signs, arranged 5-4-3,
which accords with Panofsky's symbolic interpretation. Whether this
numerical progression is significant (for example, 5= the number of the
Pentateuch, 4=the number of the Gospels, 3=the appearance of the
Trinity, indicating perhaps a movement from the Old to the New
Covenant), I leave the reader to determine.
4 Panofsky, 1953,, 147-48.
5 Meiss, "Light," 179a Philip (Van Eyck, 90) makes a similar suggestion concerning the empty
central space in the Ghent Altarpiece Annunciation,and it was her discussion of that work that enabled me to recognize the significance of the
footstool in the Washington painting. Paradoxically, I am less persuaded
that the space in the Ghent Altarpiece has an analogous significance.
VAN
EYCK
S "6ANNUNCIATIONS"
197
proud giant Goliath) (Fig. 3). And the lion in the foreground recalls the prophecy in Genesis 49:9-I0, which
says that the tribe of Judah, compared with a lion, would
rule Israel "donec veniat qui mittendus est." Christ's birthright to both an earthly and heavenly throne is expressed in
another symbol that will require some explanation. Schiller
suggests that, contrary to the general belief that lilies in the
Annunciation scenes represent the purity of the Virgin,
many fifteenth-century Flemish painters probably used the
flower as a symbol of Christ.7 That this is the meaning here
is apparent from the proximity of the lilies to Christ's footstool and to Capricorn, the sign of his birth-season (Fig. 4).
But the flower also represents a fulfilling of Isaiah's prophecy
"et egredietur virga de radice Jesse, et flos de radice eius
ascendet" (Isaiah II:). Thus the lily is Isaiah'sflos and the
Church inevitably identified the virga with the Virgo, the
Virgin Mother.8 Indeed, although the lily came to be
associated with the purity of the Virgin, it seems likely that
many if not all lilies in Annunciation scenes of this period
represent Isaiah's prophecy.9 The association of the Tree of
Jesse with lilies and with the Annunciation is made explicit
in a Westphalian painting of the early fifteenth century in
which a small Jesse appears between Gabriel and the Virgin,
with a tree, blossoming with lilies and supporting King
David, growing from his breast (Fig. 5).
Although the lilies are in a vase in Jan's picture, it is
almost completely obscured by the footstool, so that it
appears as if they were springing directly from the pavement.10 The pavement itself supports the reference to the
Tree ofJesse, with its Old Testament scenes and medallions
such as commonly appear in medieval representations of the
subject,11 although of the royal ancestors of Christ only
David is shown. The illusion that the lilies grow out of the
floor connects Christ with scenes that prefigure events in his
own life and actions after his death. The connection with
Isaiah's prophecy is further established by the seven open
lilies, which correspond to the seven beams of light entering
7 Schiller, I, 62. The basis for the association of Christ with the lily is the
image from the Song of Solomon, "Ego flos campi et lilium convallium"
(2:1). Philippe de Bonne-Esp6rance associates the "flos campi" with the
flos growing from the "radix Jesse" and gives an elaborate interpretation
of the lily as an image of Christ (PL, CCII2 18-83).
8 Bongiorno, 15; Schiller, I, 26.
9 This is clear in the Annunciationfrom the Tres Riches Heures, which
shows Gabriel carrying a trinity of blooming lilies growing on a single
long stalk and in the Annunciationfrom the Belles Heures, in which he
carries three lilies, two open and one closed (see Fig. 14).
10 The side of the vase protrudes beyond the leg of the footstool, and a
small section of the vase foot can be seen between the stool legs. The vase
is similar to that which appears in Rogier's Louvre Annunciation
(Panofsky,
1953, ii, fig- 3io) and is decorated with blue designs on a white ground.
Since the density of pattern on the vase is almost the same as that on the
floor beneath it, in a black-and-white photograph its camouflage renders
it almost undetectable. On the other hand, the color reproduction in
Baldass's book (pl. 115) shows the vase to have an evanescent presence
akin to Mona Lisa's smile: it is visible when one looks for it, but when
one raises his eyes to the lilies, it vanishes. By this magic Van Eyck
expresses the flowers' symbolic import while he justifies their arangement
in physical terms.
11 Schiller, I, figs. 22-43.
12 Only six spirits are mentioned in the King James translation, because
the spirituspietatis and spiritustimorisDomini are both equated with the
spirit of the fear of the Lord.
13 Schiller, i, figs. 22-25. The Boucicault Master's Annunciationfrom the
198
THE
ART
BULLETIN
scenes with the infant Christ are found in the "Small Bargello Diptych"
(Grete Ring,
London,
1949,
fig. 16), Jean Fouquet's Adorationof the Magi in the Hours of Etienne
Chevalier(intro. C. Sterling and C. Schaefer, New York, 1971, pl. 2),
and Bosch's Prado Epiphany Altarpiece (L. B. Philip, "The Prado
Epiphany by Jerome
Bosch,"
1953, figs. I, 8, 9
in Revelation
16:14,
VAN
EYCK'S
"ANNUNCIATIONS
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18 See Rabanus Maurus, PL, cvIII, I 175; Isidore of Seville, PL, LXXXIII,
386-88. Isidore also equates the bramble with the thorn, and in turn,
with the Antichrist. Philip ("Prado Epiphany,"273 and n. 27) discusses
the symbolic association of thorns with the Antichrist.
de l'art chretien,Paris, 1956, 1i, pt. I, 236ff.; PL,
19 L. R6au, Iconographie
Index, ccxxx, 247; M. Kahr, "Delilah," Art Bulletin,LIV,1972, 282-86.
200
THE
ART
BULLETIN
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6 Detail of Fig. i
VAN
EYCK'S
"ANNUNCIATIONS"
201
7 Detail of Fig. I
8 TheDeathof Abimelech.
New York, Pierpont
E. Panofsky, TheLife andArt of AlbrechtDiirer,1943, fig. 101, 78-791953, 1, 138. Panofsky gives no source, but he is doubtless
correct, since the Philistines are a symbol of idolatry, and the Church saw
Samson's mission to be the freeing of the Jews from the Philistines, as
Christ freed mankind from the penalty of sin under the Law. The
Speculumhumanaesalvationis,however, pairs the subject with the soldiers
falling down before Christ, as described in John i8:1-6 (Lutz and Perdrizet, I, chap. xvII, 36-37; 1I, pl. 33). The depiction of the latter scene
occurs in the Limbourg Brothers' Belles Heures and Tres Riches Heures
(Panofsky, 1953, 1, fig. 87). Although Jan may have intended to suggest
this scene - and possibly the fallen soldiers of the Resurrection as well
(Memling associates Samson slaying a Philistine and Samson slaying
a lion with the Resurrection [Friedlander, via, pl. 25]) - in showing
21
22 Panofsky,
and meek with righteousness and equity, but also to slay the
wicked (Isaiah I 1:4). Thus Samson, an Old Testament
judge, prefigures Christ in his future role as judge of the
world. Samson's slaying of the Philistines symbolizes Christ's
victory over sin22 and his retribution at the Second Coming,
described in Isaiah 63 and Revelation 19. Samson's betrayal
by Delilah prefigures Christ's betrayal by the Synagogue,23
but more important, as noted byJohn Mayer, a seventeenthcentury scholar, "the shaving of [Samson's] haire [sets
forth] the departing of the divine helpe for a time from
[Christ], as hee cryed out, my God my God why hast thou
forsaken mee?"24 The departure of God's spirit from Samson
Samson striding over the fallen Philistines, he must have been primarily
prefiguring the prophecy of Isaiah 63:3 ("For I will tread them in mine
anger, and trample them in my fury") and Malachi 4:2-323 Isidore of Seville, PL,
LXXXIII,I 12. The Church Fathers were divided
[21 :I]),
202
THE
ART
BULLETIN
25 The Venerable
woman, half bird, and that the representation of them as half woman,
half fish was a confusion of images. Such a combination did appear both
in the Near East and in the Classical world, however, and during the
Gothic period it became firmly established as the more usual form for a
siren. Jalabert traces this progressive supplanting of the original type in
medieval church sculptures, and Faral traces a parallel development in
written descriptions of the siren.
31 See Guillaume, Le bestiairedivin ..., intro. C. Hippeau, Geneva, 1970,
inhabited
by
snails and sometimes shown with the upper bodies of men protruding,
frequently appear in the margins of medieval manuscripts. (See L. M. C.
Randall, Images in the Margins of GothicManuscripts,Berkeley and Los
Angeles, 1966, figs. 158, 225, 241, 307-1 , 385, 468.)
28 See, for example, Randall,
D. Jalabert,
I86-88,
figs. 497-502;
"Recherches sur la faune et la flore romanes, ii, Les sirenes," Bulletin
monumental, xcv, 1936, 433-7 1.
433-506) and Jalabert both observe that Classical sirens were half
VAN
claims that the idea that Dagon was half man and half fish dates to the
Rabbinic scholar David Kimchi (ca. I2001.
in C. Sterling, "Observations
EYCK'S
ccANNUNCIATIONS"
203
39Van Eyck's dragon - placed among the Zodiac signs but cowering
beneath the footstool and driven back by the Soljustitiae- may have been
inspired by the March page of the Tris RichesHeures,where a winged
dragon is shown in the sky directly beneath Aries (Panofsky, I953, II,
fig. 90). One is tempted to believe that the proximity of the dragon to the
date of the Annunciation and to the Ram, an image of Christ (the Lamb
militant) was intended, although the dragon was also associated by
legend with the castle beneath it (see J. Longnon, intro., The TresRiches
Heuresof Jean, Duke of Berry, New York, 1969, pl. 4). This idea gains
support from another illumination in the book that depicts the Archangel
Michael fighting the dragon of the Apocalypse in the sky above Mont
St.-Michel (pl. 134).
40 Schiller, III, figs. 50o,8o, 202, and
231, show a dragon or scorpion (also
43 Ibid.,
136-37.
Panofsky's
diagram
(1953,
204
THE
ART
BULLETIN
The snail shell from which the goat's head emerges also
contributes to the idea that Capricorn is an agent of Satan,
not Christ. Snails seem to have been widely despised in the
Middle Ages and earlier for a variety of reasons. Lilian
Randall has demonstrated that extensive use was made of
the snail in the Gothic period, both in manuscript illuminations and writings, to satirize cowardice.49Most such written
and painted descriptions involve armed men attacking a
snail or cowering in fright before it, and the humor arises
out of the absurdity of fighting something so small and
helpless - or worse, being afraid to fight it. The snail is not
itself perceived as cowardly even when it appears intimidated by a charging knight: one would expectsuch a humble
animal to be somewhat awed by such an attack. A frightened
lion appears cowardly; a frightened snail does not. The
snail symbolizes lowliness, and it is because of this, as well as
its humorous resemblance to a horned dragon, that it
functions so well in depictions of the cowardice of its adversaries.50 Thus Van Eyck's Capricorn combines the lowly
snail with the mountain-climbing goat - an absurd conjunction of extreme opposites, but completely in keeping
with the theme of the meeting of high and low that permeates
this picture.
Capricorn is thus a symbol of pride, with the goat aspiring
to transcend its lowly origins. This, I believe, is also the
significance of the mountain-goat in Diirer's engraving The
Fall of Man: balanced on the highest summit, it inevitably
brings to mind the words "Pride goeth before destruction
and an haughty spirit before a fall" (Proverbs I6:I8). There
too the goat is shown on the left side of the figures and
opposite the Tree of Life on their right. In Jan's painting,
this interpretation of Capricorn is in keeping with the pride
and ambitiousness of Abimelech, Absalom, and Lucifer.
Typical of the Bible's equation of height with the cardinal
sin is a passage in Jeremiah in which the Lord says, regarding his coming judgment, "For, lo, I will make thee small
among the heathen, and despised among men. Thy terribleness hath deceived thee, and the pride of thine heart, O
thou . . . that holdest the height of the hill: though thou
shouldest make thy nest as high as the eagle, I will bring
thee down from thence" (Jeremiah 49:15-16).
One of the hazards of Van Eyck's disguised symbols especially when they are combined in as complex an
arrangement as in this picture - is that some of the meanings will be unclear. What is remarkable is how all of the
diametrically opposed meanings seem to fit in: thus, the
goat can be read as an image of Christ when seen in con-
1971, I68.
47 "De [capri] Physiologus dicit quod amant montes altos" (PseudoHugh of St. Victor,
of St. Victor,
I37-40;
247-50.
1962, 358-67.
VAN
junction with the lily and footstool; but when read with the
other images of the pavement it functions as one of the
nations that Satan deceives through their pride into taking
part in the world war of Gog and Magog (which is why it
fights with other images of evil, the merman and mermaid).51
The hanging figure of Absalom, isolated by the footstool
and placed below the lilies, is the antitype of Christ on the
Cross. He represents those who have denied Christ (as
Absalom rebelled against David, his father) and who die for
their own sins.52 David, who saves the community of the
elect in the adjoining scene, is unable to save his own son,
although the Bible repeatedly mentions his desire to do so.53
Remarkably, Van Eyck balances Absalom's defeat, caused
by his luxuriant hair, a symbol of his pride,54 with Samson's
downfall, brought about by the cutting of his hair.
Joining the Zodiac signs and framing the Old Testament
scenes are two kinds of leaves: at the bottom are leaves of
the columbine (aquilegia);55 above is clover (trifolium).56
The columbine has frequently been mentioned as an attribute of both Christ and the Holy Spirit,57 but of equal
significance is the reference in a seventeenth-century herbal
to it as the "Herba Leonis, or the herbe wherein the Lion doth
delight."58 Given this connection of the columbine with
Leo, the mansion of the sun, is it possible that Jan van Eyck
also saw the resemblance between one spelling of the plant's
German name, aglei, and the Greek word dyAao'~(splendid,
shining, bright) ?
Another biblical reference to a goat is also in keeping with this interpretation: this is the vision of Daniel of a "rough goat" that attacks a
ram (chap. 8). The vision is interpreted to Daniel by the angel Gabriel
thus: the goat is the king of Greece, and the horn that grows between
his eyes - as it does in Van Eyck's painting, where the placement seems
to be merely a Gothic spatial archaicism, but may also be symbolic - is
the first king (Alexander, as St. Jerome observes in his commentary
[PL, xxv, 535]). The ram represents the Medes and the Persians. In
Van Eyck's picture, the ram is concealed and primarily signifies Christ
and the month of his conception (although I have already argued for the
shifting meanings of a number of the Zodiac signs). But the goat appears
to be fighting the siren (identified with Babylon) and the merman
(identified with Dagon and the Philistines), which could also signify
Alexander's conquest of the Near Eastern countries. And the struggle
between the most important powers of the world at that time is a fitting
type of the Apocalyptic battle of Gog and Magog (Revelation 20:8) and
of the destruction of the Whore of Babylon by the ten-horned beast of the
Apocalypse, whose horns, like those of Daniel's goat, also represented in51
17:12,
16).
157),
(in Coremans,
"ANNUNCIATIONS'"
205
57 Panofsky (1953, I, 146, and 416, n. 1466) argues that the columbine was
a symbol of the Sorrows of the Virgin, based on its French name, ancolie,
and purple color (more often dark blue). In many Flemish paintings,
this is probably the correct interpretation. But in the list of eighty-five
examples given by R. Fritz ("Aquilegia, die symbolische Bedeutung
der Akelei,"
Wallraf-Richartz-Jahrbuch,
xIv,
1952,
99-I
o) there are
Absalom represents Jewry and the three spears that killed him signify
pride, avarice, and envy (or perfidy) (PL, cIx, I Io).
55 Comparison can be made with contemporary examples by Rogier
van der Weyden (Davies, pl. 81), Hugo van der Goes (J. Lassaigne,
G. C. Argan, The GreatCenturiesof Painting: TheFifteenthCentury
from Van
Eyck to Botticelli, New York, 1955,
EYCK'S
lion's herb from the belief that lions fed on it, and merely rubbing the
hands with the leaves imparted courage and daring."
59 Gerarde, 187 (said of trifoliumpratense,or meadow clover). Webster's
New InternationalDictionarysays that "pin and web" may have referred
to pterygium or phlyctenular conjunctivitis.
60 The actual inseminating force, present in nearly all Annunciations,
is of
course the dove, the Holy Spirit that God breathes into Mary's ear (see
Meiss, "Light," 176). But it is apparent that Gabriel's words effectively
symbolize the appearance of the Logosin the world, and, together with
the Virgin's response, the mystic intercourse between Heaven and Earth.
206
THE
ART
BULLETIN
of the Word, as well as the Word dispensed, in both scenes. The propriety of identifying Christ with an angel is affirmed by St. Augustine
61
Bulletin, xxvII,
i945,
185-87).
121 ; St. Martin of Leon, PL, ccvIII, 782. It seems clear that the Catholic
numbering of the Ten Commandments, in which the first two are combined into one and the last one is divided into two, was worked out so
that the first three commandments could be related to the Trinity and
the last seven to mankind (for the numbering differences, see "Decalogue," Encyclopedia Americana, 1955, VIII).
65 Tolnay points out that Gabriel's ornate robe and crown (which first
appear in this painting) may be a "prophetic foreshadowing of the Rex
Mundi to be born" (p.I76), so that Christ may be seen as the dispenser
is given by Marie
picture the
instructive
analysis of
the problems that Van Eyck faced in this panel is demonstrably objective in that he was unaware of the symbolic content and, consequently,
of the brilliance of the solution: "The comparative scale of figures and
nave seem more natural here than in any other Van Eyck painting.
"These natural proportions were forced upon the painter by the
panel's unusual format. The narrow area limited the size of the figures,
and he was left with the task of enlivening its upper half with architectural forms alone. This is the reason why he lavished such care on
decorative peculiarities like the figured sgraffitoof the floor and the murals
in the Romanesque style" (p.64).
VAN
EYCK
S "ANNUNCIATIONS"'
207
14
PZ
x2 Detail of Fig. I
overlook it. And just as the young David is shown triumphing over the proud giant Goliath, so the footstool presages
Christ's judgment seat from which he will send Satan to the
fiery pit. Even the placement of the heavenly Zodiac on the
floor repeats the theme of the merging and interchanging of
the elevated and lowly.73 And Satan's placement in the
Zodiac but also on the floor beneath the footstool recalls
Isaiah's words concerning Lucifer, the fallen angel who was
equated with Satan: "For thou hast said in thine heart, I will
ascend into heaven, I will exalt my throne above the stars
of God . .." "Yet thou shalt be brought down to hell, to the
sides of the pit" (Isaiah 14:12-15).
Likewise, Abimelech,
the
to elevate himself as
tried
bramble,
symbolized by
lowly
for
but
his
was
killed
a
woman.
And Absalom,
king,
pride
by
who sought his father's throne, is shown lifted up by his
hair - but placed at the bottom of the painting.
The perspective construction, which converges toward
the right side, probably was designed to provide greater
spatial unity with the other panels of a triptych.74 But it
71 Perhaps this is why Panofsky missed its full significance, since he once
remarked that in Van Eyck's compositions the significant objects never
"step before the footlights" (Panofsky, 1953,
143-44). It might be
,
more accurate to say that even when they step before
the footlights they
do not upstage the principal actors.
72 Schiller, im, 193-202, and figs. 555-7373 Millard Meiss (in his article " 'Highlands' in the Lowlands, Jan van
Eyck and the Master of Flemalle and the Franco-Italian Tradition,"
Gazettedes beaux-arts,ser. 6, LVII,1961, 273-314) demonstrates that the
symbolism of high and low occurs frequently in the work of Van Eyck
and Campin.
74 See note 70. Panofsky apparently believed the panel to be an independent work, since he saw its asymmetrical space construction as evidence
of an early date, rather than evidence of its being part of a triptych
208
THE
ART
BULLETIN
G. Bandmann,
"Ein Fassadenprogramm
VAN
81
EYCK'S
"ANNUNCIATIONS"
209
82
Coremans,
119-20
123.
Although
210
THE
ART
BULLETIN
At
Apwt~
VAN
pp
.
?4k
uA
too-C
Ir~
Aw
BellesHeuresofJean, Duc de
14 Limbourg Brothers,Annunciation,
Berry.New York, Metropolitan Museum of Art, Cloisters
Collection, Purchase, 1954
Word, which according to Church doctrine, transmitted
through the ear of the Virgin, joins with its human part to
become Jesus Christ.86 The Virgin's response, "Ecce
ancilla dfii," is written upside down, in Panofsky's words,
"so that God in his Heaven can read it.'"87 It is not God,
however, but the prophet Micah who leans out of his attic
86 Meiss, "Light," 176. It is true that Gabriel's words are literally only an
EYCK'S
"ANNUNCIATIONS"
2II
212
THE
ART
BULLETIN
VAN
EYCK
S "ANNUNCIATIONS"
213
however, it is difficult to find three receding lines within the room that
converge in even approximately the same area. Philip's statement that
"in der Genter Verkiindigung haben wir bereits ein echtes, mathematisch
einheitliches perspectivisches Konstruktionssystem" ("Raum und Zeit,"
67) is thus quite incomprehensible. Although she goes on to explain that
the receding lines in the upper part of the Annunciationhave a different
vanishing point than those of the lower part and, in a footnote, admits
that the upper orthogonals actually only converge in a vanishing area
("Fluchtpunkt-Bezirk," p. ioo, n.5), not even this qualified description
matches the picture's space construction. Nevertheless, although Jan
van Eyck's pictorial space is empirical, not systematic, the relative precision with which the floor orthogonals converge makes possible a rather
accurate projection of the side wall and ceiling forward to the picture
plane.
2I4
THE
ART
BULLETIN
17
higher. But there are indications that the floor likewise does
not connect with the frame:95 the first row of floor tiles is
not complete, and the shadows cast by the frame, though
indistinct, appear to pass behind the horizontal members of
the frame before they connect with the vertical members
by which they are cast, as if the horizontal frame members
were raised slightly above floor level.96 If the floor is read
as being somewhat lower than the frame, this would extend
the projection of the orthogonals and enlarge the room even
VAN
?~??:
RU
EYCK'S
215
"ANNUNCIATIONS"
97 1953, I, 139.
98 Ibid., '33. Panofsky gives the painting to Hubert van Eyck; I have
1969, 288.
216
THE
ART
BULLETIN
.....
)9
101
VAN
At
See note 7.
106 See Panofsky, 1953, 1, 132 and 411, n. 1322; Tolnay, "Flemish
Paintings," 176, and 200, n. 18. Panofsky observes that the Virgin was
EYCK'S
c"ANNUNCIATIONS"
217
Christ is presented as if on an altar, and the idea of the Transubstantiation in the Mass seems to be suggested. The connection between the
Baptism and the Mass is made in Pietro Lorenzetti's Birth of the Virgin
(Philip, VanEyck, fig. 121 ), in which the washing of the Virgin is shown
in the center panel, and at the right women bring in a pitcher of wine
and a basket of bread covered with a towel resembling the one in the
Ghent Altarpiece. The idea represented there, I believe, is that the
Virgin, the symbol of the Church, through Baptism is being made clean
in preparation for the coming of Christ, the Bread, an idea discussed by
Philip in reference to the Ghent Annunciation(Van Eyck, 93 and n. 191).
For an extensive discussion of a painting by Giotto combining the bread
and the bath, see Don Denny, "Some Symbols in the Arena Chapel
Frescoes," Art Bulletin, Lv, 1973, 205-07. For the history of the interpretation of the washing of the feet as the Baptism of the Apostles and as
the purification before partaking of the Eucharist, see E. H. Kantorowicz,
"The Baptism of the Apostles," DumbartonOaksPapers,Ix-x, Cambridge,
Mass., 1956, 205-51.
112 Dhanens,
54.
218
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,Iwo
baptismal font.113 This pairing depicts the doctrinal equation described by St. Leo the Great, "And for every man
coming to rebirth, the water of baptism is an image of the
virginal womb whereby the same Holy Spirit who also
impregnated the Virgin impregnates the font."114
John the Baptist's words cited above concerning the
descending Spirit restate the second part of Isaiah's
prophecy (Isaiah 11:1-3) and thus recall the idea of the
rod and flower from Jesse's tree. That image is clearly
referred to in the lily stalk that the angel carries, with its
seven lilies representing the seven spirits in the prophecy.115
The Tree ofJesse and the Virgin Mary were associated by
the Church writers with Aaron's flowering rod,116 and this
reference is suggested by the substitution of the lily stalk for
the staff or scepter that Gabriel usually holds. The flowering rod represented a sign of God's choice of Aaron as his
priest - an idea supported by the liturgical vestments worn
by Gabriel - just as the lily is a sign of his choice of the
Virgin to be Christ's mother. The stalk of lilies also recalls
the miracle of Joseph's flowering rod through which God
selected him to be the Virgin's bridegroom. That event
parallels the Marriage of the Virgin to God in the person of
his surrogate, Gabriel,117 and her marriage to Christ,
which Philip sees as one of the central themes of the altarpiece.118
The theme of Christ's Second Coming, visualized in the
sunrise outside, is also referred to in the Virgin's white
clothes, the bridal gown of the Lamb's Bride (Revelation
19:7-8), and in the four objects put away in the niche
(Fig. 21). The candlestick is empty and unused because
"there shall be no night there; and they shall need no
candle ... for the Lord God giveth them light" (Revelation
22:5). The tankard is put away because Christ "will give
unto him that is athirst of the fountain of the water of life
freely" (Revelation 21:6). The object that I take to be a
2 x Detail of Fig.
'1' PL, LIV, 2o6A, quoted by Tanner (p. 18, n. 46). A similar formulation is given by Rupert of D)eutz (quoted by Underwood, 75) whom
Dhanens believes to be the source of much of the imagery of the altarpiece (Dhanens, 88-ioo). The conspicuously bare, immaculately clean
eet of the apostles refer to Christ's washing of their feet before the Last
Supper and are understood as having been cleansed in preparation for
the partaking of the Eucharist, an idea recognized by Joos van Ghent
when he borrowed the motif in his Communion
of theApostles(Friedlinder,
III, pl. o0 ).
The significance of the three closed lilies is not clear to me, but the
lily stalk that appears on the interior of the altarpiece also has seven
lilies, of which three are closed. They may possibly signify the Trinity.
Since it is probable that the Ghent Altarpiece was completed before the
Washington Annunciationwas painted (see note 74), it may be that Jan
had not yet conceived the idea of letting the opened lilies signify the
descent of the septiform Spirit. In the Washington painting, however,
the descent of the Spirit responds to the growth of the lilies upward. In
the Ghent Altarpiece the dove is stationary above the Virgin and
separated from the lilies, which are brought by Gabriel. The different
context, then, may be the reason for the different numbers of opened and
unopened lilies.
116For the connection of the Tree ofJesse, see Schiller, I, 26, and fig. 22;
for the comparison with the Virgin, see St. Peter Damien, PL, CXLIV,
115
721;
S. Bruno d'Asti, PL, CLXV, 884; Lutz and Perdrizet, i, io, and ii,
St. Augustine
Van Eyck, 78-97. Carla Gottlieb also argues that the marriage of
Christ to the Virgin is one of the central concepts represented in this
scene (Gottlieb, 75-97).
118
VAN
EYCK'S
c"ANNUNCIATIONS
"
2i9
119I have not been able to find an example of a flask that closely resembles this object, but there is a general resemblance to some representations of Mary Magdalen's ointment jar (Davies, pl. 77) and to some of
the gifts of the Magi (Friedlander, v, pl. 2). It is perhaps significant that
the gift of myrrh, an aromatic gum resin, was associated with Christ's
But the presence of the
death and with Christ as doctor (Schiller, I,
the words "Oleum effusum
oil vase may have been based primarily on lo6).
nomen tuum" (Song of Solomon 1:2 [3]), which Philippe de BonneEsp6rance associates with the healing oil of Christ's mercy (PL, ccIII,
207-09).
120 Philip,
121 Gottlieb,
122
Ibid., 83-85;
93-
123 Van
Eyck, 87 and n. I78.
124
Gottlieb, 96; Philip, VanEyck,86-87.
125Even the fact that the "l's" are not visually contained within the
word but extend out of it seems significant in the light of Micah's
220
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Selected Bibliography
Baldass, L., Jan vanEyck,London, 1952.
Bongiorno, L. M., "The Theme of the Old and the New Law in the
Arena Chapel," TheArtBulletin,L, 1968, I 1-20.
Coremans, P., L'agneau mystiqueau laboratoire(Lesprimitifsflamands,
III, 2), Antwerp, 1953.
Davies, M., Rogiervan derWeyden,London, 1972.
Dhanens, E., VanEyck: The GhentAltarpiece(Art in Context),New
York, 1973Friedlander, M. J., Early Netherlandish Painting, 14 vols. to be
published
University of Florida
Study,"
37-65-
in One..., London,
Mayer, J. ManyCommentaries
1647.
Meiss, M., "Light as Form and Symbol in Some FifteenthCentury Paintings," The Art Bulletin, xxvii, i945, 175-81.
Migne, J. P., ed., Patrologiae cursus completus. Series Latina, 221
The Art
1Q68, 2-34;
E. C. Hall, "More
about the Detroit Van Eyck: The Astrolabe, the Congress of Arras and
Cardinal Albergati," Art Quarterly,xxxiv, 1971, 18o-2o0). (A more
plausible date than 1435 for the St. Jerome, however, is 1432. This
accords better with the style and space construction and with the date
the Cardinal visited Bruges [December i43i]. Since Albergati was
already then arranging for the peace settlement, there is no reason why
the Duke could not have had Jan do the painting at that time in anticipation of the event. The date that Hall reads on the astrolabe could have
been painted in when the date of the treaty signing was set.) Panofsky
has also shown that another symbolic portrait, the "Timotheos," is
probably a likeness of Guillaume Dufay, court musician to Philip
(Panofsky, I953, I, 196-97). The extremely inventive iconography of
both works is evidence of the Duke's appreciation of the most subtly concealed meanings inJan's work. What better recipient, then, for this, Jan's
most symbolically intricate painting, than Philip? The fact that the
panel was supposed to have been in Dijon until the I9th century supports
the idea that it was painted for Philip, as Friedlander noted (Friedlander,
r,64).