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NATIONAL GALLERY CATALOGUES

THE FIFTEENTH CENTURY


NETHERLANDISH SCHOOLS
Lome Campbell

National Gallery Publications, London


Distributed by Yale University Press
Contents

This catalogue has been generously supported by Foreword by Neil MacGregor 6


Anthony Speelman in memory of his father Edward Speelman.
Preface 7
The Organisation of the Catalogue 10
Published with the assistance of the Getty Grant Program
Abbreviations 11
The History of the Collection 12
Introduction: Netherlandish Painting in the Fifteenth Century 18
List of Paintings 36
C A T A L O G U E 37
Photographic Credits 450
References 451
Exhibitions 455
Index of Religious Subjects 456
Index of Portraits and Profane Subjects 457
Index of Collections 458
Index by Inventory Number 460
List of Attributions changed from the 1968 Catalogue 460
In Memory of Martin Davies (1908-1975)
Index of Proper Names 461

National Gallery Publications Limited 1998


Text Lome Campbell 1998

All rights reserved. No part of this publication may be transmitted in any form or by any means,
electronic or mechanical, including photocopy, recording, or any storage and retrieval system,
without prior permission in writing from the publisher.

First published in Great Britain in 1998 by


National Gallery Publications Limited
5/6 Pall Mall East, London SW1Y 5BA

ISBN 1 85709 171 X hardback


525265

British Library Cataloguing-in-Publication Data.


A catalogue record is available from the British Library.
Library of Congress Catalog Card Number: 98-066510

Edited by Marie Leahy and Diana Davies


Designed by Gillian Greenwood
Typeset by Helen Robertson

FRONTISPIECE: Enlarged detail of the chandelier in Jan van Eyck,


Portrait ofGiovanni(P) Arnolfini and his Wife (NG 186)

Printed and bound in Italy by Grafiche Milani


Jan van Eyck

Jan van Eyck appears to have come from Maaseik; the coats In 1422 Jan was working with one assistant; in 1424 he
of arms on his tombstone indicated that he was of the gentry had two assistants; in 1432 and 1433 he was employing un-
class. Two of his brothers, Hubert (died 1426) and Lambert specified numbers of assistants, perhaps as many as five. He
(documented between 1431 and 1442), were also painters. evidently ran a busy workshop, though his assistants do not
The order in which they were born has not been established appear to have made very significant contributions to pictures
and it is not known where, when or from whom they received such as the portrait of Giovanni(P) Arnolfini and his wife. Art
their education. If NG 222, dated 1433, is indeed Jan's self historians have failed to reach agreement over many ques-
portrait, he may have been born in about 1380. His use of tions of attribution. Hubert and Lambert van Eyck remain
the Greek and Hebrew alphabets indicates something of the rather obscure figures and the followers of Jan - outstanding
range of his accomplishments. By 1422 he was working for among them the artist known as 'Hand G' of the Turin-Milan
John of Bavaria, ruler of Holland, who had previously been Hours - deserve more searching investigation.
bishop-elect of Liege and therefore overlord of Maaseik and
who died in 1425. Jan immediately entered the service of General References
Philip the Good, Duke of Burgundy, who made him his varlet Weale 1908, pp. xxvii-xlix; Dhanens 1980, pp. 12-60; Paviot
de chambre, treated him with the greatest consideration and 1990.
paid him handsomely, so that he could have him paint for him
'whenever he pleased'. In 1434 Jan's salary was increased by
720 per cent, to 360 livres de 40 gros, and converted into a
life pension. On Philip's behalf, Jan went on a pilgrimage, in
1426, and on several journeys to distant places. Between NG 186
1425 and 1428 he was based in Lille; in 1428-9 he went to Portrait of Giovanni (?) Arnolfini
Portugal and there painted Philip's future wife Isabella of
Portugal; by 1431 he was established in Bruges and he died and his Wife
there in June 1441. Oil on oak panel, 84.5 X 62.5 cm,
Before 6 May 1432, Jan had completed the altarpiece of painted surface 82.2 X 60 cm
the Adoration of the Lamb (Ghent, Cathedral of St Bavo), which
had been left unfinished by his brother Hubert. Nine pictures Signature
bear Jan's signature: the 'Leal Souvenir', dated 1432 (NG 290); Johannes de eyckfuit hie 1.1434.
the possible self portrait of 1433 (NG 222); the portrait of (Jan van Eyck has been here. 1434.)
Giovanni(P) Arnolfini and his wife, dated 1434 (NG 186); the
portrait of Jan de Leeuw, dated 1436 (Vienna); the Virgin and Provenance
Child with Saints Donatian and George and Canon van der Paele, The first recorded owner was Don Diego de Guevara, a
dated 1436 (Bruges); the small triptych of the Virgin and Child Spanish nobleman who was brought up at the Burgundian
with Saints and a Donor, dated 1437 (Dresden); the Saint court, spent most of his life in the Low Countries and died in
Barbara, also dated 1437 (Antwerp), which is a brush draw- Brussels in 1520.1 His coat of arms and device2 were on the
ing and may be an unfinished painting; the Virgin of the wing panels, mentioned in 1516,1523-4,1556-8 and 1700
Fountain, dated 1439 (Antwerp); and the portrait of his wife but subsequently lost. He gave the picture to Margaret of
Margaret, dated 1439 (Bruges). Certain surviving pictures Austria (1480-1530) and it was the first item listed in the
were probably signed on the original frames, now lost; other inventory of her paintings taken, in her presence, in her
signed paintings, and one or two pictures mentioned as Jan's palace at Mechlin on 17 July 1516: 'a large picture which is
in early sources, are known only from copies. Several paint- called Hernoul le Fin with his wife in a chamber, which was
ings and one portrait drawing (Dresden) are unanimously given to Madame by Don Diego, whose arms are on the cover
attributed to Jan but their dates have not been securely estab- of the said picture; done by the painter Johannes.' In the
lished. Nothing certain is known about the work which he margin, it was noted 'it is necessary to put on a lock to close
produced before 1432. it: which Madame has ordered to be done'.3 In a later inven-
Jan painted secular subjects as well as religious pictures tory of Margaret's possessions, taken at Mechlin between
and portraits. He worked for the court, for the local clergy, 9 July 1523 and 17 April 1524, it was described as 'another
for fellow professionals such as the goldsmith Jan de Leeuw, very exquisite picture, which closes with two shutters, where
for the foreign communities established in Bruges and for there are painted a man and a woman, standing, touching
foreigners visiting the Low Countries. He enjoyed a very high hands, done by the hand of Johannes, the arms and device
reputation - the Italian humanist Fazio, writing in 1456, of the late Don Diego on the said two shutters, the name of
called him 'the principal painter of our century' - and his the personage being Arnoult Fin'.4 It was then in the seconde
work was avidly collected. chambre a chemynee of her Cabinets.

174 VAN EYCK


VAN EYCK 175
It passed with many of Margaret's pictures into the collec- to the dealer Chretien-Jean Nieuwenhuys (1799-1883),
tion of her niece Mary of Hungary (1505-58). She left the writing in 1843, Hay, 'having been dangerously wounded at
Low Countries in 1556 and went to Spain, where she died in Waterloo, was moved to a private house in Brussels and lodged
1558. In an inventory of her effects taken shortly after her in a room decorated with this picture. During his long con-
death were listed the paintings that she had brought from the valescence, it attracted his attention several times; he admired
Low Countries, including 'a large panel, with two doors with it so much that, in the end, he acquired it. He kept it until
which it closes, and in it a man and a woman who take each 1842 ...'.n Nieuwenhuys did not disclose how he learned this
other's hands, with a mirror in which the said man and romantic story but perhaps he had it from Hay himself, who
woman are shown, and on the doors the arms of Don Diego may have tried to sell the picture to Nieuwenhuys and who
de Guevara; done by Juanes de Hec, in the year 1434'.5 Mary's would have been anxious to impress upon him that he had
paintings passed to her nephew Philip II (1527-98), King of acquired it by honest means. Hay was certainly at Waterloo
Spain. In the summer of 1599, Jakob Quelviz, who came from (18 June 1815) and was so desperately wounded that he
Leipzig, visited the Alcazar of Madrid and saw there in the could not be moved from the battlefield for eight days. He was
Salle chiqua: 'an image where a young man and young woman then taken to Brussels to convalesce.12
are joining hands as if they are promising future marriage; The story that, during his convalescence, he fell in love
there is much writing and also this: with the painting does not entirely square with the fact that,
immediately after his return to England, he attempted to sell
Promissas fallito (sic) quid enim promittere laedit
it to the Prince Regent. Sir Thomas Lawrence sent to Carlton
Pollicitis diues quilibet esse potest.'6
House on 10 October 1816 A Painting in a Gilt Frame - Sub-
The inscription mistranscribed by Quelviz is from Ovid's Ars ject Two Portraits Male & Female Joining Hands -the Female
amatoria, Book I, lines 443-4: Dressed in Green - The Male in Black with a large Round Hat
on &c - 3 3 2 Inches by 233A by John Van Heyk this Picture
promittas facito, quid enim promittere laedit?
is sent for The Regent's inspection - it was Painted by John
pollicitis diues quilibet esse potest
Van Heyk - the person who first discovered the art of Painting
(See that you promise: what harm is there in promises? In in Oil Colours - Returnd -'. Included in the inventory taken
promises anyone can be rich.) Though Quelviz did not remark at Carlton House in December 1816 as 'Portraits of a man
upon the mirror or the signature, he must certainly have been and his wife. John van Eyck' (measurements given as 2 ft 8 in
referring to NG 186; the inscription from Ovid was mentioned by 1 ft 11 in), it was in 'The Middle Attic next the Prince's
in the next description known, in the inventory taken after Bed-Room'. A note in the same inventory recorded that 'This
the death of Charles II (1661-1700), King of Spain. The Picture was returned to Sir T. Lawrence April 25th 1818'.13
portrait was still in the palace at Madrid and was listed as 'a Hay later entrusted it to Dr James Wardrop (1782-1869),
picture on panel with two doors that close with its wooden who lived in Charles II Street. He noted that it 'was sent to
frame gilded with unburnished gold, some verses from Ovid me by Col. James Hay (Queen's Bays) to keep for him during
written on the frame of the picture, which is of a pregnant his absence. It was hung up between two windows in a Bed-
German woman (una Akmana prenada) dressed in green giving room where it remained, about 13 years, during this period,
her hand to a youth (mozo) and it appears that they are getting it was seen by many visitors, none of whom deem'd it worthy
married by night and the verses declare how they are of their notice. During the 13 years Col. Hay was absent from
deceiving each other and the doors are of wood painted with London, & I never saw him again until he asked me if it could
marbling, valued at 16 doubloons'.7 In 1794, it was in a Retrete be convenient for me to send for his picture which he did ac-
in the Cuarto del Rey in the Palacio Nuevo at Madrid and was cordingly. A few weeks afterwards, I saw to my surprise in the
described as 'one vara high by three quarters of a vara wide, British Gallery Exhibition Col. Hay's picture, & a very short
a man and a woman holding hands, Juan de Encinas inventor period afterwards Mr Seguier called on me, mentioning that
of oil painting, 6000 reals'.8 A vara is a Spanish yard of as I was a friend of Col. Hay's who was then in Ireland would
84 cm. The picture is presumed to have left Spain during the I communicate to him that he (Mr Seguier) had recommended
Peninsular War. the Trustees of the National Gallery to purchase the Van Eck
The next recorded owner was James Hay (died 1854), a picture & he was authorised to offer for it six hundred pounds.
Scottish soldier who served with the 16th Light Dragoons in This sum was accepted by Col. Hay.'14 James Hay's will gives
the Peninsular War and was present at the Battle of Vitoria no indication that he ever took any further interest in
in 1813.9 The Duke of Wellington recalled in 1814: 'The pictures.15 The 'British Gallery' exhibition was the British In-
baggage of King Joseph after the battle of Vitoria fell into my stitution exhibition of June 1841, where the painting attracted
hands, after having been plundered by the soldiers; and I some notice,16 and on 2 May 1842 'the extraordinary merit
found among it an Imperial containing prints, drawings and of the Picture by Van Eyck, its perfect preservation, its extreme
pictures.' The Imperial was part of Joseph Bonaparte's coach rarity and the moderate price at which it may now be ob-
and was found to contain many paintings from the Spanish tained viz1 600 Guineas' induced the Trustees of the National
royal collection.10 It is possible that Jamesjfey took NG 186 Gallery 'to recommend it without hesitation ... as a valuable
from Joseph Bonaparte's baggage at Vitoria; or, at any rate,
that he obtained it when he was serving in Spain. According Fig. 1 Infra-red reflectogram mosaic

176
VAN EYCK 177
addition to the National Collection'.17 Though the portrait
was in the Gallery by June 1842,18 Hay had still not been paid Fig. 2 Petrus Christus. Holy
Family, panel, 69.5 X 50.8 cm.
in February 1843.19 The portrait was first exhibited, under Kansas City (Missouri), Nelson
glass and in a case, in March 1843 and immediately attracted Atkins Museum.
crowds of visitors.20 Fig. 3 Attributed to the Master
of the Aachen Panels of the
Exhibitions Virgin, Double Portrait, panel,
8 8 X 5 5 cm. Bad Godesberg,
BI1841 (14); London 1945 (not catalogued); An Exhibition Aloisius-Kolleg.
of Cleaned Pictures (1936-1947)', NG 1947 (22); London
1975 (13); London 1977-8 (not numbered); London 1998
(not catalogued); 'On Reflection', NG 1998 (not numbered).

Versions
Though there is a temptation to imagine that any work of art
showing a mirror, a chandelier or a couple with a dog must
be influenced by NG 186, many fifteenth- and sixteenth-
century artists do seem to have had some knowledge, direct
or indirect, of the double portrait. In the Heinrich Werl pre-
sented by Saint John the Baptist (Madrid, Prado), dated 1438,
by a follower of Campin (see p. 404), 21 the convex mirror
reflects the room and the figures of an approaching friar and
novice: it is so reminiscent of the Arnolfini mirror that there
must surely be some connection between the two paintings. Fig. 4 Loyset Liedet and workshop,
In Petrus Christus's Holy Family (Kansas City, fig. 2), 22 the Charles the Bold visiting a Scribe,
whole interior, including the bed, the high-backed chair, the from the Histoire de Charles Martel.
Brussels, Bibliotheque Royale,
chandelier and the fruit on the window-sill, appears to have MS 8. fol. 7.
been suggested by the interior in NG 186. A'German painter
of about 1490, probably working in or near Cologne, pro-
duced a double portrait (fig. 3) so strongly recalling NG 186
that, once again, he must have had some knowledge of van
Eyck's painting.23
The illuminator Loyset Liedet, who moved from Hesdin to
Bruges in the 1460s and worked there until 1478, seems to
have owned a copy, perhaps a drawing, after NG 186 and to
have referred to it constantly when he was preparing designs
for the enormous numbers of miniatures executed in his
workshop.24 In the five-volume Renaut de Montauban, which
Liedet illuminated for Charles the Bold and for which he was
paid in 1468-70, the miniature on fol. 202v of the first
volume (Paris, Bibliotheque de 1'Arsenal, MS 5072) is at least
reminiscent of NG 186.25 In the four-volume Histoire de Charles
Martel, which Liedet illuminated for Charles the Bold and for
which he was paid in 1472, at least four miniatures may be
classified as versions of NG 186. In the first volume (BR, MS
6, fol. 423), where Charles Martel returns in disguise to his
palace,26 the couple standing by the bed are taken from van
Eyck's portrait. In the third volume (BR, MS 8, fol. 7: fig. 4),
where Charles the Bold(?) visits a scribe,27 the brush, the
chandelier, the convex mirror, the oranges, the string of beads
and the prominent inscription on the rear wall (here Charles
the Bold's device) are all from NG 186. In the same volume,
fol. 108v shows visitors being received at the court of King
Pepin;28 the antechamber on the right, where two courtiers
are playing chess, comes from the same source. In the last Fig. 5 Loyset Liedet and workshop,
volume (MS 9, fol. 7: fig. 5), where Ludie seeks revenge,29 Ludie seeks Revenge, from the
Histoire de Charles Martel.
Liedet has signed his name prominently on the wall above Brussels, Bibliotheque Royale,
the window: he was clearly inspired to do so by the example MS 9, fol. 7.

178 VAN EYCK VAN EYCK 179


Fig. 6 Workshop of Loyset Liedet, Couple debating, from the Demandes Fig. 8 After Ian van Eyck, 'Bonne of Artois', panel, 21 X 16.7 cm.
et Responses en Amours. Wolfenbiittel, Herzog August-Bibliothek, Berlin, Staatliche Museen.
Cod. Guelf. 84.7 Aug. 2, fol. IIIv.
Fig. 9 Alonso Sanchez Coello, The Infantas Isabella and Catherine,
Fig. 7 Workshop of Loyset Liedet, Gerard receiving the Gift of a Falcon, canvas, 135 X 149 cm. Madrid, Prado.
from the Roman de Gerard de Nevers. Paris, Bibliotheque Nationale,
MSfr. 24378, fol. 120.

done in or shortly after 1850, and Ford Madox Brown's Take


your Son, Sir (London, Tate Gallery), painted in the 1850s, are
among the most interesting.43

Engravings
The earliest prints of the portrait were published in the
Illustrated London News of 15 April 1843, p. 258, and in Felix
Summerly's Handbook for the National Gallery, London 1843,
p. 49.

Technical Notes
The portrait, cleaned in 1942-3, is very well preserved. There
are small losses along a zig-zag scratch across the mirror and
minor flake-losses in the side and back walls and in the bed-
cover; there is a slight damage in the ribcage of the dog. Some
of the ultramarine-containing paint in the woman's sleeve and
of Jan van Eyck's signature in NG 186. In the Demandes et NG 186 seems also to have been adapted as a 'portrait' of underdress, in the man's tabard and in their reflections in the
Responses en Amours (Herzog August-Bibliothek, Wolfenbiittel, Walburga of Mors, who married in 1454 Philippe de Gray, mirror may have deteriorated and become greyish. Many of
Cod. Guelf. 84.7 Aug. 2, fol. IIIv: fig. 6),30 the couple and the Seigneur de Sempy. The original appears to have formed part the retouchings have discoloured and become a little obtrusive.
interior are dependent on NG 186. In the Roman de Gerard de of a series of full-length portraits of members of the Croy There are two layers of varnish: the lower is somewhat
Nevers or Roman de la Violette (BN, MS fr. 24378), the family: they are known only from drawings in Rubens's Cos- physically degraded and is yellower than the upper layer.
miniature on fol. 120, Gerard receiving the gift of a falcon tume Book.38 An engraving published in 1600 of Ansegisel, The panel, which measures 84.5 X 62.5 cm, is made up
(fig. 7),31 is taken from NG 186. In a manuscript of the Recueil Duke of Brabant, and his wife Saint Begga (died 693) may be of three oak boards, laid vertically, vertical in grain and
des histoires de Troie sold at Sotheby's on 13 July 1977 (60), partially based on NG 186.39 radially cut. They are similar in size but not quite regular in
the miniature of Juno sending Hercules to Egypt 32 is once A double portrait signed 'Godefridus loannis fecit 1581' shape, the widths at the top edge being, from left to right,
again an adaptation of the composition of NG 186. was mentioned by Weale as a 'curous imitation' of NG 186 20.95, 20.4 and 20.9 cm, at the bottom edge 20.8, 22.0 and
The National Gallery picture was accessible in some form but there are in fact no close resemblances.40 In contrast, 19.7 cm. Each of the two joins is reinforced with three dowels.
to artists who manufactured 'historical' portraits. The woman Sanchez Coello's double portrait (Prado) of the Infantas Isabella At its centre the panel is about 17 mm thick; the edges are
in the London portrait seems to have served as a basis for and Catherine, the daughters of Philip II of Spain, painted in bevelled at the back. Though the bevels are not completely
several images of Bonne of Artois, Philip the Good's second about 1575 (fig. 9), is clearly based on van Eyck's painting, regular, the thickness at the middle of the top edge is 11 mm.
wife (she died in 1425). There are painted versions in Berlin then in Philip's collection.41 An old vertical split in the central board was about 26 cm
(fig. 8), 33 Cadiz34 and Lisbon;35 another was in the Haas It has been suggested that Velazquez saw NG 186 when long and extended from the top edge to the mirror frame. It
collection in Detroit;36 a mid-sixteenth-century drawn version it was in the Spanish royal collection and that it inspired him is held at the back with four wooden buttons, placed there in The reverse (fig. 10) has been coated with various pro-
is in the 'Recueil d'Arras' (Arras, Bibliotheque municipale, to paint the mirror in Las Meninas (Prado).42 Since van Eyck's 1940. The unpainted edges, regular in width, survive on all tective layers. All were applied when the panel was in its
MS 266, fol. 62).37 All show the lady wearing a slightly simpli- picture has been on exhibition at the National Gallery it has four sides. Slivers of oak, horizontal in grain, adhere to the original frame, so that the reverse, like the obverse, has
fied version of the headdress seen in NG 186 and a V-necked attracted the attention of a great many artists and it is im- upper and lower unpainted edges and must be fragments of unpainted edges, which vary in width between 1.2 and 1.4
rather than a round-necked dress, which, in the Berlin and possible to list all the works of art which it has inspired. the original frame. The largest fragment begins below the cm. The reverse side of the original frame must have been the
Cadiz paintings, is pink rather than green. The woman in Holman Hunt's drawing of the Lady of Shalott (Melbourne), dog's left forepaw and extends about 7 cm to our right. same size as the obverse side. The lowest protective layer

180 VAN EYCK VAN EYCK 181


consists of two distinct and thick applications of true gesso a sample from the woman's green dress, the surface verdigris
(that is, calcium sulphate), in which fibres of vegetable origin glaze is in a medium of heat-bodied linseed oil to which some
are embedded. Above this are a light brown layer, which is pine resin has been added. Two opaque underlayers are
X-ray opaque and which contains earth pigments, black and present, containing verdigris, lead-tin yellow and lead white.
a lead compound, presumably lead white, and, over this, a In the underdrawing, the figures, the bed and the chest
layer of black or very dark brown paint containing verdigris are all outlined. Van Eyck has used complex systems of
as a drying agent. Since the gesso was presumably applied hatched brushstrokes to indicate areas of shadow. In flat areas,
after the picture had arrived in Spain, none of these layers is such as the back wall and the floor between the figures, the
original. No trace of any original ground or paint has been strokes are roughly parallel and tend to slant upwards from
discovered but it is, of course, possible, though it seems left to right. In other areas, such as the bolster and the bed-
unlikely44 that the reverse was decorated by Jan van Eyck and spread, the directions of the brushstrokes vary to give a sug-
that his decoration was removed in Spain before the gesso was gestion of volume, while the intensity of overlapping lines
applied. The various protective layers are much damaged. On indicates the depth of the shadow. A similar system, but on
the reverse is written in chalk the number 10(?)3. a much finer scale, is used in the underdrawings for the heads
Because an X-ray-opaque layer is present on the reverse, (figs 12,13). The drawing in the green drapery is simpler and
it is impossible to make informative X-radiographs (fig. 11). employs a more formulaic system of fold lines and short
On the obverse, there is a chalk ground. The underdrawing, hatching strokes, though in the outline of the hem there are
clearly visible in infra-red reflectograms (figs 1, 12,13,15), 45 bolder, seemingly coarser, lines than are seen elsewhere in the
is executed in a liquid medium and applied with brushes. No underdrawing.
priming has been detected. There is nothing exceptional about No underdrawing can be found for the oranges, the beads,
the pigments or media used. Finely ground natural ultra- the two pairs of pattens, the dog or the chandelier, which is
marine is present, for example in the woman's blue sleeves painted on top of the hatched underdrawing and the paint of
and underdress, in the man's tabard and, with black, over(?) the rear wall. Numerous changes occur in both figures. The
the red glazes on the hangings of the bed. The underlayers for man's hat was drawn a little higher and the shape was altered
the bed-hangings consist of combinations of vermilion, red slightly during the course of painting, when the brim was
lake and a red-brown earth. In a sample taken from the tester enlarged over the wall and the crown was extended sideways.
of the bed, the medium has been identified as linseed oil. In His eyes were drawn higher than they were painted and

Fig. 10 Reverse of NG 186 Fig. 11 X-radiograph of NG 186 Fig. 12 Infra-red reflectogram mosaic showing
a detail of the head of Giovanni(P) Arnolflni

Fig. 13 Infra-red reflectogram mosaic showing


a detail of the head of the woman

Fig. 14 Photomicrograph showing a detail of the beads

looked more to his left. His nose and mouth were drawn above
the painted features (fig. 12). The woman's eyes were drawn
lower and her gaze has shifted towards the man (fig. 13). The
very fine, delicate hatching which indicates the shadows in
her face corresponds to the drawn eyes; the eyelids and sockets
of the painted eyes are not drawn. The man's head seems to
have been changed at an earlier stage, as the new positions
of all the features are drawn and the hatching gives form to
the second head. His right arm and hand have been altered,
the hand having been further to our left and its palm exposed.
Both his shoulders have been moved down. On his left, there
are two drawn contours above the painted contour, which is
also drawn. Three distinct versions are visible of each of his
feet: a drawn outline; a painted foot that was painted out; and
the final painted foot. The drawn feet are further apart than
the painted feet. The skirt of his tabard was shorter. The
woman's hat was drawn lower; her left hand was angled
downwards; the thumb of her right hand was drawn parallel
to his thumb; and his fingers curled further round her hand.

182
Fig. 15 Infra-red reflectogram mosaic showing a detail of the mirror OPPOSITE: Fig. 17 Enlarged detail of the mirror and signature
The drawing shows a larger, octagonal mirror (fig. 15). bar of the window seems to have been drawn lower and the
The bench was higher and red paint from its back lies beneath shutters were drawn to match its lower position. The top of
the grey wall under the mirror, while the high-backed chair the window may have been visible in the underdrawing.
was painted over the wall and was not underdrawn. A brush, The portrait is relatively quickly and freely painted. Van
larger than the painted one and hanging parallel to the wall, Eyck has blotted the green glazes on the woman's dress,
was drawn higher and nearer the mirror. The carpet was perhaps with his fingers; in order to soften the tonal transition
drawn shorter and has been extended across the under- between the floor and the shadow of the dog's hind leg, he
drawing of the floor to meet the hem of the green dress. The has smudged the contour of the shadow with a finger or
chest had a more ornate base in the underdrawing. The cross- thumb, which has left a recognisable print. A sgraffito tech-
nique has been used to define the handle of the brush and
Fig. 16 Photomicrograph showing a detail of the brush
the highlights on the little twigs(?) which form the brush itself
(fig. 16). The top of the sconce on the extreme right of the
chandelier consists of a dark brown contour line and a high-
light; the middle-tone is the paint of the wall behind. In many
places, for instance the fringes of the tester, the paint is worked
wet-in-wet. Occasionally, for example in the stained glass of
the window, van Eyck has painted at such speed that his brush
has strayed or trailed across contours. He appears to have
dropped a small brush, with blue paint on it, onto the mirror-
frame. The signature was evidently painted with a long narrow
brush, the point of which had a slight tendency to divide.
Some of the cadels are made up of several brushstrokes. The
speed and economy of van Eyck's technique are perhaps best
admired in the amber beads (fig. 14) or in the reflection of

184 VAN EYCK


the chandelier in the mirror. His immense skill is everywhere the chair. The lower part of its handle is dark brown, while reference to childbirth, the carpet in front of the bed may be
apparent and the complexity of which he was capable, when the main part of the handle is reddish and bound with a dark an indication of social status.
he chose, is most clearly observed in the chandelier itself. grey cord. The rest, which is brown, may consist of fine twigs; Hanging from the ceiling is a brass chandelier with six
they are tied round with a red cord. This brush is similar to branches: a kroon, lichtkroon or kroonluchter (the word kroon
Description one hanging behind the Virgin in a Campinesque Annunci- also means crown).69 It is suspended from brownish-grey
The couple are in a brick-built house (the bricks are visible ation (Brussels),53 and to various representations of hair- cords, the knotted ends of which pass through the metal bar
through the open window); it is summer, for the cherry tree brushes,54 which appear all to be smaller than the brush here; near the top edge of the painting. Other representations of
outside the window is in fruit. Since only the top of the tree it also resembles brushes depicted in the backgrounds of two comparable brass chandeliers, for example the Louvre Annun-
is visible, the room must be above ground level. Its two win- sixteenth-century Netherlandish portraits.55 The brush in NG ciation by a follower of van der Weyden (see p. 27) 70 and th
dows and doorway are reflected in the mirror; the doorway 186 is probably a clothes-brush (kleerbezem): such brushes Kansas City Holy Family by Petrus Christus (fig. 2),71 show that
is directly in front of the couple, who are standing between are often listed in inventories and in the fifteenth century seem the cords would have been part of a mechanism for raising
the two windows in the centre of the room. The upper parts to have been made of brushwood rather than bristle.56 and lowering the chandelier and that the mechanism, consist-
of the visible window are glazed with clear bull's-eye glass Below the mirror is a wooden bench with a footrest. It is ing not only of cords but also of pulleys concealed in a metal
and blue, red and green stained glass but the lower parts are draped in red cloth and two red cushions lie on its seat. Only box, would have been about as high again as the chandelier
not glazed: this was usual, even in palaces. A railing, which in the most prosperous households was the furniture draped itself. It is reflected in the mirror and, if the reflection is to be
is reddish-brown and appears to be wooden, crosses the lower in this way.57 On the arm is a carving of a monster with a taken literally, it is much nearer the mirror than the cross-
part of the opening and is secured into the polished wooden grimacing human face, (?)lion's ears and hoofs instead of beam supporting the ceiling above the heads of the couple.
casement. No comparable railing has been found. Wooden hands; he wears a hat and a bib and is seated back to back The chandelier is therefore between them and the mirror and
lattices were more common.46 The window has six interior with what is either a carved lion or another, similar monster. there is insufficient space between it and the ceiling to accom-
shutters, which are wooden. They are attached to the wall Benches were often decorated with carved lions;58 the modate the system of cords and pulleys. If the chandelier were
with metal hinges and, on their outer faces, they are studded grotesque is perhaps less usual. to be lowered, so that candles could be lit or put out, it could
with metal. The shutters on our left are rebated on our right Beneath the window is a wooden chest. On the window- be grasped by the ring passing through the mouth of the
and so can be closed under the shutters on our right. The sill and reflected in the polished wooden casement is an orange, lion's head which decorates its base. One lighted candle burns
upper edge of the lower shutter on our left and the lower edge its green stalk still attached. Three more oranges lie on the in one of the sconces. Wax has dribbled over the foremost
of the upper shutter are rebated, so that the middle shutter chest and all four are reflected in the mirror. The Spaniard sconce on the right, which is now empty; the rearmost sconce
can be secured across them to the metal catch in the mullion, Pero Tafur, visiting Bruges in 1438, 'saw there oranges and on our right may contain the stub of an unlit candle.72
which can therefore hold all six shutters in place. lemons from Castile, which seemed only just to have been Polished brass chandeliers, which gleamed like gold, were
The ceiling and floor are wooden. Bare wooden boards such gathered from the trees';59 but oranges were very expensive.60 splendid and expensive objects, for brass was not easy to
as these are not often found in representations of interiors, The Lucchese merchants in Bruges traded not only in precious manufacture. An Italian visiting the Low Countries in 1517
where floors are usually tiled or inlaid with semi-precious silks but also in oranges and other exotic fruits.61 Leaving four was struck by the fact that 'in all the churches ... there are
stones. In two roughly contemporary pictures, however, the oranges scattered with studied carelessness on a window-sill in the choirs branched chandeliers (arbori) and lecterns of
Virgin is enthroned in rooms with floors of bare boards; around and on a chest was surely a way of indicating extreme afflu- brass ,..'. 73 In 1441 the Abbot of St-Vaast at Arras paid the
1434 there may have been a brief vogue for wooden floors.47 ence. In front of the chest and visible only in the mirror is a Tournai founder Michel de Gand the large sum of 53L 16s.
The ceiling is supported by at least one crossbeam, which is folding chair of a kind seen in many miniatures of palace of Artois for 'ung lamppier portant candelabre de laitton,
visible in the mirror and runs, above the heads of the couple, interiors.62 The carpet, which is unusual in having no fringes, lequel est mis et pendans au ceur de ladicte eglise': it had been
across the centre of the room. The interior walls are evidently is apparently oriental, though the pattern cannot be related designed by Jacques Daret.74 In 1459 the Abbot of St-Aubert
plastered and painted grey. A large bed, apparently standing to any specific eastern tradition.63 It is not particularly like at Cambrai purchased a brass chandelier with five branches
on a dais, takes up one corner of the room and is covered and the patterns on the carpets in van Eyck's other paintings, to set before a triptych just acquired from Rogier van der
hung with red woollen cloth - perhaps 'scarlet' and therefore where they decorate the steps of the Virgin's throne. In manu- Weyden.75 These may have been similar to surviving chan-
expensive.48 The rods supporting the tester and curtains are scripts, carpets are found on the steps of princes' thrones64 or deliers which are larger and more elaborately branched than
presumably iron and must be suspended from the ceiling.49 on the floors of palaces.65 In fifteenth-century Netherlandish that in NG 186.76 The metal chandeliers very occasionally
The tester has a decorative fringe and the curtain behind the art, oriental carpets are rarely represented outside Bruges; it seen in miniatures of palace interiors were possibly of silver
woman has been neatly gathered up into a bundle which, as seems that they were almost unknown outside Bruges and gilt rather than brass but, even in palaces, most chandeliers
the mirror reveals, hangs from the corner of the tester. One that, even there, they were uncommon.66 were wooden.77 The great halls erected at Bruges in 1430,
curtain was generally looped up in this way in order to display It is difficult to find out about contemporary conventions when Philip the Good married Isabella of Portugal, and in
the bed, for elaborately draped beds were among the most and etiquette but one invaluable source is Les Honneurs de la 1468, when Charles the Bold married Margaret of York, were
costly and prestigious objects that anyone could own. The Cour, written between 1484 and 1491 by Alienor de Poitiers, lit by wooden chandeliers.78 Brass chandeliers were occasion-
high-backed chair may be an integral part of the bed: a chair the widowed Viscountess of Veurne. Her mother Isabel de ally listed in inventories. Paolo Guinigi, Lord of Lucca, owned
which is clearly attached to the headboard of the bed is shown Sousa had been lady-in-waiting to Isabella of Portugal, Duchess at the time of his expulsion from the city in 1430 'a brass
in the Kansas City Holy Family by Petrus Christus (fig. 2)5() of Burgundy, and Alienor had resided with her mother at the chandelier with six branches, chased and with little brass bells
and in other paintings.51 On top of the elaborately carved Burgundian court.67 She was particularly interested in the and other decorations, hanging from the ceiling' of the first
chair-back is a figure of Saint Margaret, praying and standing conventions observed when ladies of various ranks were lying chamber next to the great hall of his palace.79 This was again
behind, or emerging from, the body of the dragon which is in. She noted that a noblewoman below the rank of countess rather grander than the chandelier in NG 186, which was
one of her attributes.52 On the arm of the same chair is a normally placed only one carpet in front of her bed when she perhaps more like an object described in a Rouen inventory
carved lion. A red cushion rests on the seat. A brush hangs was giving birth; only a lady of the highest rank was per- of 1435: 'a large brass chandelier with six branches which
Fig. 18 Detail on a purplish string from a nail driven into the wall next to mitted to carpet the entire floor of her lying-in chamber.68 is said to be in the fashion of Flanders'.80 A six-branched brass
of the window the chair; it is seen in perspective and lies diagonally across Though in NG 186 van Eyck is unlikely to be making any chandelier was described in a Bruges inventory of 1469;81 at

VAN EYCK 187


fifteenth-century Italian mirror frame exists which is octag- his left arm (the right arm of his reflection) and is taking a
onal; it is made of bone or ivory and is carved with figures of step forward with his left foot (the right foot of his reflection).
angels.88 In the Burgundian ducal collection there was, for It seems that he is descending the first of two(?) stairs which
example, a mirror framed in silver gilt with, on the front, an separate the corridor from the reception room and that he
enamel of Our Lady and her Son seated in a sunburst and, has just arrived in the doorway; he and the principal subject
on the other side, a Coronation of the Virgin.89 According to seem to be exchanging greetings. The man behind him wears
Saint Bernard, Christ's suffering body was a mirror for the a red conical(?) hat and a red robe.
soul.90 The Passion was therefore a particularly suitable sub- Above the mirror is lettered the inscription Johannes de
ject for a painted mirror frame. The mirror in NG 186, though eyckfuit hid .1434. It is decorated with cadels, like any other
not decorated with jewels or precious metals, is an unusually elaborate inscription. Jean Flamel's ex-libris inscriptions in the
elaborate object. Mirrors depicted in fifteenth-century paint- Duke of Berry's manuscripts are wonderfully ornamental,97
ings and mansucripts are almost invariably in plain round as are the titles of the knights on the stall-plates of the Order
frames. In Bruges, nevertheless, the mirror-makers and the of the Golden Fleece.98 Ornamental inscriptions were con-
painters belonged to the same guild and the mirror-makers sidered appropriate wall-decorations (fig. 21),99 though the
were permitted themselves to decorate with paintings the placing of an artist's signature on a wall, rather than a device
frames of their mirrors.91 The leading Bruges mirror-maker or a moral precept, is altogether exceptional.100 The impli-
was perhaps Michiel Langhe Jans, who was a guild official in cation is that Jan van Eyck is the foremost of the two men
1425-6 and 1435-6.92 seen in the mirror; the man behind him is perhaps a servant,
By comparison with the convex mirror represented in the for Jan, as varlet de chambre to the Duke, was entitled, at least
Saint Eligius(P), dated 1449, by Petrus Christus,93 the mirror when he was at court, to have his own varlet.101 It is thought
in NG 186 seems very large indeed. A convex mirror was that Jan included his own portrait as a small figure reflected
manufactured by blowing a globe of glass and by introducing in Saint George's polished shield in his Virgin and Child with
through the blowpipe a mixture of antimony, tin and resin or Canon van der Paele (Bruges).102
tar to coat the inside surface. The globe was then cooled and The dog is clearly a household pet and has been recog-
cut into circular mirrors. At Bruges in 1468 Jean Scallequin nised as one of a canine family from which the Brussels griffon
made two huge and fantastic chandeliers for the great hall in has been bred.103 The dog in NG 186 has brown eyes with
which took place many of the festivities following the vermilion secondary lights; its hair is grey-brown, mixed from
marriage of Charles the Bold and Margaret of York. The base black, vermilion, yellow and white, but some of the strands
of each chandelier was set with seven mirrors, 'the largest
available',94 arranged in a rose pattern. According to Olivier
Fig. 20 Detail of the dog
de la Marche, the mirrors were one and a half feet, about
40 cm, in diameter and appeared to reflect 'ten thousand
Fig. 19 Detail of the chandelier
men'.95 They were evidently hemispherical. A mirror with a
less pronounced curvature, such as that in NG 186, would
necessarily have been much smaller.
The diameter of the mirror frame is approximately equal
Deventer in 1476 Clawes Timynck had owned three chan- are strung on a green cord with green tassels at both ends. to the distance between the seat of the bench and the floor.
deliers but, as the materials from which they were made were The tassels, and therefore also the cord, are evidently silk. The If this distance is reckoned to be about 45 cm, the mirror glass
not specified in the inventory of his estate, they were probably beads are apparently prayer-beads and similar paternosters is at least 28 cm in diameter and is therefore extremely large.
wooden.82 Another burgess of Deventer in 1479 had owned of amber with silk tassels are described in the Burgundian It is, of course, impossible to say whether Arnolfini owned so
a 'metal chandelier weighing eleven pounds': a small object, inventories.87 The dukes' paternosters were decorated with big a mirror or whether van Eyck exaggerated its size. He
perhaps made of iron rather than brass.83 Philip of Cleves, gold or pearls; the paternoster in NG 186 is a less expensive, included in his underdrawing an even larger octagonal object
Lord of Ravenstein, who died in 1528, seems to have had only but still a precious, object. which was perhaps a negenoog or nine-eyes: a name which,
one brass chandelier in his castle at Enghien;84 while Everard The convex glass mirror is surrounded by a decorative red in the nineteenth century, peasants in the region north of
IV de la Marck, grand mayeur of Liege, who died in 1531, and blue border which seems itself to be convex and may be Bruges gave to a round mirror surrounded by eight smaller
appears to have owned only one 'hanging brass chandelier'.85 holding the mirror into its frame. The frame is ten-sided and circular mirrors.96 This may have been a traditional design.
Though there may have been many brass chandeliers in is perhaps of painted wood. Its edge is red and its surface, It is conceivable that van Eyck drew a round mirror in an
churches, they do not seem to have been common in domestic which is slightly shiny, is grey patterned with dashes of black. octagonal frame - a' conventional negenoog - and exaggerated
settings. The chandelier in NG 186 is larger and more Ten roundels have been cut into its surface and in the roundels its scale; he would then have imagined a more elaborate, ten-
elaborate than those painted by Dirk Bouts in his Prado are ten scenes of the Passion of Christ. Each one has a red sided object, reduced the diameter of the glass to make it a
Annunciation and his Last Supper in the church of St Peter at background and each is protected by a convex glass. The more plausible size and substituted for the eight small mirrors
Louvain.86 Though not the grandest chandelier available, it series begins at the bottom, with the Agony in the Garden, the ten paintings of Passion scenes.
is an impressive and expensive object. Arnolfini is unlikely to and continues clockwise round the frame with the Arrest of The mirror reflects the rest of the room and the space seen
have had more than one such chandelier and he would have Christ, Christ before Pilate, the Flagellation, Christ carrying through the open door. This seems to be a passage, lit by
displayed it in his principal reception room. the Cross, the Crucifixion, the Descent from the Cross, the windows on our left; another open window is at the back.
Hanging from a nail beside the mirror are twenty-nine Entombment, the Harrowing of Hell and the Resurrection. Two men are entering. The man in front wears a blue chaperon
semi-transparent beads, which are probably amber and which Mirror frames were often decorated with religious images. A with a long cornette and a blue robe. He appears to be raising

188 VAN EYCK VAN EYCK 189


passing through loops. Both pattens are spattered and stained van Eyck's lost portrait of 1432.114 Wooden pattens were in
with dirt; they are not new, for they are more worn on the fashion at the Burgundian court in the 1430s and 1440s.115
insides than on the outsides of the feet. It seems legitimate to conclude that the couple are wearing
The woman, who has brown eyes, has fair hair which is expensive and fashionable clothes.
dressed in horns surrounded by small plaits. The horns are The abundance of rich furs is perhaps surprising, since
caught in intricately woven red nets and covered in a white the cherries visible through the open window indicate that
linen veil which has been folded backwards and forwards on the season is high summer. The furs enable the couple to show
itself five times;108 the edges are fluted. Around her neck she off their wealth: they are magnificently prepared for the severe
wears narrow gold chains. Her dress is of fine green wool and winter of 1434, 'the great winter of frosts and many snows'.116
is trimmed and lined with white fur, perhaps ermine or pured Contemporary observers would have responded to such a
miniver, the belly fur of squirrels. Van Eyck has apparently display of wealth by pricing the objects depicted. Christine de
shown fur of a purer colour and finer texture than any white Pizan, writing in Paris in about 1410, was shocked by the
fur that was obtainable in his time.109 The dress is very long effrontery of a merchant's wife who ostentatiously exhibited
and she has had to gather it up and hold it across her stomach. her plate and expensive textiles. The carpets by her grandest
Though to a modern eye she may look pregnant, she is not: bed were laid on the floor, so that people stepped on them; the
in van Eyck's Dresden triptych of 1437, the virgin Saint bed-curtains were of fine Rheims linen, valued at 300 francs;
Catherine is similarly posed and dressed, and is precisely com- another linen cloth, as delicate as silk, was 'all in one piece,
parable in shape.110 The ends of the woman's hanging sleeves without seams, made in a newly discovered way and very
are decorated with dagging. The cloth has been doubled and expensive ,..'.117 Christine implied, though she did not directly
cut into shapes like Maltese crosses; the edges are pinked to state, that the merchant's wife was Italian and remarked that,
prevent fraying and to create a decorative effect. Three strips in Venice, Genoa, Florence, Lucca, Avignon and elsewhere,
of dagging, each three crosses wide and several crosses high, rich women were less scrupulous in observing the conven-
are sewn in overlapping layers below the slit of her left sleeve. tions of rank than in Paris, where social hierarchies were more
The exact structure of the dagging below the bags of the complicated.118 Someone with Christine's acumen, looking at
Fig. 21 Master of sleeves is difficult to discern but the crosses are still doubled the painting of the Arnolfini in their chamber, might have
the Privileges of and pinked.111 The underdress, visible at the sleeves and hem, been puzzled by the absence of a dresser and of plate but could
Ghent and Flanders. is blue and trimmed at the hem with white fur. The blue not have failed to be impressed by the other indications of
Philip the Bold and
Margaret of Flanders material may once have been patterned and was conceivably their great riches.
receiving Burgesses damask. Her sleeves are gathered at the wrists into bands of Displaying plate on a dresser was the most obvious way
of Ghent, from the gold and pink braid. The cuff of her chemise is just visible at of demonstrating affluence. In NG 186, the absence of plate
Privileges of Ghent
and Flanders. Vienna. her left wrist. Her pink belt may be dyed leather and carries from a show of riches is as curious as the contradiction between
Osterreichische a golden decoration of dots and lozenges; at the centre of each the furred clothes and the discreet indication that, outside, it
Nationalbibliothek, lozenge is a small blue dot. She wears gold rings on the ring is summer. The painting seems so immediately convincing
Cod. 2583,fol. 200v.
and little fingers of her left hand. Her discarded pattens are that it is easy to assume that van Eyck painted exactly what
covered in red leather and have leather straps with brass(?) he saw, the Arnolfini in their chamber; but there are too many
studs and buckles. anomalies for that assumption to be justified. Obviously the
are nearly pure vermilion. It is not like the dogs found in insufficient space for the chandelier, which, even at its present The clothes are not showily extravagant and neither the signature and date did not appear on Arnolfini's wall, even
paintings and miniatures of the Burgundian court, nor is it height, would seriously impede movement towards the back man nor the woman is making a great dispay of jewellery, though it may have borne other decorative inscriptions; and
similar to those small, whitish dogs with long hair and long, of the room. There is no sign of a fireplace and no possibility but the fabrics, furs and braids would have been expensive. there are other inconsistencies. The absence of a fireplace is
drooping ears which are found in paintings by van der of siting one in an outside wall. The man's heuque would have been especially costly: if it is disturbing; the chandelier cannot fit into the space it seems
Weyden, Memling and their followers.104 The two principal figures are richly dressed. The man indeed velvet, it would have required an enormous amount to occupy; the bed looks too short; and the mirror may be im-
The room, often mistakenly called a bedroom, is in fact a wears a hat made of plaited straw dyed or painted black. His of silk; it would probably have been dyed with expensive insect possibly large and is unlikely to be a depiction of a real mirror.
reception room and the bed is an essential part of its furnish- eyes are grey-blue; his cheeks and nose are covered with tiny dyes; and the lining of marten skins would have cost a great As we have seen, van Eyck may have based his mirror on one
ing.105 In 1445, French ambassadors received at the Palace vermilion spots and he has no stubble. His outer garment is deal. The dagging on the woman's dress would have taken which belonged to Arnolfini - but may have made it larger
of Westminster were evidently surprised to find Henry VI in a a tabard or heuque trimmed and lined with brown fur, possibly much labour and the fur lining, particularly if it is ermine, and given it a more intricate and splendid frame. In the same
richly furnished room without a bed.106 In NG 186, the interior sable. The fabric of the heuque is probably silk velvet and it would have been very expensive indeed. The enormous train way, he probably improved upon the appearance of the white
is expensively furnished but it does not rival in luxury the was once dark crimson-purple: the pigments are red lake, is an assertion of wealth and importance. In the Dresden trip- fur on the woman's dresses; he may possibly have invented
public rooms of the Burgundian palaces, for the floor is not ultramarine, black and white.107 The doublet beneath is made tych, Saint Catherine has a huge train because she is a princess. the pattern on the rug because a real oriental carpet might
tiled or covered in carpets, the walls are not panelled or hung of a thinnish patterned fabric, possibly satin damask; the The man's hat and heuque are similar to those worn by have looked out of place in his portrait. Whatever happened,
with rich fabrics and there is no dresser with a display of valu- design of arabesques and leaf shapes is in grey on black, with some of the courtiers in the Festival at the Court of Philip the it is clear that Arnolfini and his wife did not inhabit a room
able plate. It is a room in a commodious mansion where the slightly purplish shadows. His cuffs are of silver braid on a Good, known from copies at Versailles and Dijon. The lost exactly like the room depicted and that they did not own ob-
owners are making a display of their wealth without risking purple base; his right cuff is tied with a scarlet lace which has original was painted in about 1430.112 In the early 1430s, jects precisely like all those that furnish the room. According
criticism for imitating too closely the life-styles of the court silver tips. His hose and boots appear to be dark purple and Philip the Good was buying velours plain en graine, perhaps to his usual practice, Jan van Eyck has created a perfectly
and high aristocracy. It seems at first that van Eyck has the tops of his boots are defined by brown lines. He wears a similar to Arnolfini's velvet, and heuques, some of which were convincing semblance of reality but has altered things, pre-
painted a real room exactly as he saw it; but a careful examin- gold ring on the index finger of his right hand. His discarded black velvet and lined with sable.113 The woman's clothes sumably to conform to his aesthetic purposes and perhaps
ation of the painted room and its reflection in the painted pattens have wooden soles and leather straps nailed to the are not unlike those worn by some of the ladies in the Festival also to accord with Arnolfini's aspirations. The painting
mirror reveals many inconsistencies. There is, for example, soles. The straps are closed and appear to be joined with pins or those of Jacqueline of Bavaria in the copies after Lambert cannot be taken as a literal record.

190 VAN EYCK VAN EYCK 191


the Bold's esquires at the Battle of Nancy in 1477 and to have
Lorenzo Trenta, d. 1439 Giannino Arnolfini flung himself over Charles's dead body in order to protect it.129
He was certainly one of Mary of Burgundy's esquires at the
1399 time of her death in 1482.130 His older brother Ladron de
Cosimo Lorenzo, Ginevra Bartolomea Girolamo Nicolao Arnoltini, Arngo Antonia
de' Medici, d. 1440 Cavalcanti Cavalcanti, Trenta, d. 1427 x 30 Arnolfini, Guinigi Guevara is stated to have been in the service of Philip the
d. 1464 d. 1463 d. 1423 d. 1419 Good, who died in 1467, and to have taken part in Philip's
1426 wars against Charles VII of France (who died in 1461) and
Pierfrancesco de' Costanza Giovanni Jacopo, Bartolomea Battista, Lazzaro, Bartolomeo, Louis XI.131 By 1471 he held an important and well-paid
Medici, 1430-76 Trenta = di d. 1434 de' Bardi d. 1446 alive in d. 1473
position in the household of Charles the Bold;132 by January
Nicolao (widow of
Arnolfini Galvano Antonia Filippa 1473 he was esquire and chamberlain and by September
Trenta, Micheli Burlamacchi, 1473 he was one of the maitres d'hotel1^ Either Ladron or
d. 1421, d. 1502 Diego might have known the couple painted by van Eyck; they
brother of Lorenzo might very well have had acquaintances in common.
Trenta, q.v.)
Crowe and Cavalcaselle in 1857 were the first to make a
connection between NG 186 and the portrait of 'Hernoul le
1447 Fin' or Arnoult Fin' owned by Margaret of Austria.134 'Hernoul
Giovanni Jeanne Filippo Paolo Michele, Elisabeth Raffaello Francesco,
di Arrigo Cenami, d. 1472 della Pope Sixtus IV, le Fin' could be a corruption of Arnoul le Fin, shrewd Arnold
Arnolfini, d. 1472 Margherita Rovere 1471-84 (and it may be noted in passing that a singer named Arnoldus
d. 1472 Rapondi de Fine was at Bruges in 1438 and 1449 and was employed
1480 as a scribe in 1452-3).135 As Crowe and Cavalcaselle were
Giovanni Arnolfini, d. 1501 Nicolao, = Francesca Agata Giovanni Luchina, Giuliano once more the first to point out, 'Hernoul le Fin' and Arnoult
d. 1511 Franciotti Francesco d. 1509 della Rovere, Fin' are much more likely to be attempts to spell Arnoulfin'.
Agata Franciotti, q.v. Giovanni di Michele Franciotti Pope Julius II, This was how the Italian surname Arnolfini was written, and
Arnolfini, q.v. 1503-13
doubtless also pronounced, in the Netherlands and in France.
Fig. 22 Tree showing the Arnolfini family and their connections The Arnolfini were from Lucca but many of them came to
trade in northern Europe. Crowe and Cavalcaselle thought
that 'Hernoul le Fin' might be Giovanni Arnolfini, mentioned
The Identity of the Couple on the wing panels were still recognised as those of Diego de in the 1420s in the accounts of the Burgundian court.136 Fig. 23 Jan van Eyck, Giovanni(P) Arnolfini, panel, 29 X 20 cm.
Another portrait which obviously represents the same man, Guevara. Jan van Eyck seems normally to have written on the Developing Crowe and Cavalcaselle's observations, Weale Berlin, Staatliche Museen.
more simply dressed and looking older, is at Berlin (fig. 23). frames of his portraits the names of the persons represented; in 1861 made the natural but - as it happens - incorrect
It is generally agreed that it is also by Jan van Eyck and that but in the case of NG 186 there may not have been any iden- assumption that this Giovanni Arnolfini was the same man
it was painted a few years after NG 186. The board on which tifying inscription. Alternatively, the inscription was cryptically as Giovanni [di Arrigo] Arnolfini, who died in Bruges in 1472. described in September 1439 as 'merchant residing in
the Berlin portrait is painted is from the same tree as the worded or difficult to decipher; or the original frame may have Weale concluded that the couple were Giovanni di Arrigo Bruges'.147 Another brother, Bartolomeo di Nicolao Arnolfini,
panels of van Eyck's Portrait of Baudouin de Lannoy (Berlin), been restored when Diego de Guevara altered or added the Arnolfini and his wife Jeanne or Giovanna Cenami.137 Weale's who died in 1473, brought a lawsuit in 1449 before the
perhaps of about 1440, and the Eyckian Stigmatisation of Saint wing panels. The identifications made in 1516 and 1523-4 theory has been widely followed. Davies, however, was Vierschaar of Bruges against his cousin Giovanni di Arrigo.148
Francis (Philadelphia).119 The Berlin Arnolfini would appear may have been based, not on inscriptions by van Eyck, but cautious and identified the pair as 'Giovanni(P) Arnolfini and Michele di Arrigo Arnolfini was in London in 1436-7149 and
to have been in the Low Countries in the 1560s, when it was on oral tradition. This could of course have been recorded on Giovanna Cenami(?)';138 while Dhanens argued that the man probably passed through Bruges on his way from and to
used as the basis for an imaginary portrait of Baldwin VII a paper label stuck to the frame in the time of Margaret of was Giovanni di Arrigo's younger brother Michele Arnolfini. Lucca. By 1449 he had settled in Bruges,150 where he died in
(died 1119), Count of Flanders. This was included in the Austria but no longer there in the time of Mary of Hungary. She believed that the painting represented a morganatic 1472.151 Michele's elder brother Giovanni di Arrigo Arnolfini,
Codex Iconographicus Flandriae, a manuscript written in In 1516 Diego de Guevara was still alive and the 1516 inven- marriage and that Michele Arnolfini may have contracted a the most successful and prosperous member of the family,
Ghent in 1562.120 The picture was subsequently taken to Italy tory was taken in the presence of Margaret of Austria, to morganatic marriage.139 She was, however, mistaken on both spent much of his life in Bruges and died there on 11 Septem-
and was in the collection of Ranuccio I Farnese (1569-1622), whom he had given the portrait. Presumably 'Hernoul le Fin' counts: the portrait does not depict a morganatic marriage;140 ber 1472.152 Each of the five will be considered here.
Duke of Parma, and his successors.121 There are no and Arnoult Fin' reflect an identification made by Diego de and Michele's marriage cannot have been morganatic, since
indications of the sitter's real identity and the picture is of no Guevara, transmitted by him to Margaret of Austria but his sons and grandsons were recognised in Lucca as the heirs GIOVANNI DI NICOLAO ARNOLFINI
direct help in identifying the couple in NG 186. subsequently forgotten. of Giovanni di Arrigo and occupied prestigious positions in If patronymics are not given, it is not always easy to dis-
A few art historians have interpreted the inscription as Diego de Guevara, the first recorded owner of the portrait, the government of the city.141 tinguish between Giovanni di Arrigo and Giovanni di Nicolao.
meaning 'Jan van Eyck was this man' and have therefore was an important patron of the arts;124 he probably knew If 'Hernoul le Fin' and Arnoult Fin' are correctly inter- The latter, often called Giannino or Jehannin, was certainly
identified the couple as Jan van Eyck himself and his wife exactly who the couple were and could have been acquainted preted as standing for Arnoulfin or Arnolfini, and if the the older of the two: the diminutive form Giannino, frequently
Margaret.122 Their interpretation of the inscription is unaccept- with them. He was a younger son of Ladron de Guevara, Lord identification was made on good authority, the man was a used by the Lucchese, should not be taken as an indication
able. The portrait of the man, furthermore, does not look like of Escalante near Santander.125 He may have been born in member of the Arnolfini family. During the second quarter of youth.153 His father Nicolao di Giovanni Arnolfini was a
a self portrait and is totally unlike Jan's probable self portrait, about 1450126 and was brought up at the Burgundian court.127 of the fifteenth century, at least five of the Arnolfini, brothers figure of some importance in Lucchese politics, served Paolo
NG 222; while the woman bears only a very superficial resem- His illegitimate son Felipe de Guevara owned two portraits of and first cousins, lived in Bruges. In principle, van Eyck's Guinigi, Lord of Lucca, and was closely associated with the
blance to Jan's portrait of his wife, painted in 1439 (Bruges).123 Diego and stated in about 1560 that one of them had been patron could have been any one of the five. Giovanni di Nicolao Guidiccioni family.154 Nicolao died between 1427 and 1430,
In the inventories of 1516 and 1523-4; the man was painted more than ninety years previously by Rogier van der Arnolfini was residing in Bruges by 1419,142 became a before the expulsion of Paolo Guinigi.155 The name of Nicolao's
identified as 'Hernoul le Fin' and as Arnoult Fin'. In the inven- Weyden.128 If that is true - and there is no good reason to burgess in 1442143 and was still there in 1452.144 His younger wife has not been discovered; he had at least five sons. At
tories of 1556-8 and in later records, no attempt was made doubt the statement - Diego was in the Low Countries by brother Battista di Nicolao Arnolfini, who died in 1446,145 Lucca on 29 March 1419 Nicolao Arnolfini appointed as his
to identify the couple, though in 15 5 6-8 the coats of arms 1464, when Rogier died. He is said to have been one of Charles was mentioned in an Antwerp document of 143 7146 and was proctor Marco Guidiccioni, residing in Bruges, to emancipate

192 VAN EYCK VAN EYCK


his son Giannino di Nicolao Arnolfini, also residing in in Lucca.171 It was apparently Lorenzo who was ecuyer d'ecurie to withdraw from commerce but to remain in Bruges. On 22 Gravelines toll, payable on all goods in transit between the
Bruges.156 As sons could be emancipated at any age, it is not to Philip the Good and whom, in 1425 or 1428, Philip sent November 1442, taking advantage of special terms laid down Burgundian Netherlands and the English Staple at Calais.198
possible to make deductions concerning Giovanni's date of to Lucca to recover jewels pledged by John the Fearless to by Philip the Good, Giovanni paid 3 livres parisis and became In 1451 he acquired extensive premises near the Kruispoort
birth from the legal formality of his emancipation.157 It seems Galvano Trenta.172 Galvano, who had died in 1421, was a burgess of Bruges.185 He promised never to engage in trade in Bruges, from which he probably ran his business.199 By
to have been the custom to send young Lucchese merchants Lorenzo's brother and had held in pawn not only Burgundian and was empowered to practise the 'small burgess's crafts'.186 1454 he was councillor to the Duke;200 and in 1456 he had
abroad when they were in their mid-teens: they might pre- jewels but also many of the crown jewels of France.173 How Giovanni di Nicolao spent his last years is something another grant, for a further six years, of the Gravelines toll.201
viously have been instructed in the Flemish language, for at Costanza's mother Bartolomea was a Florentine, the of a mystery. He remained in Bruges, where on 31 January In 1458 began his affair with Christina van der Wijck, who
Lucca in 1453 Michele Guinigi owned a book on learning daughter of Giovanni di Amerigo Cavalcanti.174 She married 1449 'Jehennin filz de feu Nicolas Arnulfin' was one of three was later to accuse him of having raped her, to whom he
Flemish.158 Biagio Balbani (1453-1523) was sent to Bruges as her second husband Arrigo di Lazzaro Guinigi,175 whose arbiters, all described as 'marchans de Luques', appointed to promised mansions in Bruges and in Brussels and to whom
in April 1468, just before his fifteenth birthday, and by 1473, brother Nicolao Guinigi was Bishop of Lucca from 1394 to settle a dispute between Giovanni di Arrigo and the tutors of he gave impressive quantities of jewellery and furniture.202
when he was twenty, he was in partnership there with Fran- 1435 and whose second cousin Paolo Guinigi was Lord of the only son of deceased Battista Arnolfini. Battista was From 1460 he was on friendly terms with the exiled Dauphin,
cesco Micheli. Biagio married in 1483, when he was thirty.159 Lucca between 1400 and 1430. Bartolomea made her will Giovanni di Nicolao's brother and had died in 1446; the dis- then living at Genappe, south of Brussels. 203 When the
Giovanni di Nicolao Arnolfini, who married in 1426,16 was on 8 February 1463.176 Her brother Niccolo Cavalcanti may pute was over 'merchandise and other matters' but no details Dauphin became King of France as Louis XI in 1461, he made
probably born in the last years of the fourteenth century. have commissioned Donatello's 'Cavalcanti Annunciation', were given. Battista may have taken over some of Giovanni Arnolfini his councillor and General des Finances in Nor-
It was clearly Giovanni di Nicolao who, described as still in S. Croce in Florence; her sister Ginevra Cavalcanti di Nicolao's concerns but had not seen fit to make him one of mandy;204 by January 1463 Arnolfini had been knighted;205
Jehan or Jehannin, worked in close association with Marco married in 1416 Lorenzo de' Medici, brother of Cosimo il his son's tutors.187 On 21 October 1452 'Jehennin Arnoulphin and in April 1464 he became a naturalised Frenchman.206
Guidiccioni, an influential figure at the courts of Burgundy Vecchio. It was on the occasion of Ginevra's marriage that fils de Nicolas' was once again an arbiter, one of seven For a time he remained on good terms both with Louis XI,
and Brabant.161 In 1421 Giovanni made disguised loans Francesco Barbaro wrote his De Re uxoria and presented a 'communs marchands de la nation de Lucques a Bruges'. who seems often to have dined in his house,207 and with Philip
to the town of Bruges;162 in or shortly before 1422 he was copy to Lorenzo.177 Ginevra was the mother of Pierfrancesco They and the Lucchese consul had to settle a dispute involving the Good, with whom he was Very familiar and friendly'.208
involved in an attempt to sell a valuable collar of gold to de' Medici (1430-76), who was consequently Costanza Giovanni's former associate Giusfredo Rapondi.188 In 1465, however, when war broke out between France and
Henry V of England;163 in 1423 he sold to Philip the Good Trenta's first cousin, and the grandmother of Botticelli's patron Burgundy, Arnolfini attempted to return to Flanders but was
six tapestries of scenes from the life of the Virgin, which Philip Lorenzo di Pierfrancesco de' Medici. GIOVANNI DI ARRIGO ARNOLFINI arrested at Abbeville and was replaced as General des
then sent to Pope Martin V.164 In 1424-5 the brothers Sandei, Costanza must have died shortly after her marriage. Her Always called Giovanni or Jehan, never Giannino or Jehannin, Finances.209 The rest of his life he appears to have spent in the
Lucchese merchants in Venice, went bankrupt, owing Gio- mother, writing from Lucca on 26 February 1433, mentioned he was the eldest of the four sons of Arrigo Arnolfini, all of Low Countries and by April 1470 he was maitre d'hotel at the
vanni 9,210 ducats; Marco Guidiccioni's brother Aldibrando that her daughter Costanza was dead. Since one purpose of whom were described on 16 January 1419 as pupilli and who Burgundian court.210
took responsibility for their debt.165 Between 1424 and 1427, the letter was to congratulate the parents of a child born were therefore aged between seven and thirteen.189 Giovanni Giovanni di Arrigo did not marry until 1447. Between
Giovanni, described as Marco Guidiccioni's factor, regularly thirty-three months before, Bartolomea's news may have been di Arrigo must have been born between 1405 and 1409. His 1 April and 11 November 1447, Philip the Good purchased
sold cloth of gold and silks to Philip the Good.166 In 1425 he rather out of date. Costanza may have died long before Feb- father Arrigo Arnolfini, who died in 1419, lived in consider- two silver pots 'which my said lord presented as a gift from
made a disguised loan to John IV of Brabant.167 Guidiccioni ruary 1433.17S Giovanni di Nicolao Arnolfini probably married able luxury in a large palazzo.190 He married in 1399 Antonia himself to Jehan Arnoulphin, merchant, residing in the said
was then away from Bruges and, during his absence, Giovanni 'xjagain but no reference to a second wife has yet been found.179 Guinigi, first cousin of Paolo Guinigi, who ruled Lucca between town of Bruges, on the day of his marriage'.211 Between 1454
was in control of his affairs. After Guidiccioni returned to On 23 September 1426 Giovanni was one of several proc- 1400 and 1430.191 According to the chronicler Chastellain, and 1458, 'Jan Aernulphijn' and 'Jane' his wife joined the
Bruges in 1427-8, Giovanni was less frequently mentioned. tors appointed by Bartolomea de' Bardi, widow of Galvano Giovanni di Arrigo came to Bruges 'a poor journeyman but Bruges Confraternity of the Dry Tree.212 'Jane' was probably
In 1426 Giovanni had married Costanza Trenta, an Trenta and wife of Giovanni's brother Jacopo di Nicolao made a fortune of 200,000 florins by selling silks to the ducal Jeanne Cenami, who was certainly his wife by September
extremely well-connected young woman. She was the only Arnolfini. The other proctors were Battista, a third brother, household and by farming the Gravelines toll'.192 'Poor' is 1464,213 and who must have been the unnamed wife who,
daughter of Girolamo, son of Lorenzo di Maestro Federigo and Marco Guidiccioni; they were to make it clear in Paris, clearly an exaggeration: he came from a wealthy and well- with Giovanni, was a member of the Bruges Confraternity of
Trenta. Lorenzo and his brothers were merchants of immense Bruges and elsewhere in France and Flanders that Bartolo- connected family but his vast fortune was of his own making. Our Lady of the Snow.214 Jeanne was one of her husband's
wealth and had considerable influence at the courts of France mea's children by her first husband were under the guardian- Shortly before 29 September 1435, Philip the Good made executors215 and died on 14 October 1480.216 Though she
and Burgundy. Girolamo Trenta made his will in November ship of the Trenta family and that she took no responsibility the huge payment of 5,669 livres 10 sols de 40 gros, for cloth had a pew in the church of St James,217 she was buried with
1423 and left Costanza a dowry of 800 florins or more, at for their affairs. On 1 November 1428 Giovanni, described as of gold, damask and satin, to 'Jehan Arnoulphin le jeune'. 193 Giovanni in the church of the Rich Clares, where she endowed
the discretion of her grandfather Lorenzo.168 On 23 January 'Giannino Arnolfini', witnessed a deed in Bruges.180 This must be Giovanni di Arrigo, called 'le jeune' to distinguish daily and annual masses.218
1426 Costanza was thirteen and betrothed to Giovanni di The next fourteen years of Giovanni's life are less clearly him from his older cousin Giovanni di Nicolao. No place of In the numerous documents concerning Giovanni di
Nicolao; she was clearly about to leave Lucca for Bruges. She documented. In 1432 Giusfredo Rapondi and 'Jehan residence was given, perhaps because Giovanni di Arrigo had Arrigo's foundations in Lucca and in Bruges, there is no refer-
renounced any claim that she might have, in the event of Arnoulphin', merchants residing in Bruges, sold precious tex- just arrived from Italy and had not yet set up a permanent ence to any wife but Jeanne Cenami.219 It seems reasonable
Giovanni's death, under the laws of France, Flanders or Eng- tiles to the Burgundian court.181 This 'Jehan Arnoulphin' can establishment. By 1435 he was clearly very wealthy. It is not to conclude that he married only once and that the woman
land; she was to have rights of succession only under Roman be equated with the 'Jan Aernoulphin' who in 1436 was possible to say exactly when he arrived in the Low Countries. whom he married in 1447 was Jeanne Cenami. They had
law and Lucchese statutes. The Arnolfini agreed that, if she Giusfredo Rapondi's factor. Since Giovanni di Arrigo Arnolfini References of 1436-7 and later to a Giovanni Arnolfini, no children, though he had two illegitimate daughters. He
were widowed, she would be honourably escorted back to was by 1436 in partnership with Paolo Miliani, Rapondi's merchant in Bruges,194 are apparently to Giovanni di Arrigo, left Jeanne in control of his vast fortune220 and she made over
Lucca, with a sufficient company; her grandfather guaranteed associate must have been Giovanni di Nicolao.182 During the recognised by that time as 'the' Giovanni Arnolfini. certain rights to her nephew, Jean Cenami, who lived in
that she would observe her undertaking and that, when she 1430s, Giovanni suffered a mysterious reverse. Possibly it was From 1439 'Jehan Arnolphin' was regularly mentioned France;221 but Giovanni di Arrigo's property passed eventually
was eighteen, she would ratify it in due form.169 the death (between 1436 and 1438) of his former associate in the Burgundian accounts:195 from 1436 he was in associ- to his brother Michele's descendants, who returned to
Costanza's grandfather Lorenzo Trenta was a notable Marco Guidiccioni,183 perhaps it was the arrival of Giovanni ation with another Lucchese, Paolo Miliani;196 he gradually Lucca.222
patron of the arts. He owned a missal elaborately decorated di Arrigo Arnolfini but more probably it was the revolt of established himself as the chief supplier to the court of silks Giovanni di Arrigo Arnolfini died on 11 September 1472
with miniatures in the style of the Boucicaut Master, includ- Bruges in 1437-8 that damaged the business interests of and cloths of gold and silver. In a period of twenty-three and was buried in the Guidiccioni chapel, the chapel of the
ing a representation of himself and his family at Mass;170 and Giovanni di Nicolao. His brother Battista abandoned an active months, from April 1444 to February 1446, he was paid Holy Cross, in the church of the Rich Clares in Bruges.223 A
he commissioned from Jacopo della Quercia tombstones for political career in Lucca to visit the Low Countries in 1437 17,347 livres, approximately two per cent of the total expend- magnificent memorial service was held at the church of San
himself and his wife Isabetta Onesti and the great Trenta Altar- and 1439, perhaps in order to settle Giovanni di Nicolao's iture of the recette generale.197 In 1449, Philip the Good granted Romano in Lucca, with the flags of France and Burgundy
piece, dated 1422, for his chapel in the church of San Frediano affairs.184 Whatever happened, Giovanni di Nicolao decided to him, for six years from April 1450, the right to farm the much in evidence.224 The tomb in Bruges was apparently an

194 VAN EYCK VAN EYCK 195


impressive one and his executors bought the patronage of the MICHELE DI ARRIGO ARNOLFINI
chapel from Marco Guidiccioni's son.225 Church and chapel Michele was the youngest of the four sons of Arrigo, all of
were devastated in 1571 but Arnolfini's tombstone was re- whom were pupilli, aged between seven and thirteen, on 16
covered in 1613 and placed in the new church.226 It is now January 1419:238 he must therefore have been born between
known only from a drawing made in 1715227 and a plan of about 1409 and 1412. He was in London in 1436-7 and
the church made in 1775.228 Though large, it was simply probably passed through Bruges on his way from and to Lucca.
decorated, with seven shields bearing the coats of arms of the Between 1439 and 1443 he followed a prominent, but very
Arnolfini and Cenami families. brief, political career in Lucca; by 1449 he had settled in
Arnolflni left an elaborate will. No copy of the complete Bruges, where he died in 1472.239 His wife Elisabeth, whom
document has yet been found but extracts show that he made he may have married in about 1450, was mentioned with
bequests on a princely scale.229 Daily masses were said in his her husband in the mid-1450s in the register of the Confra-
memory in the churches of the Rich Clares and the Augus- ternity of the Dry Tree in Bruges.240 They had three sons and
tinians in Bruges.230 In his chapel in the church of the Rich five daughters;241 a younger son, Nicolao, was presumably
Clares, there was, on the Sunday nearest the anniversary of the 'Nicolaus Arnoulfin de Brugis' who matriculated at
his death, a sung requiem, with a full choir; on the anniver- Louvain university on 31 August 1475242 and who was there-
sary itself, thirty requiem masses were said and alms were fore probably born in or shortly after 1460. Michele's son
distributed to thirty poor persons.231 He also left funds to en- Giovanni Battista was by 1480 a 'familiar' of Pope Sixtus IV243
dow daily masses in Lucca: at Santo Agostino, at San Romano The brothers Giovanni Battista and Nicolao di Michele Arnol-
(the Dominican church), at San Pier Cigoli (the Carmelite fini married two sisters whose brother Giovanni Francesco
church), at the Franciscan church (the Franciscans declined Franciotti married in 1480 Luchina della Rovere, niece of
to accept the endowment, which was transferred to the church Sixtus IV and sister of the future Pope Julius II.244
of San Frediano), at the cathedral of San Martino and at the
charterhouse of Farneta outside Lucca.232 At San Martino,
the daily mass was celebrated in the chapel of the Volto Santo
BATTISTA DI NICOLAO ARNOLFINI
Battista was in Paris in the 1420s245 but had returned to
I
and on every anniversary of Arnolfini's death a 'great' mass Lucca by 1430, where he took a prominent part in politics
was sung in the same chapel.233 He made a large bequest for and where he was Gonfaloniere in November and December Fig. 24 Parisian
the support of poor virgins in Lucca;234 there were doubtless 1432.246 In 1436-7 and 1438-9 he visited the Netherlands. illuminator,
other bequests to foundations in Bruges, Lucca and elsewhere. Mentioned in an Antwerp document of 1437, he was de- presentation
miniature
Few of the works of art commissioned by Giovanni di scribed in September 1439 as 'merchant residing in Bruges'.247 from Le Livre
Arrigo Arnolfini or for his foundations have been preserved. Returning to Lucca, he resumed his political career and was de I'information
The missal used in his chapel in Bruges was still there in again Gonfaloniere in 1443. Having made his will on 13 Sep- des princes. The
Hague, Koninklijke
1715235 but has since been lost; the great choirbook which tember 1446, he died shortly afterwards. Battista married Bibliotheek,
he gave to Lucca Cathedral was cut up in the seventeenth Antonia, daughter of Jacopo Micheli; they had an only child, MS 76 E 20, fol. 1.
century but has been partially reconstructed. It was written Nicolao.248
and illuminated in Bruges, apparently in the late 1460s.236
Whatever the interest of its content, the illumination seems BARTOLOMEO DI NICOLAO ARNOLFINI
unremarkable in quality. A copy of Le Livre de I'information Bartolomeo, who died in 1473, brought a lawsuit in 1449 The man in NG 186 was clearly prosperous and was seems to have been too young to have been the man painted
des princes, a French translation of a text by Saint Thomas before the Vierschaar of Bruges against his cousin Giovanni evidently married to the woman beside him. The fact that Jan by van Eyck; it is improbable that they could have got to know
Aquinas, was transcribed in Paris for Arnolfini and finished di Arrigo Arnolfini.249 Bartolomeo, who was Gonfaloniere of van Eyck painted a second portrait of the man (fig. 23), and each other well before 1434. In any case, Michele seems not
on 4 Febmary 1454; it is now in the Koninklijke Bibliotheek Lucca in 1452, 1456, 1462, 1466 and 1471,250 had to go the numerous changes in NG 186, presumably made with to have married until about 1450 and he had several children
at The Hague (MS 76 E 20).237 The prologue is addressed to to Rome in 1458 to settle a dispute between the Arnolfini and the couple's approval, demonstrate sufficiently that they knew who returned to Lucca, presumably taking with them their
the young Charles the Bold, for whom the manuscript was the Guidiccioni which was threatening the peace of Lucca.251 him well and consequently that they were not recent in- father's possessions. Battista di Nicolao and Bartolomeo di
evidently intended. The miniatures, by a Parisian illuminator, Bartolomeo married Filippa Burlamacchi, who died in 1502. comers from Lucca. Because NG 186 was never sent to Italy Nicolao merely visited the Netherlands. Even if they were
are not of very good quality. The first, on fol. 1, at the begin- The available information on their children suggests that they and because the Berlin portrait of the same man did not reach married at the times of their visits, their wives are unlikely
ning of the Prologue, shows a kneeling man presenting a book married after 1450.252 Italy until about 1600, it may be deduced that the couple to have accompanied them; both spent their last years in
to a young Knight of the Golden Fleece (fig. 24): they are no remained in the Netherlands and that both portraits passed Lucca and left children there who would have inherited their
doubt Arnolfini and Charles the Bold but they are not, unfor- Jan van Eyck and the Arnolfini to heirs or legatees who stayed in the Low Countries. The man possessions.
tunately, recognisable portraits. The kneeling man has brown No document has yet been found to link any of the Arnolfini in NG 186 was therefore married by 1434, had lived in the Giovanni di Nicolao, in contrast, had lived in Bruges since
hair, a very pale face and widely spaced eyes of uncertain with Jan van Eyck. A Pieta by Jan van Eyck, however, was in Low Countries for long enough to get to know Jan van Eyck 1419 or earlier and would have had every opportunity to be-
colour; he wears a light red robe trimmed with brown fur, has 1480 in the possession of the widow of another Lucchese and left heirs who did not immediately return to Lucca. come acquainted with Jan van Eyck well before 1434. Though
a dark grey chaperon slung over his shoulder and carries a merchant, Paolo di Poggio;253 and Paolo had been in partner- Whereas none of the five Arnolfini recorded at Bruges he had married Costanza Trenta in 1426, she had died before,
green purse at his belt. He is accompanied by a grey dog. It ship during the 1450s with Giovanni di Arrigo Arnolfini.254 necessarily fits this description, the most likely candidate is and possibly long before, February 1433. No proof has yet
is perhaps worth stressing that Arnolfini's tombstone was a The only certain portrait of one of the Bruges Arnolfini is too Giovanni di Nicolao. Giovanni di Arrigo, whose interest in the been found that Giovanni di Nicolao married a second wife,
very conventional one and that the choirbook and the manu- schematic to be of much assistance: the miniature in Le Livre visual arts may not have been particularly strong and who though it seems likely that he did. He remained in Bruges,
script which he presented to Charles the Bold are of no great de I'information des princes cannot be used to confirm or reject was not necessarily in the Low Countries when the portrait probably died there and seems not to have had any surviving
aesthetic importance. There is no indication that Giovanni di the idea that the man painted by van Eyck is Giovanni di was painted, did not marry until 1447; his heirs returned to children. If Giovanni had no direct heir in Flanders, his prop-
Arrigo Arnolfini took much interest in the visual arts. Arrigo Arnolfini. Lucca. Michele di Arrigo, born between c.1409 and 1412, erty may have been sold after his death. The Berlin portrait,

196 VAN EYCK VAN EYCK 197


showing the same person more simply attired and at a more is a couple 'married by Faith'. The entire passage can be 1558 and before 1599, probably by someone who, unused His starting point was the passage from van Vaernewijck
advanced age, may perhaps support the identification of the dismissed, with most of Den Spieghel, as nonsense and fable. to fifteenth-century conventions, imagined that the woman which has already been mentioned (he did not know about
man in NG 186 as Giovanni di Nicolao. The decline in his for- Van Vaernewijck appears to have thought that the picture was pregnant, that the man was swearing an oath and that the lines from the Ars amatoria inscribed on the frame).
tunes might explain why in 1434, in NG 186, he was shown included an allegorical figure of Faith. In 1604, van Mander, the room was a bedroom. The inscription would then have Though Panofsky did not allude to the notorious unreliability
arrayed in silks, whereas in about 1440, in the Berlin portrait, inaccurately paraphrasing van Vaernewijck and having no been written when the portrait belonged to Philip II, who of van Vaernewijck, he realised that van Vaernewijck had not
he was shown more soberly dressed in woollen clothes. further information on the painting, certainly believed that perhaps considered it a moralising, rather than a lewd or seen the painting and proposed that he had heard of it from
J^ If 'Hernoul le Fin' is rightly interpreted as Arnolfini, then it included a figure representing Faith.263 suggestive, image. a Spanish correspondent. There is no proof that van Vaerne-
van Eyck's couple may be tentatively identified as Giovanni di In 1599 Jakob Quelviz saw the painting in the palace The compiler of the 1700 inventory of the Spanish royal wijck had contacts in Spain and it is much more likely that
Nicolao Arnolfini and his putative second wife. He would have at Madrid, identified the subject as 'a young man and collection identified the inscription on the frame as lines from he concocted his story from reports by people who had seen
been in his late thirties in 1434. He may never have known young woman joining hands as if they are promising future Ovid and described the couple as a youth and a pregnant the picture before it left the Netherlands. Panofsky, however,
Diego de Guevara, the first recorded owner of the portrait; but marriage' and recorded that, among many other inscriptions, German woman: 'and it appears that they are getting married thought that van Vaernewijck's putative Spanish corre-
Diego could very well have been acquainted with Giovanni's there were two lines of Latin poetry - identifiable as lines from by night and the verses declare how they are deceiving each spondent wrote to him in Latin and that van Vaernewijck
cousins, Giovanni di Arrigo and Michele, both of whom died Ovid's Ars amatoria. According to the 1700 inventory, these other ,..'268 No doubt he saw the painting in a dirty state and mistranslated the Latin. Van Vaernewijck in fact had little
in 1472,255 or with Reale Reali, another Lucchese merchant lines were inscribed on the frame.264 They come from a section in a dark room. Mistakenly believing that the woman was formal education, knew no French275 and had no competence
who lived in Bruges, who was still there in 149 8256 and who of Ovid's poem where he offers the cynical advice that a lover pregnant, misled by the candle into thinking that the picture in Latin, though presumably he must have realised that Fides
had dealings with the great nobles of the Netherlands and should make promises, but not gifts, to the woman who is the was a night scene and putting his trust in an inscription that meant Faith.276 According to Panofsky, when van Vaernewijck
France. Occasionally, at least, he was concerned in trans- object of his desire. was unlikely to have been original, he interpreted the portrait wrote that the couple were being 'married by Faith' (van Fides
actions involving works of art.257 In 1452, Reali and Giovanni Quelviz saw the painting in the Salle chiqua, next to the as if it had been a seventeenth-century genre piece and made ghetrauwt), he had misunderstood his hypothetical Latin
di Nicolao had been arbiters in the same dispute in Bruges.258 Room of the Furies and adjoining the room where Philip II up a story ('it appears that they are getting married') to suit source. By using the Latin word Fides and by giving it a capital
Diego might also have come across another Lucchese, Fran- had lived when he was Very old and ill' (he had died in 1598). his interpretation. His story had been forgotten by 1794, letter, he implied that an allegorical figure of Faith was repre-
cesco Micheli, whose sister had married Giovanni di Nicolao's In the same room hung Cranach's picture of Charles V and when the picture was described merely as 'a man and a sented. Still according to Panofsky, van Vaernewijck should
brother Battista. Francesco was still in Bruges in 1476.259 John Frederick of Saxony hunting at Torgau (dated 1544, woman holding hands'.269 It was exhibited in 1841 as 'Por- have written that they were married per fidem, which, Panofsky
Petronella Arnolfini, perhaps one of Giovanni di Arrigo's now in the Prado), portraits of Philip II's Savoyard grand- traits of a Gentleman and Lady'. The compiler of the National claimed, was a legal term implying a private marriage.
illegitimate daughters, was a nun in the convent of the Rich children and a double portrait of his daughters Isabella and Gallery catalogue of 1843 was cautious: 'The subject of this Panofsky believed that the couple were in a bedroom (it is
Clares in Bruges and died on 15 October 1496.260 She would Catherine - probably the painting by Sanchez Coello now in Picture has not been clearly ascertained.'270 better described as a reception room), in the presence of two
almost certainly have remembered Giovanni di Nicolao. Diego the Prado (fig. 9).265 Another German, Hieremias Gundlach, From the time of the 1841 exhibition, many explanations witnesses (they are more plausibly visitors), one of whom was
de Guevara, who may well have acquired the painting from visiting the palace in 1598-9, did not mention NG 186 but have been put forward; most of the arguments advanced rest van Eyck himself; and that the man was raising his right hand
the executors of the couple portrayed, had every opportunity saw the Cranach and stated that it hung in the room where on mistaken premisses. An anonymous reviewer in 1841 to take the matrimonial oath. Panofsky stated that his gesture
to find out about them and must have known exactly who Philip II had slept.266 thought that 'this strange pair, hand-in-hand, resemble was called/ides levata and was a usual part of marriage ritual;
they were. The collection of pictures in this small room was a very nothing better than Simon Pure about to atone for a faux- but in fact he had invented the term.277 He also claimed that
personal one: portraits of Philip's beloved daughters and his pas by making Sarah Prim an honest woman'.271 A second the single candle was a 'marriage candle' but was unable to
The Marriage Theory grandchildren; a portrait of his father whom, even on his anonymous writer in 1843 recorded that 'Others again are produce any evidence to support his idea that candles were
NG 186 is often called 'The Arnolfini Marriage' but in the deathbed, he strove to emulate; the hunting scene, which "almost sure" the portraits represent either a mother elect burned during marriage ceremonies. Concluding that the
earliest references, in the inventories of 1516, 1523-4 and would have recalled an activity of which he had been passion- consulting her medical attendant, or even honest Giovanni, portrait was a 'pictorial marriage certificate' and that the
1556-8, it is described merely as a double portrait. The idea ately fond. He clearly admired van Eyck's portrait very much the painter, and his wife, engaged in a similarly delicate signature was the attestation that 'Jan van Eyck was here' as
that the picture is more than a portrait, that it tells a story, and may well have been able to read and understand the other business'. He himself imagined that the picture was the wing one of the witnesses, he then proceeded to interpret various
seems first to have been recorded in 1568, twelve years after inscriptions which Quelviz neglected to copy but which may of a triptych, that the centre panel 'may have represented the objects as disguised symbols. He claimed, for instance, that
it had been taken from the Netherlands to Spain, by the Ghent have explained who the couple were. He may have interpreted Virgin and child, or some patron saint, and the wings, both Arnolfini had discarded his shoes because he was standing
chronicler and rhetorician Marcus van Vaernewijck (1518- Ovid's lines in a moralising sense. on their inner and outer sides, the great epochs of modern on holy ground;278 but, as Arnolfini has merely taken off his
69). In Den Spieghel der Nederlandscher audheyt (The Mirror of The Ars amatoria was widely known and several French domestic life'. The subject of NG 186 was 'an astrologic medi- pattens, which are for outdoor use, and is still wearing boots,
Netherlandish Antiquity), he wrote that Mary of Hungary had translations had been made during the twelfth and thirteenth cine man in the act of examining the lines on his patient's Panofsky's argument is unconvincing.279
owned 'a very small panel' (een deen tafereelkin) by Jan van centuries. Four manuscripts of French translations were in hand, with a view to determining, by palmistry, the chances Panofsky's ingenious interpretation rests on a very slight
Eyck in which was painted 'a marriage of a man and a woman the library of the dukes of Burgundy, though only one sur- - male or female - of her majority of months ,..'.272 The idea basis in van Vaernewijck's muddled and unreliable text.
who are married by Faith' (een trauwinghe van eenen man ende vives.267 The Latin text, first printed in 1471, cannot have that the lady was a pregnant 'fallen woman' had great appeal Schabacker and Dhanens were puzzled that the couple did
vrauwe/ die van Fides ghetrauwt warden) and that Mary had been difficult to obtain. In principle, van Eyck could himself for the Victorian public. De Laborde in 1855 took up once not join their right hands to take the marital vows, for the
acquired the picture from a barber whom she rewarded with have written the inscription on the frame of his portrait. It again the theory that the painting depicted a marriage and union of right hands, the dextrarum iunctio, was indeed part
an office worth 100 florins a year.261 Den Spieghel has been might perhaps be argued that 'Hernoul le Fin' should be the legitimation of the child of the supposedly pregnant lady; of most marriage rituals; they therefore suggested that the
described as an 'unbelievable jumble of nonsense and rub- translated as 'shrewd Arnold' and that the painting illustrates he identified the figures in the mirror as witnesses.273 picture represented a morganatic marriage.280 Smith rightly
bish', a 'disordered compilation of fables'. Van Vaernewijck, a folk-tale to which the lines from Ovid were appropriately In 1934 Panofsky published an erudite and influential pointed out that, if a specific event was recorded, then the
though an accurate reporter of contemporary events, was a applied. This is totally implausible. NG 186 is clearly a portrait article in which he attempted to prove that the painting repre- exact date should have been given. On three other occasions,
totally unreliable historian.262 In the passage quoted, he was and was recognised as such in 1516, 1523-4 and 1558; the sented the private marriage of Giovanni di Arrigo Arnolfini van Eyck dated to the day portraits which make no allusion
almost certainly referring to NG 186, which did indeed belong signature makes little sense if the picture is a genre scene. and Jeanne Cenami.274 Since Giovanni di Arrigo married to any events or actions; yet in NG 186 he gave only the year.281
to Mary of Hungary, but clearly he had never seen it: it is not As it appears impossible to see the painting as a depiction of Jeanne Cenami in or after 1447, and since the portrait ap- Hall, successfully demolishing Panofsky's and Schabacker's
a Very small panel' and Mary of Hungary did not acquire it a deceitful man making empty promises and as, until 1558, parently represents Giovanni di Nicolao Arnolfini, Panofsky's arguments, preferred to see the picture as the representation
from a barber but inherited it from Margaret of Austria. As the picture is consistently described as a double portrait, theory has little to recommend it. Because his article has been of a betrothal.282
two of van Vaernewijck's statements about the portrait are there is no need to take seriously the idea that the lines from so very influential, however, it is necessary to consider his Again referring to van Vaernewijck, Hall sought to but-
false, there is no reason to believe the third, that the subject Ovid were original. They appear to have been added after arguments in some detail. tress his case by comparing NG 186 with miniatures from

198 VAN EYCK VAN EYCK 199


otherwise followed the instruction. By analogy, the man in have done so advisedly. If the inscriptions on his pictures are dextrarum iunctio and the man extends the index finger of his
NG 186 is raising his hand in greeting - the same gesture difficult to understand, they may be deliberately obscure or raised left hand in a movement which suggests that he, unlike
occurs in many Annunciations, where Gabriel greets the ambiguous. 'Jan van Eyck has been here' may be, at one level,
Virgin by raising his right hand - and is presenting the Arnolfini, may be swearing an oath. Because the painter
an assertion of the truth of his representation and in that of the Godesberg picture had to change the composition
woman to the two visitors whose reflections are visible in the sense it would be in line with the 'Loyal Remembrance' on
mirror.287 The man in blue is moving towards the couple and radically in order to introduce allusions to marriage, his
his Portrait of a Man, NG 290, and the 'My husband painted version, far from supporting the idea that NG 186 represents
is a visitor entering the room, not a witness standing still to me ..." on the 'speaking likeness' of his wife (Bruges). At an-
watch a ritual. a marriage or a betrothal, provides strong evidence against
other level, 'Jan van Eyck has been here' may assert that the such an interpretation.
Since van Vaernewijck's misleading reference to the image is not, after all, an accurate one, that the room is an
painting may be disregarded, since the woman is not obvi- It has been argued that there is a connection between NG
invention and that 'Jan van Eyck has been here' - and only 186 and a lost painting by Jan van Eyck known from two
ously pregnant, since the room is a reception room, since the Jan van Eyck - because, as his subjects must very well have copies and depicting a nude woman with a clothed female
gestures of the couple do not imply that they are being known, the interior is an illusion, the product of Jan's imagin- attendant.296 The copies of the lost painting do indeed show
betrothed or married, there seems little reason to believe that ation. Whatever interpretation is put on the inscription, it is an interior similar to that in NG 186 and also including a
the portrait has any significant narrative content. Only the an assertion of Jan's skill in counterfeiting reality; and it seems
unnecessary lighted candle and the strange signature provoke bed, a high-backed chair, a window with six shutters, a con-
to be a clear statement that he is the foremost of the two men vex mirror, a chest, a folding chair, discarded pattens and a
speculation.
Fig. 2 5 French illuminator, Charlemagne presenting his son Louis the
reflected in the mirror. The signature is not, however, a state- small dog. Assuming that NG 186 represents a marriage, Held
The lighted candle in a room filled with natural light is ment that van Eyck witnessed a legally significant event. It is
Pious to a Bishop, from the Grandes Chroniques de France. Valenciennes,
not without parallels. Another candle burns above the fire in and others have argued that the lost picture depicted the ritual
Bibliotheque municipale, MS 637, fol. 134. probably an indication that he was on friendly terms with the purification of the bride and that it was originally the cover
the Virgin and Child in an Interior (NG 6514) by a follower of couple, who tolerated his rather blatant intrusion into their
Campin; and in van Eyck's lost Bathing Women, where there of the portrait. If NG 186 does not represent a marriage, this
portrait and who understood the subtleties of his illusions argument loses its validity; it was in any case dubious, as NG
must have been an open window, through which an extensive and allusions.
manuscripts of Boccaccio's Decameron. According to Hall, 186 was probably designed to be protected by wings rather
landscape was visible, there was also 'a lantern in the bath The fact that Jan painted a second portrait of the same
these miniatures are near-contemporary representations of chamber, just like one lit'.288 Van Eyck may have wanted to than a cover. Covers were suitable only for small paintings.
man tends also to suggest that the two were friends. If the In the lost picture, the bed-curtains were not red and the
betrothals and show couples making the same gestures as the represent and contrast natural and artificial light both in the man is indeed Giovanni di Nicolao Arnolfini, they would have mirror frame was undecorated. The resemblances between it
couple in NG 186. It is indeed true that in the French Decam- Bathing Women and in NG 186. One of Marmion's greatest
eron of c. 1415, now in the Vatican Library (Pal. lat. 1989), been in contact both in Bruges and at the Burgundian court. and NG 186 were probably coincidental.
accomplishments was to have painted, in a picture which was The number of changes in NG 186 is probably further evi-
and in the derivative Netherlandish Decameron of the 1430s, clearly not a night scene, 'a candle which seemed truly to be The hypothesis that NG 186 depicts a marriage or a be-
now in the Arsenal Library in Paris (MS 5070), the illustra- dence of constant contact between the artist and his subjects, trothal may therefore be rejected. When the painting was first
alight'.289 Alternatively, the candle has been lit in honour of who must surely have approved every departure from the first
tions for the seventh novella of the tenth day show Perdicone the visitors. In Les Honneurs de la Cour, Alienor de Poitiers mentioned, in the 1516 inventory of Margaret of Austria's
design and underdrawing. collection, it was described as 'Hernoul le Fin with his wife in
raising his right hand and taking Lisa's right hand in his left described the conventions observed when great ladies of the
hand.283 According to Hall, these miniatures represent the Most of the objects which, according to Panofsky and his a chamber'. Diego de Guevara, who almost certainly trans-
Burgundian court were lying in. She stated that two silver followers, have symbolic significance, turn out not to have
betrothal of Perdicone and Lisa and the gestures are ritual mitted this description to Margaret of Austria, probably
candlesticks were kept, with other plate, on the dresser; in the been underdrawn: the candle, the carving of Saint Margaret,
gestures. There is, in fact, no proof that the illuminators in- candlesticks 'there must be two large wax candles, to be lighted knew exactly what the portrait represented. It is only sensible
tended to depict the moment of betrothal. The miniatures may the oranges, the discarded pattens, the dog. The gestures were to return to the 1516 description and to treat the painting
when someone comes to the chamber'.290 Similar conventions altered during the course of painting - which suggests that
represent the introduction of Perdicone to Lisa and his right as a portrait, without any significant narrative content, of
were no doubt observed on other occasions when visitors were they were not well-rehearsed ritual gestures which had to
hand may be raised in greeting. There are other miniatures Giovanni di Nicolao Arnolfini and his second wife.
received. Wax candles were expensive.291 Burning a candle be formally executed. The signature itself cannot have been
in both manuscripts which could equally depict betrothals may have been a way of honouring a visitor, not only when
but where the couples are making different gestures.284 envisaged in its present form until the chandelier had been The Interpretation of the Portrait
a countess was lying in, but also on less exalted occasions. added and the mirror had been reduced to its present size and
In some manuscripts of the period, written instructions As a full-length double portrait, NG 186 is not at all un-
The signature Johannes de eyckfuit hie/.1434. is unusual shape. There are no drawn guidelines for the inscription,
were included which guided the illuminators and which can in its placing and in its form. According to Panofsky,292 'the usual.297 Such portraits occurred frequently in dynastic series,
be taken as accurate descriptions of their miniatures. Though which is not quite horizontal but rises from left to right. A for example those of the Counts and Countesses of Flanders
artist has set down his signature - lettered in the flourished signature is often the last thing to be painted and this one
directions, in Dutch, exist on some of the folios of the Arsenal in the Aldermen's Hall at Ypres,298 in the Chapel of the Count
script normally used for legal documents - as a witness rather may not have been planned very far in advance. The portrait
Decameron, none refers to a miniature which may represent than as a painter. In fact, we see him in the mirror entering in the church of Our Lady at Courtrai (where only countesses
a betrothal. In a manuscript of the Grandes Chroniques de was certainly not conceived according to any carefully worked in their own right were represented, with their husbands
the room in the company of another gentleman who may out programme.
France (Bibliotheque municipale, Valenciennes, MS 637), standing beside them)299 and in the Hall of the Aldermen of
be interpreted as a second witness.' The 'flourished script', The versions are of no great use in elucidating the subject-
which was illuminated in France in about 1400 and which the Keure at Ghent (where, behind at least some of the counts,
however, was used for any elaborate or decorative inscription matter, since the composition was adapted for many different
afterwards belonged to Philip the Good, the instructions to scenes from their lives were depicted).300 The Ypres series was
and does not necessarily have any legal connotations. The scenes. Loyset Liedet, who often borrowed from the painting,
the illuminators survive and may clarify the gestures of the formula fuit hie or hicfuit was used in graffiti293 but never in in progress by 1323, when a count and countess were added;
couple in NG 186.285 The miniature on fol. 134 shows Charle- seems never to have used it for marriage or betrothal scenes. the Courtrai series was apparently begun in the 13 70s by Jan
legal documents, where the witnesses' names were introduced When he had to depict a private or clandestine marriage, he
magne presenting his young son, Louis the Pious, to a bishop van der Asselt and in 1406 Melchior Broederlam was paid
by the words coram his testibus or presentibus NetN testibus.294 did not think to copy the double portrait.295 Only one among
(fig. 25). Charlemagne raises his right hand in greeting and for having added Philip the Bold and Margaret of Flanders;
Panofsky's interpretation of the signature is further weakened all the possible versions seems to refer to marriage: the double
takes his son's right hand in his left; Louis lays his left hand by the facts that the exact date is not given and that no the Ghent series was commissioned in 1419 from Willem van
on his heart. The direction to the illuminator reads: 'How the portrait at Godesberg (fig. 3). This does not represent a Axpoele and Jan Martins. Copies survive of some of the figures
reference is made to the 'second witness'.
king, accompanied by two nobles, stands and holds his little marriage, though it must allude to the marriage of the couple. from the Courtrai series but unfortunately Broederlam's
The meaning of the signature may not be altogether clear The painter had some knowledge of the Arnolfini composition
son by the hand and presents him to the two bishops and the double portrait has vanished without trace.
but, if van Eyck had wished to convey his meaning more but he has not included the men reflected in the mirror, a
first blesses him and behind him there is a chaplain.'286 The directly, he would have chosen other words. He used the NG 186 may be the earliest surviving portrait on panel
illuminator has decided to omit the second bishop but has candle or an inscription. He has, however, altered the gestures of two persons who were not rulers and the earliest known
perfect tense, fuit, rather than the imperfect, erat; he must so that the couple join their right hands in the ritualised portrait on panel where the subjects are seen in a domestic
200 VAN EYCK
VAN EYCK 201
setting.301 Because vast numbers of works of art have been of every detail, makes it so compelling an image. The candle
lost, it is impossible to say whether, in either respect, NG 186 flame, the reflection of the orange in the polished wooden
was very unusual. It was not without precedent but it seems casement, the mud on Arnolfini's pattens are so accurately
unlikely that many such portraits were produced before 1434. observed and rendered that it seems that the whole painting
Only in the sixteenth century did this kind of portrait become can be accepted as a faithful imitation of reality.
relatively common.302 It is surprising, perhaps, to discover that the attention to
By 1516, NG 186 had shutters, which were still attached detail is rather less sharp here than in van der Weyden's
in 1700. According to the inventory of 1700, they were Magdalen Reading (NG 654), where Saint Joseph's beads may
marbled; according to the inventories of 1516, 1523-4 and be compared with the beads hanging by the mirror, where
1556-8, they were ornamented with the coat of arms and the small figures in the landscape may be contrasted with the
device of Diego de Guevara.303 He may have had his arms and figures reflected in the mirror. Van Eyck is less careful, less
device painted on wing panels that already existed; or he may literal, less interested in linear definition, more economical of
have commissioned the shutters and had them attached to his time and effort. Van der Weyden may have been able to
the portrait. The marbling could have been painted in 1434, lavish greater attention on detail because he included less
in van Eyck's workshop, or in about 1500, for Diego de incident. One of van Eyck's supreme achievements was to
Guevara. It was not unusual for a portrait to be protected by hold in control, by means of his unrivalled mastery of com-
shutters. The Master of Frankfurt's Self Portrait with his Wife position, tone and colour, all the wealth of incident.
(Antwerp), dated 1496, was the centre panel of a triptych. It Some critics, seduced by van Eyck into taking his image
retains its original frame, to which is still attached part of one too literally, have noticed that the perspective of his interior
of the four original hinges.304 Diirer's portrait of Oswolt Krel is not altogether accurate.309 Van Eyck may conceivably have
(Munich), dated 1499, has wings representing wild men known about the theories of perspective recently developed
holding coats of arms;305 while Jakob Eisner's small portrait in Florence but, if he did, he chose to ignore them. He was of
triptych of Conrat Imhof (Munich, Bayerisches National- course perfectly able to represent correctly anything that was
museum), dated 1486 but apparently painted in about 1500, put before him, anything that he chose to imagine.310 Even if
shows on the left wing a coat of arms and on the right wing he knew nothing of the theory of perspective, he has made
an allegorical figure.306 Most of the portraits listed in Margaret a deliberate choice to distort the interior and the distortions
of Austria's inventory of 1516 seem to have had shutters or have allowed him to construct a symmetrical composition
covers - in this inventory the two terms were used inter- around the central axis marked by the chandelier, his signa-
changeably - and it is noted when a portrait lacked a cover ture, the mirror and the vertical line between the two middle
or shutter: for example, 'a medium-sized picture of the face floorboards. He has also contrived to avoid overlaps so that
of a Portuguese lady which Madame had from Don Diego, each of the principal figures, each of the principal objects, is
done by the hand of Johannes, and it is done without oil on presented with the greatest possible clarity. As we have seen,
linen, without a cover or shutter'.307 The Master of Frankfurt's the white fur on the woman's dress is apparently of a colour
Self Portrait with his Wife appears to be described in the same and texture that could not have existed in 1434 and could
inventory: it certainly had shutters, but they were not only have been imagined.311 It seems very probable that flaws
mentioned, perhaps because they were not decorated. If they in other materials have been disguised or omitted to enhance
had been missing, their absence would have been noted. the beauty of the surfaces. The room is in any case an
It seems unlikely that a fashion for portrait triptychs arose imagined space, where logic of scale is not observed, although,
only at the end of the fifteenth century and very much more as we have seen, it must bear some relation to the main
probable that portraits, especially fairly large portraits, had reception room of Arnolfini's house and its furnishings are
always, as a matter of course, been equipped with shutters. probably recognisable representations of objects owned by the
In that case, the marbled wing panels once attached to NG couple.
186 could have been original and Diego de Guevara merely They themselves seem credible likenesses yet, in order to
had his arms and device added to existing shutters. The fact concentrate attention on their heads and hands, in order to
that van Eyck seems not to have decorated the reverse of NG enhance likeness by presenting each feature from the most
186 may support the theory that it was designed as the centre suitable angle and in order to idealise slightly both his sub-
of a triptych. It was apparently usual to decorate the reverses jects, van Eyck, according to his usual practice, has adjusted
of single panels but unusual to decorate the reverses of the the proportions of their heads and bodies. Arnolfini has a very
centre panels of triptychs and polyptychs.308 Although the large head and rather large hands, which agree in scale with
triptych form was also used for devotional paintings, it did his face but not with his arms. His shoulders are extremely
not necessarily have religious connotations. The shutters were narrow and the whole upper part of his body is severely
there to protect the portraits. diminished. His head is turned to our right. His face is appar-
Opening the doors of the triptych-portrait, the spectator ently enlarged; his nose seems to be elongated and is turned
would have confronted the signature, which is virtually an too little into profile but is presented frontally, perhaps to
invitation to identify with van Eyck, reflected in the mirror disguise as much as possible the flaring nostrils. The ear is
and walking through the reflected doorway. It is perhaps the
invitation into the picture which, together with the credibility Fig. 26 Enlarged detail of the woman's head

202 VAN EYCK


also seen frontally, to restrict its visibility. His wife, too, has a graphic record of a single instant. Van Eyck has succeeded in 14. List of pictures in the handwriting of 34. Bermejo Martinez 1980-2, vol. I, fig. 26. normally represented as a housewife and
small thorax and short arms, though her hands are long and Dr Wardrop's daughter and dictated by him often holds a skimmer. The dragon is Saint
convincing his public that he was indeed here and that, as 35. Ibid., fig. 25.
(photocopy sent by A.H. Packe, 20 May Margaret's usual attribute.
elegant. Her thumbs are impossibly long. Her head is distorted the doors of the triptych-portrait opened and as his reflection 1974, in the NG dossier). An extract from 36. Catalogue of the Loan Exhibition of
53. See note 46.
according to van Eyck's usual system for female heads: while passes through the reflected doorway, we can accompany him Dr Wardrop's diary, giving much the same Flemish Primitives, Kleinberger Galleries,
he normally diminishes the cranium of a man, he enlarges information, was published by L.S. Myers in New York 1929, pp. 24-5. 54. For example, in a woodcut of a woman
through the unseen door into the room and into the presence delousing a man in the Hortus Sanitatis of
a letter to the Morning Post, 15 May 1922, 37. Friedlander, vol. I, plate 61.
the forehead of a woman. of Arnolfini and his wife. The couple are distorted and ideal- and reprinted by Davies 1954, pp. 127-8. Johannes de Cuba (1491: reproduced in
In the initial underdrawing, Arnolfini's face and features ised, the room is an imagined space, the objects are arranged 38. British Museum: see K. Lohse Belkin, The G. Duby, ed.. A History of Private Life, II.
15. Will dated 23 November 1852, proved Costume Book (Corpus Rubenianum Ludwig Revelations of the Medieval World, Cambridge
are even larger and his features are higher (fig. 12). The head with marvellous artifice. Only after much thought and many 10 October 1854: PRO, PROB 11/2198, Burchard, XXIV), Brussels 1980, pp. 81-2, (Mass.) and London 1988, p. 599); or in
was then redrawn, with the distortions less pronounced, and changes of mind did van Eyck arrive at the immutable per- sig. 748. plate 29. Diirer's drawing of Youth, Age and Death
the painting follows the revised underdrawing. His garment fection of his image, so compelling and so powerfully engaging 16. See the review in the Athenaeum, 3 July 39. H. Barlandus, Ducum Brabantiae Chronica,
(British Museum; Winkler 628).
is shorter in the underdrawing and his legs are further apart. that it has never ceased to inspire fantasy. Its artificiality and 1841. p. 509. Antwerp 1600; reproduced by Dhanens 55. Bedaux 1986, pp. 19-20.
The alterations here make him look very much less ungainly. above all the art that conceals its artifice are among the great- 17. Trustees' Minutes. 1980, p. 142. 56. J. Weyns, Volkshuisraad in Vlaanderen.
In the underdrawing, his wife's features are lower and at est triumphs of painting. Jan van Eyck was here and has per- 18. MS Catalogue. 40. Weale 1908, p. 75. The painting is Naam, vorm, geschiedenis, gebruik en volks-
slightly different angles; the height of her forehead is even reproduced in the catalogue of the exhibition kundig belang der huiselijke voorwerpen in het
suaded us that we may follow him; but his image is so 19. Correspondence in the NG archive, Vlaamse land van de middeleeuwen tot de eerste
Elizabethan Portraits, Arcade Gallery, London
more remarkable than in the painting (fig. 13). Van Eyck's contrived, is so much the creation of his imagination, that, NG 5/50/1842; NG 5/51/1842; Trustees'
1947, p. 19. wereldoorlog, 4 vols, Beerzel 1974, vol. Ill,
processes of distortion were very carefully considered but they Minutes, 6 February 1843.
in truth, only the inimitable Jan van Eyck has been here. 41. Exhibition catalogue Alonso Sanchez
p. 1003; Dubbe 1980, p. 79.
were often moderated. The underdrawn heads of the Arnolfini 20. MS Catalogue; Illustrated London News, Coello y el retrato en la corte de Felipe II, Museo 57. Dubbe 1980, p. 31. Bancclederen, never
vol. II, 1843 (15 April), pp. 257-8. del Prado, Madrid 1990, p. 143. found in the inventories of burgesses of
couple were perhaps too obviously distorted to have been General References
21. Friedlander, vol. II, no. 67. Deventer and Zwolle, are, however, found in
accepted as truthful likenesses.312 Friedlander, vol. I, pp. 40-1; Panofsky 1934; Davies 1954, pp. 42. M. Millner-Kahr, 'Velazquez and Las inventories taken in 1409 and 1460 of the
It is very easy to fall into the error of thinking that van 116-28; Davies 1968, pp. 49-52; Dhanens 1980, pp. 193- 22. Ibid., vol. I, plate 109. Meninas', Art Bulletin, vol. LVII, 1975, possessions of two canons of St Donatian's at
pp. 225-46, p. 243. Bruges: see A. Dewitte, 'In het sterfhuis van
Eyck recorded with impassive objectivity all that he saw, to 205; Bedaux 1986; Hall 1994; Billinge and Campbell 1995; 23. Aloisius-Kolleg, Bad Godesberg;
formerly on an oak panel, 88 X 55 cm. See 43. A. Inglis and C. O'Brien, ' "The Breaking of Johannes Teel, kanunnik van Sint43onaas,
take his image too literally, to treat it as if it were a photo- Paviot 1997. the Web": William Holman Hunt's two early Brugge 1409', Biekorf, vol. LXXI, 1970, pp.
E. Syndicus, 'Hochzeit und Tod - Bin wieder-
entdecktes Bild', Zeitschrift fur Kunstwissen- versions of "The Lady of Shalott"', Art Bulletin 326-30, p. 329 ('Item drie quade cussine
schaft, vol. VI. 1952, pp. 47-56: Buchner of Victoria, no. XXXII, 1991, pp. 32-50; ende 1 banccleed ... 14 d.'); A. Viaene,
NOTES 1953, pp. 173-5, 219, plate 196. Attributed J. Langley, 'Pre-Raphaelites or ante-Diirerites', 'Woning en huisraad van Jakob Balderan',
by Buchner to the 'Meister der Aachener BM, vol. CXXXVIL 1995, pp. 501-8. Biekorf, vol. LXIX, 1968, pp. 337-42, pp.
For help with this entry, thanks are due to Rocio of this inventory, see H. Zimerman, 'Inventar Prado and elsewhere, Madrid 1994, pp. 147, Schranktiiren', it was discovered beneath a 339, 341 ('2 groene bancleederen': 'Elf rode
Arndez, Francois Avril, Angus Fairrie, Noel ...'. JKSAK, vol. Ill, 1885, ii, pp. xciii-cxxiii; 223; Checa was the first to realise that the 44. This question is discussed further on p. 202. cussenen met 1 bancleede'). Cushions were
painting of the 1520s representing the Virgin
Geirnaert, G. Houwen, Christians Klapisch-Zuber, the correponding entry is on p. xcviii, painting described was NG 186. and Child with Heinrich Krain. Krain was a 45. Fully discussed by Billinge and Campbell also valuable items: see Dubbe 1980, p. 29.
Anne Korteweg, John Mills, Lisa Monnas, no. 137). canon of St Gereon at Cologne. The painting 1995.
M. Nuyttens, Christine Paquet, Reinhard Strohm, 7. 'Una Pinttura en ttabla Con dos puerttas 58. Compare NG 2609, The Virgin and Child
5. 'Una tabla grande, con dos puertas con que que se Zierran Con su marco de madera of two corpses on the reverse (Buchner 46. Compare the Campinesque Annunciation before a Firescreen by a follower of Campin.
Giorgio Tori, Anne van Buren, Stefaan Vande 1953, p. 174) was done at the same time as
Cappelle, Elspeth Veale and Alison Wright. se cierra, y en ella un hombre e una muger dorada de oro matte escripttos Vnos Bersos in Brussels (Friedlander, vol. II, no. 54 b) or
que se toman las manos, con un espejo en de Obidio en el marco de la Pinttura que es the double portrait, which is known only 59. 'alii vi las naranjas e las limas de Castilla,
I am particularly grateful to Michael Bratchel, the frontispiece of the Chroniques de Hainaut que paresce que entonces las cogen del
que se muestran los dichos hombre e muger, de Vna Alemana prehada besttida de Verde from photographs of the back of the paint (BR, MS 9242, fol. 1. reproduced in Pacht,
Christine Meek and Jacques Paviot, who have layer, taken when the Virgin was removed arbol': Andaiyas e viajes de Pero Tafur por
been exceptionally generous in sending y en las puertas las armas de don Diego de dando la mano a Vn Mozo que pareze Se Jenni and Thoss 1983, fig. 40).
Guevara; hecha por Juanes de Hec, ano 1434' Casan de noche y los versos declaran Como from its support. diversos partes del mundo avidos (1435-1439)
information and advice. 47. The floors in Jan van Eyck's other (Coleccion de libros espaholes raros 6
(Archive General, Simancas, Contaduria Se enganan el Vno al ottro y las puerttas 24. For Liedet, see G. Dogaer, Flemish
mayor, l a epoca, legajo 1093, published by Son de madera pinttadas de Jaspeado tasado paintings are all tiled or inset with coloured curiosos, VIII), Madrid 1874, p. 254.
1. A. de Lusy, Le Journal d'un bourgeois de Mons Miniature Painting in the 15th and 16th stone but in the 'Ince Hall' Virgin (Melbourne),
1505-1536, A. Louant, ed. (Commission A. Pinchart, 'Tableaux et sculptures de Marie en diez y seis Doblones' (published by Centuries, Amsterdam 1987, pp. 106-12. 60. L. Bril and E. Lejour, 'Les Oranges dans
... de Hongrie', Revue universelle des arts, vol. G. Fernandez Bayton, Inventarios reales, which may be a copy of a lost van Eyck of nos provinces au XlVe et au XVe siecles',
royale d'histoire), Brussels 1969, pp. 160, 25. H. Martin and P. Lauer, Lesprincipaux 1433, the Virgin's chamber has a wooden
172. See further, pp. 192-3. Ill, 1856, pp. 127-46, p. 141. In a second Testamentaria del Rey Carlos II, 1700-1703, Archives, Bibliotheques et Musees de Belgique,
copy of the same inventory, ibid., legajo vol. I, Madrid 1975, p. 225). manuscrits a peintures de la Bibliotheque de floor, partially covered by a carpet (see Hoff vol. XXVI, 1955, pp. 56-9.
2. hors du conte: see Hand and Wolff 1986, 1017, the last seven words are omitted: see I'Arsenal, Paris 1929, plate LXIII. and Davies 1971, pp. 29-50, plate LVIII). In
p. 234. R. Beer, 'Inventar ...', JKSAK, vol. XII, 1891, 8. '871 Vara de alto y tres quartas de ancho, van der Weyden's lost Virgin and Child with 61. L. Mirot, 'Etudes lucquoises: La societe
Hombre y muger agarrados de las manos. 26. J. van den Gheyn, Histoire de Charles Saints of c. 143 5, of which NG 654, the des Raponde', Bibliotheque de I'Ecole des
3. 'ung grant tableau qu'on appelle Hernoul ii, pp. clviii-clxiv, p. clxiv). Martel, Reproduction des 102 miniatures de
Juan de Encinas Ymbentor de la Pintura al Magdalen Reading, is a fragment, the floor is Charles, vol. LXXXIX, 1928, pp. 299-389,
le Fin avec sa femme dedens une chambre, 6. BL, MS Harl. 3822, J. Quelviz, 'THESORO Oleo ... 6.000' (F. Fernandez-Miranda y Loyset Liedet, Brussels 1910, plate 28. again wooden. p. 320 note 3; R. de Roover, 'La
qui fut donne a Madame par don Diego, les CHOROGRAPHICO DE LAS ESPANNAS Lozana, Inventarios reales, Carlos III, 1789- communaute des marchands lucquois a
27. Ibid., plate 67. 48. On 'scarlet', its production and its cost,
armes duquel sont en la couverte dudit POR EL SENOR DIEGO CVELBIS', i, 1790, 3 vols, Madrid 1988-91, vol. I, p. 28 Bruges de 1377 a 1404', HGSEB, vol.
tableau fait du painctre Johannes'; in the fol. 108v: 'Poco arriba en la Salle chiqua (184). The pictures listed here were valued 28. Ibid., plate 76. see J.H. Munro, 'The Medieval Scarlet and LXXXVL 1949, pp. 23-89, p. 38.
margin, 'il a necessite d'y mettre une serrure a mano derech[a]. Una imagen donde un on 25 February 1794). Because the date of the Economics of Sartorial Splendour' in
29. Ibid., plate 92. Cloth and Clothing in Medieval Europe, Essays 62. For example those cited in notes 27 and
pour le fermer; ce que Madame a ordonne moco y dongella juntan las manos como this inventory has been misprinted as 1754
faire' (ADN, B 3507; published by A. Le Glay, se prometiessen del futuro Casamiento. and as 1789, confusion has arisen: Davies 30. L. Olschki, Manuscrits francais a peintures in Memory of Professor E.M. Carus Wilson, 28. Such folding chairs, sometimes called
Correspondance de I'empereur Maximilien ler et ay mucho escrito y tambien esto (1954, p. 127) thought that there were two des bibliotheques d'Allemagne, Geneva 1932, N.B. Harte and K.G. Ponting eds (Pasold preekstoelen, are listed in Deventer inventories
de Marguerite d'Autriche, safille, Paris 1839, inventories, taken in 1754 and 1789.1 am p. 46, plate LV. Studies in Textile History, II). London 1983, but only in those of the richer burgesses: see
vol. II, p. 479, and in ISADNB, vol. VIII, Promissas fallito quid enim promittere laedit pp. 13-70. Dubbe 1980, p. 79.
Pollicitis diues quilibet esse potest.' grateful to Rocio Arnaez for resolving the 31. Lithograph in Costumes maeurs et usages
p. 209 - where 'Hernoul le Fin' is transcribed confusion. de la cour de Bourgogne sous le regne de Philippe 49. Dubbe 1980, p. 39. 63. J. Mills, Carpets in Pictures (Themes and
as 'Hernoul le Sin'). For the manuscript, see A. Dominguez Ortiz, Painters in the National Gallery, Series 2, 1),
9. W. Anderson, The Scottish Nation, Illdit le Bon (1455-1460), s.l.s.d., livraison 50. See note 22.
4. 'Item, ung aultre tableau fort exquis, qui 'La Descripcion de Madrid de Diego Cuelbis', II, no. 10. London 1975, pp. 10-11.
Edinburgh 1868, vol. II, p. 454.
se clot a deux fulletz, ou il y a painctz ung Anales del Institute de Estudios Madrilenos, 51. For example an Annunciation (Brussels)
vol. IV, 1969, pp. 135-44; for Quelviz, see 10. C.M. Kauffmann, Catalogue of Paintings in 32. Fol. 157; photograph in the Conway 64. For example the throne of Charles V of
homme et une femme estantz desboutz, by the Master of the Abbey of Affligem: France as it is represented in the presentation
G. Erler, Die lungere Matrikel der Universitcit the Wellington Museum, London 1982, p. 6. Library. Many other reminiscences of NG Friedlander. vol. IV, no. 80.
touchantz la main Fung de 1'aultre, fait de miniature of the Cite de Dieu (BR, MS 9016,
Leipzig 1559-1809, vol. I, Leipzig 1909, 186 may be found in manuscripts from
la main de Johannes, les armes et divise de 11. Nieuwenhuys 1843. p. 5 note. 52. According to Davies 1968, p. 51 note 3, fol. 1), illuminated in or shortly after 1445 for
p. 350. Part of the passage quoted was Liedet's workshop and a systematic search
feu don Dieghe esdits deux feulletz. nomme 'One cannot exclude that it is S. Martha.' Jean Chevrot, Bishop of Tournai (reproduced
printed by F. Checa in the exhibition 12. Anderson (see note 9). would be revealing. Other illuminators do
le personnaige Arnoult Fin' (BN, 500 de Saint Martha did indeed subdue the dragon by Pacht, Jenni and Thoss 1983, fig. 41);
catalogue El Real Alcazar de Madrid, Dos Siglos not seem to have used the composition.
Colbert: published by H. Michelant, 13. 0. Millar, 'Jan van Eyck's Arnolfini of Tarascon (Golden Legend, vol. II, pp. 23-4); or the throne of Charles the Bold as it is
'Inventaire ...', BCRH, 3e ser. vol. XII, 1871, de arquitectura y coleccionismo en la corte de los 33. Friedlander, vol. II, plate 61.
Reyes de Espaha, Palacio Real, Museo del Group, An Addition to its History', BM, but in Early Netherlandish art she is represented by Loyset Liedet in the
pp. 5-78, 83-136, p. 86. For another copy vol. XCV, 1953, pp. 97-8.

204 VAN EYCK VAN EYCK 205


presentation miniature of the Histoire d'Olivier 78. For the marriage of Philip the Good, S. Luc, a Bruges', ASEB, 3e ser. vol. I, 1866, 106. 'Et trouverent le roy en une haute 120. Bayerische Staatsbibliothek, Munich, 129. Steppe 1982 (cited in note 124), p. 216.
de Castilk (EN, MS fr. 12574, fol. 1; reproduced see F. Morand, ed., Chronique de Jean Le Fevre pp. 40-3, 32-3, sallet, sans lit, tendue dune tapisserie bleue, MS 265, fol. 17v; reproduced by Dhanens
130. ADN, B 2126, n 68886 (reference
by Dogaer, cited in note 24, p. 110). seigneur de Saint-Remy, Paris 1876-81, diapree, de la livree du feu roy, cest assavoir, 1980, p. 334. The manuscript is described by
92. C. van den Haute, La Corporation des kindly provided by Jacques Paviot).
vol. II, p. 161 ('Et au milieu de la salle y de Cosses, et son mot "Jamais" dor, et ung W. de Vreese, Leekebijdragen tot de geschiedenis
65. For example in the presentation miniature peintres de Bruges, Bruges and Courtrai s.d., dosseret de tapisserie de dames, qui van Vlaanderen, inzonderheid van Gent (Uit- 131. De Guerra (cited in note 124), pp. 261-2.
avoit chandeliers croisiez de fust, pendans,
of the Theseide (ONE, Cod. 2617, fol. 14v), pp. 196, 217, 218. presentoient a ung seigneur les armes de gaven der Koninklijke Vlaamsche Academie,
emplis de torchins de chire, qui faisoit moult 132. 'Etat journalier' of 11 March 1471,
reproduced by Dhanens 1980. p. 65. France; et estoit tout sur or moult riche, et IVe reeks, 9), Ghent 1912, pp. 3-138.
bel veoir ardoir par nuyt'); for the marriage 93. Metropolitan Museum of Art, New York, published by J. Roux, Histoire de 1'abbaye de
66. According to Dubbe 1980, p. 39, they of Charles the Bold, see H. Beaune and Robert Lehman Collection: Ainsworth and une haute chaire soubz le dit dosseret' Saint-Acheul-lez-Amiens (Memoires de la
121. His seal is on the reverse: see Dhanens
are never found in Deventer inventories. At J. d'Arbaumont, eds, Memoires d'Olivier de la Martens 1994, pp. 96-101. ('Relation de 1'ambassade de Loys de Societe des antiquaires de Picardie,
1980, p. 336. It was still in Parma in 1708,
Ghent in 1425, Jacqueline of Bavaria owned Marche, 4 vols, Paris 1883-8. vol. Ill, p. 118 Bourbon, comte de Vendosme ...', printed in Documents inedits concernant la province,
94. 'vij des plus grans miroirs qu'on troeuve' when it was attributed to Durer in the
'Huit machepies de Torquie: 4 grans et 4 petis ('Ladicte salle fut aidee de candelabres de bois J. Stevenson, ed., Letters and Papers illustrative vol. XII), Amiens 1890, p. 524; Ladron was
(de Laborde 1849-52, vol. II, p. 330). inventory of the ducal collection taken in that
et 5 quareaulx de papegay' (E. Duverger, peinctz de blanc et de bleu ...'). of the Wars of the English in France, vol. I paid 24 sous.
year (G. Bertini, La Galleria del duca di Parma,
'Tapis et tapis de table d'Orient et d'Occident 95. '... sept miroirs assis en roze, et lesquelz [Rerum Britannicarum Medii Aevi Scriptores,
79. 'Uno candellieri d'ottone a sei rami, Storia di una collezione, Parma 1987, p. 118).
dans la Flandre d'autrefois' in G. Delmarcel estoient grans et ronds comme de piet et vol. XXII], London 1861. p. 103). 133. ADN, B 2088, n 66587 (reference
intalliato, grande et con campanelle d'octone, 122. See the 1847 catalogue, p. 76: kindly provided by Jacques Paviot); ISADNB,
and E. Duverger, Bruges et la tapisserie demi en rondeur. Et la sembloit a regarder en 107. The clothes and textiles are discussed
et con piu altri cibori, appicchato al M.W. Brockwell, The Pseudo-Arnolfini Portrait, vol. I, i, p. 241; R. van Answaarden, Les
[exhibition catalogue, Gruuthusemuseum chascun qu'il y eust dix mil hommes ...' by Scott 1980, pp. 120-2; Scott 1986, no.
sopracielo' (S. Bongi, Di Paolo Guinigi e delle A Case of Mistaken Identity, London 1952; Portuguais devant le Grand Conseil des Pays-
and Memlingmuseum], Bruges 1987, (Beaune and d'Arbaumont, cited in note 78, 74; L. Monnas, 'Contemplate what has been
sue richezze, Lucca 1871, p. 98). J. Lejeune, Jean et Marguerite van Eyck et le Bas (1460-1580) (Ecole des hautes etudes
pp. 149-61, p. 151). vol. IV, p. 107). An English observer noted done: Silk Fabrics in Paintings by Jan van
80. 'Item ung grant chandellier de cuivre a 'vij grett glassez curiously sett therin, and in roman des Arnolfini (Commission royale de en sciences sociales, Collection du Centre
67. Published by de la Curne de Sainte- Eyck', Hali, December 1991, pp. 102-13. d'etudes portuguaises, 4), Paris 1991, p. 150
six touez que Ton dit estre en la facon de soche wise as the aboundance of the people 1'histoire de 1'ancien Pays de Liege, Documents
Palaye, Memoires sur I'ancienne chevalerie, The furs are briefly discussed by E. Veale, note 6. From 26 May 1488, Ladron received
Flandres' (J. Felix, Inventaire de Pierre Surreau and countenance appered in the said glasse' et memoires, fasc. XI), Liege 1972.
vol. II, Paris 1759, pp. 169-267. A new The English Fur Trade in the Later Middle Ages, a pension of 1200 livres; by 1495 he was
receveur general de Normandie [Societe de (S. Bentley, Excerpta Historica, London 1833, Oxford 1966, p. 141. 123. See the detailed comparison by
edition by Jacques Paviot is in preparation. described as 'chevalier, conseiller et
1'histoire de Normandie], Rouen and Paris p. 235). The Bruges foot measured 27.44 cm. J. Desneux, 'Jean van Eyck et le portrait de
68. Ibid., pp. 219, 252. 1892, p. 9). This was valued at only 40 sous 108. Scott 1980, p. 122, with diagram. chambellan du Roi (Maximilian I) et maitre
96. Weyns (cited in note 56), vol. III. p. 1017. ses amis Arnolfini', Bulletin des Musees royaux
tournois, but the valuations in this inventory d'hotel de 1'archiduc' (Philip the Handsome):
69. Weyns (cited in note 56), vol. II, 109. According to J.G. Links, 'Ermine was a des beaux-arts, 1955, 1-3 (Miscellanea Erwin
are all rather low (ibid., p. 8 note 2). 97. For example that in the Belles Heures seeGachard 1841, p. 279.
pp. 757-8; Dubbe 1980, p. 67. lady's best friend', Times, 8 May 1992, p. 18, Panofsky), pp. 128^4.
Surreau's grand-daughter Jeanne was to (The Cloisters, New York), reproduced by 'no animal grew a coat from which ... [the] 134. Crowe and Cavalcaselle 1857, pp. 65-6.
70. Friedlander, vol. II, no. 9. marry Jacques Cenami, whose sister Jeanne M. Meiss, French Painting in the Time of Jean de 124. J.K. Steppe, 'Het overbrengen van het
... gown could have been trimmed ... until
was to marry Giovanni di Arrigo Arnolfini Berry, The Limbourgs and their Contemporaries, hart van Filips de Schone van Burgos naar de 135. Strohm 1990, p. 154.
71. See note 22. farmers bred white mink in my own lifetime.'
(L. Mirot, 'Etudes lucquoises: Les Cename', London and New York 1974, plate 402. Nederlanden in 1506-7', Biekorf, vol. LXXXII,
136. Crowe and Cavalcaselle 1857, p. 65,
72. The paint between this sconce and the Bibliotheque de I'Ecole des Charles, vol. XCI, 110. Dhanens 1980, p. 247. 1982, pp. 209-18; idem, 'Mecenat espagnol
98. Two stall-plates of 1478 (Sint- citing de Laborde 1849-52, vol. I, pp. 208-9.
next branch of the chandelier is certainly 1930, pp. 100-68, p. 112). et art flamand au XVIe siecle' in the
Salvatorskerk, Bruges) are reproduced in the 111. Scott 1980, pp. 120-2. For the history of Lucca at this period, see
candle-coloured and not wall-coloured; but exhibition catalogue Splendeurs d'Espagne et
81. Weyns (cited in note 56), vol. II, p. 757. exhibition catalogue Hans Memling, the excellent survey by M.E. Bratchel, Lucca
van Eyck may have found it convenient to 112. Dhanens 1980, p. 123; A. van Buren- les villes beiges 1500-1700, Palais des beaux-
Groeningemuseum, Bruges 1994, pp. 191, 1430-1494, The Reconstruction of an Italian
use candle-coloured paint to fill this gap, 82. Dubbe 1980, p. 67. Hagopian, 'Un jardin d'amour de Philippe arts, Brussels 1985, vol. I, pp. 247-82, p. 254.
193. The earlier stall-plates were without City-Republic, Oxford 1995; Christine Meek is
perhaps because candle-colour was on his le Bon au pare de Hesdin', Revue du Louvre, Steppe had access to a sixteenth-century
83. Ibid. any doubt very similar. preparing a history of Lucca under the rule
brush when he happened to notice the gap. vol. XXXV, 1985, pp. 185-92. history of the Guevara family by Esteban de
of Paolo Guinigi (1400-30).
It is by no means obvious that this area is 84. ISADNB, vol. VIII, p. 429: 'ung grant 99. Compare the inscriptions on the walls in Garibay, partially published by J.C. de Guerra,
113. De Laborde 1849-52, vol. I, pp. 289, 137. W.H.J. Weale, Notes sur Jean van Eyck,
not the same colour as the rest of the wall. chandelier de cuyvre pendant'. the Virgin and Child by a follower of Jan van 'Ilustraciones Genealogicas de los linajes
300. bascongados contenidos en las Grandezas de London, Brussels and Leipzig 1861, pp. 27-8;
Eyck in the Museo de la Colegiata at
73. L. Pastor, Die Reise des Kardinals Luigi 85. 'Item eenen hanghende cooperen lucthier': 114. Friedlander, vol. I, plate 61: J.K. Steppe, Espana compuestas por Esteban de Garibay, see also Weale 1908, p. 73.
Covarrubias near Burgos (Bermejo Martinez
d'Amgona durch Deutschland, die Niederlande, D.-D. Brouwers, 'Le Mobilier d'Everard IV de la 'Lambert van Eyck en het portret van Jacoba cronista del catolico rey Felipe II..., V, Revue
Frankreich und Oberitalien, 1517-1518, 1980-2, vol. I, fig. 18); or the inscriptions on 138. Davies 1954, p. 120: 1968, p. 50.
Marck, grand mayeur de Liege (1492-1531)', van Beiern', MKAB, SK, Jaargang 44, 1983, internationale des etudes basques, vol. V, 1911,
Freiburg-in-Breisgau 1905, p. 120. the palace walls in various miniatures in the
BCRH, vol. LXXV, 1906, pp. 17-32, p. 29. Nr. 2, Academiae Analecta, pp. 53-86. pp. 224-69. 139. Dhanens 1980, p. 199.
Privileges of Ghent and Flanders, illuminated
74. H. Loriquet, 'Journal des travaux d'art 86. Friedlander, vol. Ill, nos 1, 18. shortly after 1453, ONE, Cod. 2583, fols 115. Hall 1994, pp. 106-12. 125. A. Lopez de Haro. Nobiliario genealogico 140. See p. 199.
executes dans 1'abbaye de Saint-Vaast par 130v. 200v, 226 (Pacht. Jenni and Thoss de los reyes y titulos de Espana, Madrid 1622,
87. In the inventory taken after the death 116. 'waes 't groten winter van vorsten 141. G. Miani, 'Arnolfini, Giovanni' in DBI,
1'abbe Jean du Clercq (1429-61)', Memoires 1983, plates 32, 35, 36). For the fashion for vol. I, p. 502; de Guerra (cited in note 124),
of Philip the Good are listed 'unes grosses ende van vele sneus': anonymous Brussels vol. IV, Rome 1962, pp. 264-5 (this
de la Commission departementale des inscriptions as decoration, see the early pp. 261-2.
patrenostres d'ambre, ou il a deux boutons chronicle published by A.G.B. Schayes, Giovanni was Michele's grandson and was
monuments historiques du Pas-de-Calais, vol. I, fifteenth-century description of a house in
garniz de perles et de soye' (de Laborde 'Analectes archeologiques, historiques, 126. Sittow's Knight of the Order of Calatrava born in 1485).
1889, pp. 57-92, pp. 83^. Paris where 'La premiere salle est embellie de
1849-52, vol. II, p. 131). Burgesses of geographiques, etc.', Annales de I'Academie (Washington) is almost certainly a portrait
75. De Laborde 1849-52, vol. I, p. LIX note. divers tableaux et escriptures d'enseignemens, 142. ASL, AN 290 (information kindly
Deventer, in contrast, owned paternosters royale d'archeologie de Belgique, vol. VII, 1850, of Diego painted in about 1517 (Hand and
atachies et pendus aux parois' (Le Roux de provided by Christine Meek).
of bone or coral (Dubbe 1980, p. 78). pp. 81-180, p. 125. Wolff 1986, pp. 228-36). The sitter could
76. For example in the Hospital of St John at Lincy, ed., Description de la ville de Paris au
Bruges (exhibition catalogue Flanders in the 88. Museo Home, Florence: this frame is XVe siecle, Paris 1855, p. 67) or the payment well be in his middle sixties. 143. SAB, Oud archief 130, Poorterboeken,
117. Christine de Pizan, Le Livre des trois reg. 1434-1450, fol. 48v; see also below,
Fifteenth Century: Art and Civilization, Detroit 25 cm wide (F. Rossi, II Museo Home a of 1459 to the painter Jean Desbonnes for vertus, ed. C. Cannon Willard (Bibliotheque 127. 'de toute jeunesse norry en court de par
Institute of Arts, 1960, pp. 274-5); and in Firenze [Gallerie e musei minori di Firenze], having lettered 'Audi partem' in four places note 185.
du XVe siecle, vol. L), Paris 1989, p. 185: '... dessa': see de Lusy (cited in note 1), p. 160.
The Cloisters, New York (B. Young, A Walk Milan 1967, p. 158, plate 135). on the walls of the Aldermen's Chamber at les tapis d'entour le lit mis par terre sur quoy According to a letter written at Burgos on 29 144. Gilliodts-van Severen 1904-6, vol. II,
through The Cloisters, New York 1988, pp. Lille (J. Houdoy, La Halle echevinale de la ville on marchoit, tous pereilz a or ouvrez, les January 1521 by Ihigo de Velasco, Constable p. 9.
89. Inventory taken after the death of Philip
121, 127). Simpler, six-branched chandeliers, de Lille 1235-1664, Notice historique, Lille grans draps de parement ... de si fine toile de of Castile, to Charles V, Diego was for more
the Good: 'ung miroir garny d'argent dore, 145. Michael Bratchel kindly sent much
more like that in NG 186, are at Aachen and Paris 1870, p. 57). Raims que ilz estoient prisiez a .ccc. frans ... than forty years in the service of Burgundy
et y a devant ung esmail de Nostre Damme information on the biography of Battista.
(E. Giinther Grimme, Fuhrer durch das un autre grant drap de lin aussi delie que (C.R. von Hofler, 'Zur Kritik und Quellen-
Suermondt-Museum, Aachen, 3rd edn, Aachen et de son filz assis dedens une raye de soleil, 100. Compare the miniature cited in note 28.
et de 1'autre coste a le couronnement Nostre soye ... tout d'une piece et sans cousture - kunde der ersten Regierungsjahre K. Karls V. 146. P. Genard, 'Verhandeling over het
1974, no. 61) and at Leeuwarden (H. Martin, 101. W. Paravicini, 'Die Hofordnungen qui est chose nouvellement trouvee a faire Dritte Abtheilung. Das Jahr 1521', Denk- St-Salvatorsklooster te Antwerpen' in
Dame assis sur ung pie, et la puignie de
'Een belangrijke vondst', Oude kunst, vol. II, Herzog Philipps des Guten von Burgund', et de moult grant coust..." The book is schriften der kaiserlichen Akademie der Wissen- Inscriptions funeraires et monumentales de la
1916-17, pp. 155-8). cristal, et y a de petites perles entour du
Francia, Forschungen zur westeuropdischen dedicated to Philip the Good's sister Margaret schaften, Philosophisch-Historische Classe, vol. province d'Anvers, Arrondissement d'Anvers,
miroir, pesant: III m.' (de Laborde 1849-52,
77. For a brass (or silver gilt?) chandelier in vol. II, p. 129). Geschichte, vol. XV, 1987, pp. 183-231, of Burgundy. XXXIII, 1883, pp. 1-206, p. 52). Henne and vol. IV, Anvers - Abbayes et convents, i,
a palace interior, see van den Gheyn (cited in p. 207 (ordinance of 1433). Wauters 1845, vol. Ill, p. 406, state, without Antwerp 1859, pp. xciii-xcix, p. xcv note 2.
90. Bedaux 1986, p. 16. In his 'Meditatio in 118. Ibid., pp. 183-5.
note 26), plate 35. A Flemish illuminator of 102. Dhanens 1980, p. 227. citing a source, that Diego was for forty-seven
Passionem et Resurrectionem Domini', Saint 147. ADN, B 1966, fols 275-7 (mandement
about 1475, depicting the 'Ball of Burning' 119. Dhanens 1980, pp. 333-8; P. Klein, years in the service of the ruling family.
Bernard (1090-1153) addressed to Christ 103. S.M. Lampson, 'Dog that came from the St-Omer, 4 September 1439); this reference
which took place at the French court in 1393 'Dendrochronological Findings of the was kindly provided by Jacques Paviot.
the words 'Fecisti ergo de corpore tuo Alleys', Country Life, 27 January 1955. 128. 'dos retratos de Don Diego de Guevara,
but treating it as a contemporary event, van Eyck-Christus-Bouts Group' in
speculum animae meae' (Patrologia latina, mi Padre, la una de mano de Rugier, y la
included a large wooden chandelier (Louis 104. See, for instance. Friedlander, vol. II, M.W. Ainsworth, ed., Petrus Christus in 148. SAB, Civiele sententien Vierschaar.
vol. CLXXXIV, Paris 1854, col. 744). otra de Michel ... La de Rugier debe haber
of Gruuthuse's copy of Froissart's 'Chronicle', nos 16,49; vol. VI, nos 20, 21. Renaissance Bruges, An Interdisciplinary Register 1447-1453, fol. 76v; this reference
cerca de sus noventa anos que esta hecha ...':
vol. IV, BN, MS fr. 2646, fol. 176: 91. Lawsuits of 1450 and 1463: see D. van Approach, New York and Turnhout 1995, was kindly provided by Jacques Paviot.
105. Hall 1994, pp. 83-8. F. de Guevara, Comentarios de la Pintura, ed.
reproduced in Martens et al. 1992, p. 139). de Casteele, 'Documents divers de la Societe pp. 149-65, p. 158.
A. Ponz, Madrid 1788, p. 181.

206 VAN EYCK VAN EYCK 207


149. G. Biscaro, 'II banco Filippo Borromei e 161. De Laborde 1849-52, vol. I, pp. 208-9; 175. See the family trees drawn up in 1457 association with Giovanni di Arrigo Arnolfini 1849-52, vol. I, pp. 259, 288-96); for his 213. BN, Cabinet de D'Hozier 14, no. 318
compagni di Londra (1436-1439)', Archivio 1SADNB, vol. IX. p. 135; L. Mirot, 'Etudes by Michele Guinigi in ASL, Archivio Guinigi (see note 146). partnerships with Giovanni di Arrigo, see (Arnolfini), fol. 2. Jeanne cannot have been
storico lombardo, 4a ser. vol. XIX (Anno XL), lucquoises, II. Les Isbarre', Bibliotheque de 151, fol. 61. Mola, cited in note 165, p. 265 note 4. born much before 1434; her great-great-aunt
185. SAB, Oud archief 130, Poorterboeken,
1913, pp. 37-126. 283-386. The references I'Ecole des Chartes, vol. LXXXVIII, 1927. Miliani was Gonfaloniere of Lucca in 1449, Jeanne du Puis was still alive on 15 September
176. ASL, AN, ser Bartolomeo di Gabriello reg. 1434-1450, fol. 48v: 'Jehan Arnulfin
to Michele are on pp. 112 and 370. pp. 275-314, p. 299. Like Guidiccioni, Neri, 949, fols 31-31v; this reference was 1453 and 1457 (C. Minutoli, 'Sommario 1436 (BN, MS Clairambault 763, p. 159).
f. Niclais gheboren van Luke cochte zijn
Giovanni di Nicolao ('Jehan Arnulfin, kindly provided by Michael Bratchel. della storia di Lucca', Archivio storico italiano,
150. See the document cited in note 148. poorterscip upten xxijsten dach van 214. See RAB, Oud archief Onze-Lieve-
marchant de Luques') was a member of the vol. X, 1847, ii. pp. 222-3).
Between 1439 and 1443 he had followed a 177. A.C. de la Mare, 'Cosimo and his Books' novembre [1442], omme cleene poorters Vrouwekerk 1531, accounts of the
'Cour amoureuse' founded in Paris in 1400
prominent but very brief political career in in F. Ames-Lewis, ed., Cosimo 'il Vecchio' de' neeringhe te doene bi meester Donaes de 197. ISADNB, vol. VIII, pp. 401-3. Confraternity of Onze-Lieve-Vrouw-ter-
by Philip the Bold and Louis of Bourbon
Lucca (information on his offices kindly sent Medici 1389-1464, Essays, Oxford 1992, Beer. Ende heeft ghelooft dezelve Jan Arnolfini Sneeuw 1467-99, fols 21v, 43, 66, 90, 113,
(C. Bozzolo and H. Loyau, La Cour Amoureuse 198. Bigwood 1921-2, vol. I, p. 662.
by Michael Bratchel, letter of 2 3 October pp. 115-56; J. Paoletti, 'Fraternal Piety and nemmermeer coopmanscepe te doene als 114. Stefaan Van de Cappelle kindly sent
dite de Charles VI, 3 vols, Paris 1982-92,
1995). Family Power' in the same volume, pp. poorter'. Donaas de Beer was a notary and 199. RAB, Charter met blauw 11886: information on, and photocopies from, these
vol. Ill, p. 214).
195-219. secretary of the town (Gilliodts-van Severen J. Marechal and L. Danhieux, Rijksarchief te accounts.
151. ASL, Archivio Guinigi 29, Ricordi di 162. Gilliodts-van Severen 1871-8, vol. IV, 1871-8, Introduction, pp. 59-61, 327, vol. V, Brugge, Permanente tentoonstelling, Catalogus,
Girolimo Guinigi, fol. 21v; this reference was 178. Letter dated 26 February 1432-3 from 215. BAB. C 222, Cartulary of the Rich
pp. 425-6; Bigwood 1921-2, vol. I, p. 287, etc.). Giovanni paid 3 livres parisis: Brussels 1974, p. 27.
kindly provided by Christiane Klapisch-Zuber. Bartolomea Cavalcanti to her sister's Clares, fols 83-94.
pp. 138-41. In these documents he is called SAB, Oud archief 216, Stadsrekeningen
'Jean Arnolphin'. husband Lorenzo de' Medici in Florence: 200. Gilliodts-van Severen 1871-8, vol. V,
152. L. Mirot and E. Lazzareschi, Un mercante 1442-3, fol. 8: 'Ontfaen vanden ghoenen die 216. BAB, C 224, Necrology of the Rich
Archivio di Stato, Florence, Mediceo avanti il p. 385.
di Lucca in Fiandra: Giovanni Arnolfini haer poorterscip ghecocht hebben ... Item Clares, fol. 203v.
163. Mirot (cited in note 161), pp. 299-300:
(offprinted from Bollettino storico lucchese, principato, XX/40 (I am most grateful to ontfaen van Janne Arnulphijn f. Niclaus: 201. Bigwood 1921-2. vol. I, pp. 662-3.
there called 'Jehan Arnoulfin'. 217. RAB, Sint-Jacob, Inv. 197, fol. 45 (2
vol. XVIH), Lucca 1940. The authors have Alison Wright for making a transcript of this iij lb.'. I am most grateful to Noel Geirnaert
letter). Bartolomea congratulates Lorenzo 202. E.I. Strubbe, 'Een episode uit het leven January 1480); W. Rombouts, Rijksarchief te
unfortunately followed Weale and other art 164. De Laborde 1849-52, vol. I, p. 196: for sending me accurate transcripts of these
and his wife on the birth of their son: van Giovanni Arnolfini', HGSEB, vol. Brugge, Het oud archief van de kerkfabriek van
historians in compounding the biographies of ISADNB, vol. IV, p. 96, where his name is two passages, mistranscribed in Parmentier
given as 'Jehennin Arnoulphin, marchant de Pierfrancesco, born on 15 May 1430. LXXXIX, 1952. pp. 67-81. Sint-Jacob te Brugge (XHIde-XIXde eeuw),
Giovanni di Arrigo and Giovanni di Nicolao. 1938, vol. I. pp. 238-9 and in A. Jamees,
Luques, demourant a Bruges'. De Laborde vol. I, Inventaris, Brussels 1986, p. 26 note 1.
179. According to Strohm (1990, p. 235 Brugse Poorters, II, 1418-1478, Handzame 203. E. Charavay, Lettres de Louis XI, roi de
153. Christine Meek pointed this out in a letter
gives 'Jehan Arnoulphin'. 1980, pp. 170-1. France, vol. I, Lettres de Louis dauphin 218. BAB. C 222, Cartulary, fols 94-6.
of 29 June 1995 and observed that Giovanni note 61), 'Elena, wife of G. di Niccolo'
Arnolfini was buried at St James's in Bruges 1438-1461 (Societe de 1'histoire de France),
di Nicolao's grandfather was normally called 165. L. Mola, La Comunitd dei Lucchesi a Venezia, 186. See note 185. For Philip the Good's 219. For the endowments in Bruges, see
Immigrazione e industria della seta nel tardo in 1449-50. In fact the accounts of the Paris 1883, pp. 128-9, 160. The Dauphin
Jannino in Lucca documents; see also the charter of 24 January 1440 regulating the BAB, C 222, Cartulary, fols 83v-88;
church record a payment on 18 May 1449 addressed him as 'Jehan mon amy'.
tombstone erected in 1394 by his sons, the medioevo (Istituto veneto di scienze, lettere ed admission of burgesses, see L. Gilliodts-van A. Keelhoff, Histoire de I'ancien convent des
children of NOBILIS VIRI IOANNINI DE arti, Memorie, Classe di scienze morali, lettere for the burial of 'helene te jan arnulphyns' Severen, Coutume de la ville de Bruges, vol. I 204. G. Dupont-Ferrier, Etudes sur les eremites de Saint Augustin, a Bruges (Recueil
ARNOLFINIS DE LVCA (described by ed arti, vol. LIU), Venice 1994, pp. 203^. (RAB. Archief St Jacobs 24, fol. 14v: (Recueil des anciennes coutumes de la institutions financieres de la France a la fin du de chroniques ... publie par la Societe
G. Giorgi, S. Salvatore in Mustolio [Le Chiese Dr M. Nuyttens kindly sent a photocopy). Belgique, Coutumes des pays et comte de Moyen Age, vol. I, Les Elections et leur d'Emulation), Bruges 1869, pp. 286, 322.
166. De Laborde 1849-52, vol. I. pp. 208-11
di Lucca, IV], Lucca 1981, p. 22). There is no reason to believe that this Flandre, Ouartier de Bruges, I), Brussels personnel, Paris 1930, pp. 237, 276. For the endowments at Lucca, see the
('Jehan Arnoulphin, compaignon et facteur
'helene' was married to Giovanni di Nicolao 1874, pp. 549-52; for the 'cleene poorters documents summarised by the eighteenth-
154. See, for example, L. Fumi and de Marc Guidechon'); J. Paviot, Portugal et 205. BN, Cabinet des titres, Pieces originales
Arnolfini; she was perhaps a member of the neeringhen', see p. 553. century genealogist Giuseppe Vincenzo
E. Lazzareschi, Carteggio di Paolo Guinigi Bourgogne au XVe siecle, Lisbon and Paris family or household of Giovanni di Arrigo 102, Arnolfini no. 3.
1995, p. 203 ('Jehannin Arnulphin, Baroni, 'Notizie genealogiche delle famiglie
1400-1430 (R. Accademia Lucchese di Arnolfini, who lived in the parish of St James. 187. See note 148.
compaignon et facteur de Marc Guidechon'). 206. Archives Nationales, Paris, K 168. lucchesi', Biblioteca Statale, Lucca, MS 1102,
scienze lettere ed arti, Memorie e Documenti Neither Giovanni di Nicolao nor any wife is 188. Gilliodts-van Severen 1904-6, vol. II, Fouquet's patron Etienne Chevalier witnessed fols 297-299v (photocopies at the NG; but
della storia di Lucca, XVI), Lucca 1925, mentioned in the genealogical tables of the
167. Bigwood 1921-2, vol. I, pp. 92-92bis; p. 9. the letters of naturalisation. see also below); A.F. Verde and D. Corsi,
pp. 42, 118, etc. His political career was well great families of Lucca by Bernardino Baroni
Verkooren 1988, pp. 289, 294-5. Giovanni 'La "Cronaca" del convento domenicano di
under way by 1394, when he first became (1694-1781: ASL, Manoscritti 20 and 124. 189. ASL, AN 290, fols 6-7v (ser Domenico 207. B. de Mandrot, Depeches des
was then in association with Colard de Fever, S. Romano di Lucca', Memorie domenicane,
an Anziano (L. Fumi, R. Archivio di Stato in who had married the sister of Pieter Bladelin; I am most grateful to Dr Giorgio Tori for Lupardi); this reference was kindly provided ambassadeurs milanais en France sous Louis XI
n.s. vol. XXI, 1990, pp. 8, 162-3. Bernardino
Lucca, Regesti, II, Carteggio degli Anziani information on these manuscripts). by Christine Meek. et Francois Sforza (Societe de 1'histoire de
Marco Guidiccioni was also involved in the Baroni (1694-1781), in his genealogies of
[1333-1400], vol. II, p. XXX). For his France), Paris 1916-23, vol. II, p. 274;
transaction. 190. Paoli, cited in note 170, pp. 28, 67-8, the great families of Lucca, mentioned only
' association with the Guidiccioni, see the 180. Christine Meek kindly sent details of the P.-M. Perret, Histoire des relations de la France
168. ASL, AN, ser Masino di Bartolomeo 1426 document; Michael Bratchel kindly 81. one wife, Jeanne Cenami, for Giovanni di
documents cited in notes 142 and 180 and avec Venise du XHIe siecle a I'avenement de
Masini da Pietrasanta, 387, fol. 201; this referred to the 1428 'scritta di compagnia'. Arrigo (manuscripts cited in note 179, kindly
ASL, AN 290, fols 9v-ll, an agreement of 191. C. Meek, Lucca 1369-1400, Politics and Charles VIII, Paris 1896, vol. I, pp. 431-3.
reference was kindly sent by Michael Bratchel. checked by Dr Giorgio Tori). G.V. Baroni, on
3 May 1420, witnessed by Nicolao and 181. ADN, B 1945, fol. 186 (mandement Society in an Early Renaissance City-State,
208. 'molto domestico e amico': Mandrot fol. 29 7v of his 'Notizie' already cited, stated
concerning the marriage of Marco Brussels, 26 June 1432); reference kindly Oxford 1978, pp^ 210 note 69, 363-5.
169. ASL, AN, ser Domenico Lupardi, 290, (cited in note 207), vol. II, p. 298. that the masses founded on 11 October 1474
Guidiccioni and Camilla Cagnuoli (reference provided by Jacques Paviot. Giusfredo
fols 3v-5; this reference was kindly provided 192. 'un marchant de Bruges, lucois, qui by the executors of Giovanni di Arrigo at
kindly provided by Christine Meek). Rapondi's career as merchant in Bruges can 209. Mandrot (cited in note 207), vol. Ill,
by Christine Meek. vint audit Bruges, povre compagnon chantre, Santo Agostino in Lucca were for the souls
be traced from 1417 to 1456 (M. Mollat and pp. 248-9; Dupont-Ferrier (cited in note
155. On 10 April 1427, Aldibrando et se fist riche de deux cent mille florins, par of 'detto Cavaliere Arnolfini e per i suoi
170. Biblioteca Statale, Lucca, MS 3122: see 204), p. 237.
Guidiccioni named Nicolao as his proctor F. Favreau, Comptes generaux de I'etat livrer draps de soye en la maison du due Consort!'; but Baroni here misinterpreted
M. Meiss, French Painting in the Time of Jean
(ASL, AN 290, fols 51-2); Nicolao was dead bowguignon entre 1416 et 1420 [Recueil des et par tenir le tonlieu de Gravelines': 210. SAB, Civiele sentencien. Vierschaar, the original document, ASL, AN 732, fols
de Berry, The Boucicaut Master, London 1968,
by 16 August 1430 (Bratchel, cited in note historiens de la France, Documents G. Chastellain, Oeuvres, ed. Kervyn de 1469-1492, vol. I, fol. 55v. 133-134v, ser Benedetto Franciotti (photo-
pp. 100-1: M. Paoli, Arte e committenza
136, p. 296). financiers, V], 4 vols, Paris 1965-76, vol. I, Lettenhove, Brussels 1863-86, vol. IV, p. 33. copy at the NG). There the reference is to the
privata a tucca nel Trecento e nel Quattrocento, 211. ADN, B 1994, fol. 192v: 'A Guillaume
pp. 65-6 [266]; Gilliodts-van Severen The meaning of 'chantre' is obscure. 'consortes et illos de familia de arnolfinis'.
156. See the document cited in note 142. Lucca 1986. pp. 113-18, plates 81-99. Vleuten, orfevre demourant en la ville de
1871-8, vol. II, p. 323; idem 1904-6, vol. I.
171. E. Lazzareschi, 'La dimora a Lucca pp. 633, 684; vol. II, pp. 8-9, 41-2). 193. ADN, B 1957, fols 357v-358 Bruges ... pour deux autres potz d'argent 220. Ricordi di Girolimo Guinigi (cited in
157. Information from Christine Meek, letter
d'Jacopo della Guercia e di Giovanni da (mandement Arras, 29 September 1435); pesans dix mars que mondit seigneur a fait note 151), fol. 21v: 'Memoria come adi
of 29 June 1995. 182. For the 1436 reference to Rapondi and
Imola', Bollettino senese di storia patria, vol. Jacques Paviot kindly sent a transcript of this presenter en don de par luy a Jehan 19 settembre 1472 morro in bruxa mesere
158. 'uno quaderno di bambace da imparare his 'facteur', see Rijksarchief, Ghent, Raad payment. Arnoulphin. marchant resident en ladicte govanni arnolfini condam di arrigho arnolfini
XXXII, 1925, pp. 63-97; Paoli (cited in note
il fiammingo': see E. Lazzareschi, 'Relazioni di van Vlaanderen 7510, fols 134-6 ville de Bruges, au jour de ses noepces, au pris e resto sensa figluolo salvo 2 femine bastarde
170), pp. 238-53. 194. Biscaro, cited in note 149, pp. 284-5,
Cosimo de' Medici con la Signoria di Lucca', (information kindly sent by Jacques Paviot). de dix salus le marc, valent Ixxj salus xvj s'. che una n'e in monistero a parigi e lasso il
La Rinascita, vol. Ill, 1940, pp. 187-201, 172. ISADNB, vol. I, ii. p. 78: the document For Giovanni di Arrigo's partnership with 338, 343, 349, 374; ADN, B 1966, fol. 266v
This important reference was discovered by tutto alia donna a ghodimento e che potesse
p. 192. is dated Bruges, 23 March, but no year is Miliani in 1436, see Biscaro (cited in note (mandement Saint-Omer, 29 June 1439);
Jacques Paviot, who generously sent a vendere et impegnare sensa render conto'.
given. Philip the Good was at Bruges on 2 3 149), pp. 284-5, 343; and note 196. B 1969, fol. 328v (mandement Saint-Omer,
159. He was afterwards (1476-88) in transcript (see now Paviot 1997, p. 21).
March in 1425 and 1428. Alternatively this 17 March 1440); etc. (references to the 221. BN, MS Clairambault 765, p. 10, 26
partnership with Reale Reali, who had been 183. Bigwood 1921-2, vol. I, pp. 188-9. Philip frequently made purchases from
Laurent Trente might have been Lorenzo di accounts in the ADN were kindly sent by July 1490: '... ay ant droit de la veufve &
Giovanni di Arrigo Arnolfini's executor; Vleuten, who was afterwards made a varlet
Matteo Trenta. 184. See notes 146 and 147. His political Jacques Paviot). executeurs de feu Mess. Jehan Arnoulphin
Biagio's wife was a niece of Giovanni di de chambre (de Laborde 1849-52, vol. II,
career is outlined in a letter from Michael ,..'. Dhanens 1980, p. 199, presumably
Arrigo's widow. See G. Miani, 'Balbani, Biagio' 173. L. Mirot, 'Etudes lucquoises, Galvano 195. ADN, B 1966, fol. 270; B 1969, fols pp. 218-19).
Bratchel dated 23 October 1995: Battista basing her theory on this document, was
in DBI, vol. V, Rome 1963, pp. 319-21. Trenta et les joyaux de la Couronne', 328v-329.
was one of a balia elected in November 1436, 212. 'Jan Aernulphijn Joncfr Jane Sijn wijf': quite wrong to claim that Giovanni di
Bibliotheque de I'Ecole des Chartes, vol. CI, 196. ADN, B 1972, fol. 225v; B 1975. fol. SAB, Gilde Droogenboom, Ledenlijst van de Arrigo's 'only heir was his wife's nephew,
160. ASL, AN, ser Domenico Lupardi, 290, a member of the General Council of 1437-8
1940. pp. 116-56. 152. Miliani had been one of the principal gilde, fol. 4v. For the dating of this section of Jean Cenami, son of Marc'.
fols 3v-4v; these references, kindly sent by and Anziano in November-December 1437;
Christine Meek, are discussed further on 174. L. Carratori, 'Cavalcanti, Amerigo' in after that he did not hold office again until suppliers of cloth of gold and silks to the the list, see Ainsworth and Martens 1994,
222. Miani (cited in note 141), pp. 264-5.
p. 194. DBI, vol. XXII, Rome 1979, pp. 603-5, p. 604. 1441. In 1437 he was mentioned in Burgundian court since 1430 (de Laborde pp. 197-8.

208 VAN EYCK VAN EYCK 209


223. BAB, C 222, Cartulary of the Rich lucchese dalla caduta di Paolo Guinigi alia toebehoorde) betaelt met een officie/ die Quarterly, vol. XXXV, 1972, pp. 375-98; devant le dressoir, pour pareillement faire (see the exhibition catalogue Middeleeuwse
Clares, fol. 83; C 224, Necrology of the Rich fine del Quattrocento' in I Ceti dirigenti nella hondert guldenen tsiaers in brachte' (M. van Dhanens 1980, p. 198. ardoir, quand il est mestier' (ibid., and p. 222 kunst der Noordelijke Nederlanden,
Clares, fol. 201. Toscana del Quattrocento: Comitato di studi Vaernewijck, Den Spieghel der Nederlandscher for the meaning of 'mestier'). Rijksmuseum, Amsterdam 1958, p. 40
audheyt, Ghent 1568, fol. 107v, with the side 281. A. Smith, The Arnolfini Marriage by Jan
sulla storia dei ceti dirigenti in Toscana, Atti del and plate 1). For one of many miniature
224. B. Beverini, Annales ab origine Lucensis note 'De Coninghinne van Hungharie betaelt van Eyck (pamphlet published in conjunction 291. See also Hall 1994, pp. 116-17.
V e VI Convegno: Firenze, 10-11 dicembre portraits of people in domestic settings, see
urbis. Lucca 1829-32, vol. Ill, p. 453. die conste met een liberael herte'). with the Painting in Focus exhibition at the
1982; 2-3 dicembre 1983, Impruneta 1987, 292. Panofsky 1953, p. 203. the Christine de Pizan presenting her Book to
NG), London 1977, p. 5.
225. BAB, C 222, Cartulary, fols 83v-88. pp. 353-84, pp. 367, 368; Bratchel (cited in 262. V. Fris, Bibliographic de I'histoire de Gand Isabella of Bavaria, Queen of France in the
note 136), pp. 45, 52-3, 74; information 293. M. Robertson, Letter, BM, vol. LXV,
depuis I'an 1500 jusqu'en 1850 (Publications 282. Hall 1994. passim. collected writings of Christine, of about
226. BAB, C 228, Chronicle of the Rich kindly sent by Michael Bratchel. 1934, p. 297, describing graffiti in the Arena
extraordinaires de la Societe d'histoire et 283. Hall 1994, plate 10 and fig. 32. Chapel at Padua; V. Pritchard, English 1410, BL, MS Harl. 4431, fol. 3 (reproduced
Clares, fol. 8.
247. See notes 146-7. d'archeologie de Gand), Ghent 1921, pp. by Meiss, cited in note 97, plate 151).
Medieval Graffiti, Cambridge 1967. pp. 41-2.
227. Mirot and Lazzareschi (cited in note 44-5; H. van Nufel, 'Vaernewijck, Marcus 284. The Vatican miniatures are reproduced
152), plate facing p. 26. 248. See the document cited in note 148; in E. Konig, Boccaccio, Decameron, Stuttgart 302. It is perhaps worth drawing attention
van' in Nationaal biografisch woordenboek, 294. Yernaux 1913, pp. 111-82, p. 130.
information from Michael Bratchel. 1989; the Arsenal miniatures in E. Pognon, to a Bruges miniature of about 1470 where
228. BAB, C 228, Chronicle, loose paper. vol. VIII, Brussels, 1979, cols 795-809. 295. Histoire de Sainte Helene, BR, MS 9967, two men contemplate a nearly life-size, full-
Boccaccio's Decameron, Fribourg and Geneva
249. See note 148. 263. 'Desen loannes had oock gemaect in fol. 177v: J. van den Gheyn, L'Ystoire de length double portrait of themselves: this is
229. See also the report in Beverini (cited in 1978. For miniatures which may represent
250. Minutoli (cited in note 196), p. 223. een Tafereelken twee conterfeytsels van Helayne. Brussels 1913, plate 24. in the Breslau Valerius Maximus (Staats-
note 224), vol. Ill, p. 453. betrothals but which do not resemble NG
Oly-verwe/ van een Man en een Vrouwe/ 186, see, for instance, Pognon, p. 119; Hall bibliothek. Berlin, MS Dep. Breslau 2), vol. II,
251. Bratchel (cited in note 136), pp. 84-5, 296. J. Held, 'Artis Pictoriae Amator', GBA,
230. BAB, C 222, Cartulary, fols 83-83v for die malcander de rechter handt gaven/ als in fol. 6v: reproduced by 0. Smital, Le Livre
1994, p. 74. 6e per. vol. L, 1957, pp. 53-84, reprinted,
the Rich Clares; Keelhoff (cited in note 219), 276. Houwlijck vergaderende/ en worden d'heures noir du due Galeazzo Maria Sforza,
with additions, in idem, Rubens and his Circle,
pp. 286, 322, for the Augustinians. ghetrouwt van Fides, diese t'samen gaf. Dit 285. A.D. Hedeman, The Royal Image, Vienna 1930, text vol., plate XV, fig. 24.
252. G. Miani, 'Arnolfini, Battista' and ed. A.W. Lowenthal et al., Princeton 1982,
'Arnolfini, Lazzaro' in DBI, vol. IV, Rome Tafereelken is namaels in handen van eene Illustrations of the Grandes Chroniques de
231. BAB, C 222, Cartulary, fols 90-92v. pp. 35-64. See also R. Spronk, 'More than 303. See the texts of the inventories in notes
1962, pp. 258-9 and 272-3. These men Barbier ghevonden te Brugghe (als ick France, 1274-1422, Berkeley, Los Angeles
meets the Eye: An Introduction to Technical 3-5 and 7 above.
232. G.V. Baroni, 'Notizie genealogiche delle meen)/ die dit selve toequam. Dit worde and Oxford 1991, pp. 145-52, 264-6.
were Bartolomeo's sons. Examination of Early Netherlandish Paintings
famiglie lucchesi' (cited in note 219), fols ghesien van Vrouwe Marie ... Dese ... 304. Friedlander, vol. VII, no. 163;
253. G. Concioni, C. Ferri and G. Ghilarducci, 286. 'Comment le roy est tout droit at the Fogg Art Museum', Harvard University
297v-299v (photocopies at the NG). For the Princesse hadde in dese Const sulck Verougstraete-Marcq and Van Schoute
IPittori rinascimentali a Lucca, Lucca 1988, accompaignies de deux nobles devant li tient Art Museums Bulletin, vol. V (1, Fall) 1996,
endowments at San Romano, see further behaghen/ datse den Barbier daer vooren gaf 1989, pp. 129-30.
son petit fils par la main et le presente a ij pp. 8-13.
Verde and Corsi (also cited in note 219), p. 16. een Officie/ die opbracht Jaerlijcx hondert evesque. et le premier le benit et at deriere un 305. Buchner 1953, p. 158, fig. 43.
pp. 8, 162-3. gulden': van Mander, fol. 202v. 297. Campbell 1990. p. 53.
254. Mola (cited in note 165), p. 265 note 4; chappellain': ibid., pp. 265 and 146 fig. 94.
233. Mirot and Lazzareschi (cited in note information from Michael Bratchel. 306. Ibid., plate 157.
264. Seep. 176. 298. A. Vandenpeereboom, Ypriana, vol. II,
287. According to Hall 1994, pp. 80-3,
152), p. 21. 255. Both Giovanni di Arrigo and Diego's La Chambre des echevins, Bruges 1879, 307. ISADNB, vol. VIII, p. 210.
265. BL, MS Harl. 3822, fols 108v-109v; Arnolfini's raised hand indicates that he is
234. BAB, C 222, Cartulary, fol. 85. His brother Ladron de Guevara were maitres pp. 87-90, 272-7, etc.; K.G. van Acker,
summarised by Checa (cited in note 6), p. 147. taking an oath; but, as his illustrations show, 308. H. Verougstraete and R. Van Schoute,
d'hotel at the Burgundian court (for Tconografische beschouwingen in verband
executors, claiming that the daughters of the oath-taking gesture differed and involved 'Frames and Supports in Campin's Time' in
Giovanni, see SAB, Civiele sententien 266. F. Unterkircher, 'Hieremias Gundlach: met de 16e eeuwse gegraveerde portretten
Marco Guidiccioni the younger were poor extending the index and middle fingers. Foister and Nash 1996, pp. 87-93, p. 91.
virgins, used half the money to purchase the Vierschaar, Register 1469-1492, vol. I, Nova Hispaniae Regnorum Descriptio', der graven van Vlaanderen', OH, vol.
fol. 55v[3 April 1470]). Jahrbuch der kunsthistorischen Sammlungen in 288. 'In eadem tabula est in balneo lucerna LXXXIII, 1968, pp. 95-116. 309. See, for example, J.L. Collier,
Guidiccioni chapel in Bruges.
Wien, vol. LVI, 1960, pp. 165-96, p. 186. ardenti simillima': M. Baxandall, 'Perspective in the Arnolfini Portrait', Art
235. Mirot and Lazzareschi (cited in note 256. Van Caenegem 1966-77, vol. II, 299. L. Devliegher, De Onze-Lieve-Vrouwekerk
'Bartholomaeus Facius on Painting', Journal Bulletin, vol. LXV, 1983, p. 691 (with a
pp. 637-8. 267. B. Roy, L'Art d'amours, Traduction et te Kortrijk (Kunstpatrimonium van West-
152), pp. 26-7. of the Warburg and Courtauld Institutes, helpful diagram); J. Elkins, 'On the Arnolfini
commentaire de l'"Ars amatoria" d'Ovide, Vlaanderen, vol. VI), Tielt and Utrecht 1973,
257. AGR, Grand Conseil, Premiere instance vol. XXVII, 1964, pp. 90-107, p. 103. Portrait and the Lucca Madonna, Art Bulletin,
236. Strohm 1990, pp. 120-36, 162-7. Edition critique, Leyden 1974, pp. 3-24. pp. 72-5.
66 and 154, for his dealings with Jacques of 289. '... et surtout en la table d'autel la vol. LXXIII, 1991, pp. 53-62.
237. Byvanck 1924, pp. 53-4, plates 268. See note 7. 300. E. de Busscher, 'Recherches sur les
Savoy, Count of Romont, and his wife Marie chandelle qui semble vrayement ardre' 310. That this is not an anachronistic
XXII-XXIII. Charles is mentioned on fols Iv anciens peintres gantois', Messager des
of Luxembourg, who afterwards married (Le Glay, 'Memoire sur quelques inscriptions concept is proved by the epitaph of Simon
and 2v; the colophon is on fol. 182v: 'Cy fine 269. See note 8. sciences historiques, 1859, pp. 105-271,
Francois of Bourbon, Count of Vendome. historiques du departement du Nord', Bulletin Marmion, who died in 1489. Marmion had
le livre de linformacion des princes translate 270. 1843 catalogue, p. 48. p. 145 note 1.
On 11 September 1488 she wrote to Reali: de la Commission historique du departement du 'tout painct et tout ymagine' and had been
de latin en francoys le quel fist escripre a
'Vous m'auez aussi escript que auez Rachete Nord, vol. I, 1841-3, pp. 37-64, p. 61). 301. The Portrait ofLysbeth van Duvenvoorde capable of painting 'toutte rien pingible': see
paris Noble homme. Jehan Arnoulphin. Ian 271. Athenaeum, 3 July 1841, p. 509.
le tablier dor quj auoit este vendu par Justice (Amsterdam) and the pendant portrait of her Le Glay (cited in note 289).
mil cccc cinquante trois le iiije Jour de 272. 'Van Eyck's Picture in the National 290. 'deux chandeliers d'argent, ou il doit
dont Je suis bien Joyeuse et auez monstre par husband Symon van Adrichem, now lost,
fevrier'. Gallery', Illustrated London News, vol. II, avoir deux grands flambeaux de cire pour 311. See note 109.
cela comme pluseurs fois auez fait en aultres were painted at the time of their marriage in
choses le bon voulloir que auez de me faire 1843, pp. 257-8. faire ardoir. quand quelqu'un vient a la
238. See the document cited in note 189. 1430, probably in Haarlem; the Lysbeth is 312. The distortions are discussed in greater
plaisir' (154/2). The 'tableau d'or' is chambre' (de la Curne de Sainte Palaye, cited
239. See notes 149-51. 273. Comte de Laborde, La Renaissance des not quite full-length but was obviously detail by Billinge and Campbell 1995,
mentioned again (154/3, fols lv-2) as in note 67, pp. 239-40). These candles were
arts a la cour de France, Paris 1850-5, vol. II, meant to be displayed with its pair, as a pp. 50-9.
having been pawned by Reali for the distinct from the nightlights: 'deux torches
240. Register cited in note 212, fol. 5. pp. 601-4. diptych which was virtually a double portrait
Michele and Elisabeth were also members of Countess and then redeemed by him.
the Confraternity of Our Lady of the Snow. 274. Panofsky 1934; see also Panofsky 1953,
258. Gilliodts-van Severen 1904-6, vol. II,
Michele's widow paid her dues to the pp. 201-3.
p. 9. Reali was one of the executors of
Confraternity in 1473-4 but no subsequent 275. Fris (cited in note 262), pp. 42-3.
Giovanni di Arrigo and appears to have lived
reference to her has been found (accounts cited
in his house (BAB, C 222, fol. 88: document
in note 214, fol. 124). For other references to 276. F. De Potter, ed., Dagboek van Cornells
of 28 May 1473 signed 'In domo habitacionis
Elisabeth, see Dhanens 1969, p. 367. en Philip van Campene, Ghent 1870, p. 212
dictorum executorum', namely Jeanne
('zonder gheleerthede vande Latijnssche
241. See the document cited in note 151. Cenami and Reale Reali).
sprake'). On fol. 128v of Den Spieghel is a
242. Wils 1946, p. 333. 259. For the relationship, see the document woodcut representing the 'Maid of Ghent'
cited in note 148; for Francesco's presence in with the device FIDES ET AMOR and its
243. U. Bittins, Das Domkapitel von Lucca im
Bruges in 1473-6, see Miani (cited in note translation into Dutch, TROVE [=troue]
15. und 16. Jahrhundert (Europaische
159), p. 320. EN LIEFDE.
Hochschulschriften, Reihe III, Geschichte
und ihre Hilfswissenschaften, Bd. 534), 260. BAB, C 224, Necrology, fol. 145: 'Het is 277. Panofsky 1934, p. 123; Bedaux 1986,
Frankfurt am Main, Berlin, Berne. New York, Jaergetyde van s. Petronelle Arnolfyn sy starf pp. 7-8; Hall 1994, pp. 65, 153.
Paris and Vienna 1992, p. 122. an0 1496 den 15 October'.
278. Panofsky 1953, p. 203.
244. Ibid., pp. 218-19. 261. 'Vrau Marie ... heeft eens een cleen
279. See also Hall 1994, pp. 106-12, for
tafereelkin vanden zeluen Meester ghedaen
245. Mirot, 'Les Isbarre' (cited in note 161), further objections to Panofsky's theory.
(welcx name was Joannes van Eyck/ waerin
pp. 308, 312.
dat gheschildert was/ een trauwinghe van 280. P.H. Schabacker, 'De Matrimonio ad
246. Minutoli (cited in note 196), p. 221; eenen man ende vrauwe/ die van Fides Morganaticam Contracto: Jan van Eyck's
S. Polica, 'Le Famiglie del ceto dirigente ghetrauwt worden, eenen Barbier diet "Arnolfini" Portrait Reconsidered', Art

210 VAN EYCK VAN EYCK 211


Foreword Preface

Jan van Eyck's Portrait ofGiovanni(P) Arnolflni and his Wife, the to be misplaced. Painted with astonishing spontaneity, the picture The pictures catalogued here were painted in the Burgundian 653) and Pieter van Coninxloo (NG 2613); the two panels by
first fifteenth-century painting to enter the collection, was listed gives a wonderfully imaginative and elaborately distorted vision Netherlands or by artists trained there. By 'Netherlands' are David and his workshop, which are probably from the same
as follows in the catalogue of the Gallery's collection published of reality. Jan van Eyck emerges as a witty and highly sophisti- meant those areas of the Low Countries and what is now altarpiece (NG 1078, 1079); and the two panels by Justus of
in 1843: cated genius. He exploits his supreme ability to imitate reality in northern France that were under the political domination of the Ghent and his workshop, which are from the same series of the
order to produce profoundly interesting and obsessively engaging Valois Dukes of Burgundy and their Habsburg successors. Simon Liberal Arts (NG 755, 756).
'No. 186 JOHN VAN EYCK pictures. It has been possible to identify the patrons who com- Marmion is included because he came from Amiens, under All but two pictures, the Virgin and Child in an Interior from
Born 1370. Died 1441. missioned the Exhumation of Saint Hubert from Rogier van der Burgundian rule between 1435 and 1463 and between 1465 the workshop of Campin (NG 6514) and the Man Reading (Saint
The subject of this Picture has not been clearly ascertained. Weyden and to reconstruct with some confidence the stages by and 1471, and moved during the 1450s to Valenciennes, in the IvoP) from the workshop of van der Weyden (NG 6394), had
Purchased by Parliament in 1842 from Major-Gen. Hay. which it evolved, from Rogier's first idea to the finished painting Burgundian county of Hainault. Valenciennes did not become entered the Collection before 1968 and were intensively studied
On wood. 2 ft. 9 in. high. 2 ft, 2 in. wide.' - which is largely the work of his assistants. Dirk Bouts's Portrait part of France until 1677: the fifteenth-century inhabitants of by Martin Davies in his catalogues of 1945, 1955 and 1968 and
of a Man has been plausibly identified as a likeness of his friend Valenciennes were no more French than their neighbours at in his volumes in the Corpus series, published in 1953,1954 and
In the present catalogue, the entry for the same picture takes up Jan van Winckele, an official of the University of Louvain. Mons. Though Tournai was reckoned to be the fourth city in 1970. In the 1968 edition of his catalogue, Davies wrote:
thirty-eight pages. Though the earliest National Gallery catalogues Memling's Donne Triptych appears to have been dated 1478. France, after Paris, Rouen and Orleans, it was an enclave in
Perhaps it is becoming due to be rewritten entirely.
were handlists, giving only the artists' names and the titles of David's Bernardijn Salviati and Three Saints is the left wing of a Burgundian territory and very much under Burgundian control
I have not attempted that; I have inserted corrections
the paintings, it soon became clear that the public wanted and diptych, the right wing being almost certainly the Crucifixion, until it was annexed in 1521. The painters of Tournai are there-
and amplifications as well as I could.1
required detailed information on every picture. It is one of the now in Berlin. The diptych can be understood as a tribute of affec- fore included. The modern frontiers, established long after 1500,
proudest traditions of the Gallery that this need is met. The tion from Salviati to his mother, above whose tomb it seems to are of no relevance whatsoever. In the fifteenth century, the In the 19 70 Corpus volume, he stated that he intended 'to prepare
National Gallery catalogues have been, and we hope will con- have been placed. people of North Brabant and the northern provinces, beyond the a revised text... for a second edition' of the first two volumes.2
tinue to be, models followed throughout the world. Perhaps most important of all, the catalogue will, we hope, great rivers of the Meuse and Rhine, did not know that those Sadly he did not live to carry out his intention.
Anyone looking at a painting may ask some very straight- provide a sound basis for further research. One day, the identity areas were destined to become 'Dutch' or that later generations More than half a century has passed since the publication in
forward questions. What is represented? Who painted it? When, of the woman in the Arnolfini portrait may at last be established would evolve the idea that the region was predestined to become 1945 of the first edition of Davies's catalogue. The present
where, for whom, why and how was it painted? Such disarm- with certainty. The inscription in Greek letters on van Eyck's 'Dutch'. The term 'Flemish', which, over the centuries, has volume is not a revision of part of Davies's catalogue; it is an
ingly simple questions can, of course, be difficult or impossible to Leal Souvenir has been translated ('Then God...') but its meaning assumed many different meanings, cannot be narrowly defined independent undertaking. I cannot stress enough how great is
answer. In the catalogues we aim to make accessible all the avail- remains for the moment obscure. Work progresses on every and is therefore avoided. The word 'Dutch' is used to describe the my debt to Davies's research and example, how much I have
able and relevant information and to present plausible interpret- aspect of these paintings. Let us hope that discoveries will con- language (Diets) spoken in the central and northern areas of the benefited from his work. I have, however, taken inspiration from
ations of the evidence. Readers are invited to agree; or to use the tinue to be made. Low Countries. In the fifteenth century, the linguistic frontier a passage in his discussion of the Liberal Arts by Justus of Ghent:
same evidence to form different opinions; or to frame and answer One of the most fruitful discoveries of recent years is the Virgin between the Dutch-speakers and the French-speakers ran more
... the subject has been much confused by the
different questions. and Child in an Interior from the workshop of Campin. Its emer- or less where it still runs, from west to east a few kilometres south
statements of modern critics, passing for facts, and
In the present catalogue the detailed descriptions and the gence has provoked a radical review of the questions surrounding of Brussels. Though the Coudenberg palace accommodated a
it is necessary to begin again at the beginning.4
enlarged reproductions reveal unexpected beauties and unsus- Campin and his assistants; it is, besides, a picture of entrancing French-speaking court, Brussels was a town of Dutch-speaking
pected pleasures, even in the best-known pictures, and will beauty. The last fifteenth-century Netherlandish painting to have inhabitants. Guided by Davies, I have tried to begin again at the beginning
greatly advance our understanding of them. During exacting been acquired for the Gallery, it was purchased in 1987 from Justus of Ghent, Juan de Flandes and the follower of Jan van and, not being bound by the rather restrictive formats of the
technical examinations, insights have been gained into the Edward Speelman Limited, London. The late Edward Speelman Eyck who painted the portrait of Marco Barbarigo (NG 696) are 1945 catalogue or the Corpus volumes, I have had greater oppor-
creative processes of the painters. In the Introduction, attempts showed his enthusiasm for Netherlandish art in many ways. In included. Though they worked in Italy, Spain and England tunities to develop hypotheses, pursue arguments and pay greater
have been made to set the National Gallery paintings into their 19 71 he founded the Speelman Fellowship in Dutch and Flemish respectively, they came from the Netherlands and were trained attention to the people, artists and patrons, who were involved
historical context and to elucidate their subject matter; to show Art at Wolfson College, Cambridge. The author of the present there. The Master of Saint Giles, however, who worked in Paris, in the making of the pictures. Because I took Davies's research
how the painters worked, how they employed their assistants, catalogue was the first Speelman Fellow. In 1994 Edward is excluded. Both he and the Master of Moulins will be dealt with as a basis, I have of course been able to exploit the historical
what their materials were and how they used them, what they Speelman bequeathed to the Gallery Bosschaert's Flowers in a when the Early French pictures are re-catalogued. evidence still more thoroughly and to add to, or develop, his
aspired to do, and what constraints were put upon them by their Glass Vase, of 1614 (NG 6549). His son, Anthony Speelman, Chronological divisions are no more easily made than geo- discoveries. Since 1968, important advances have been made in
patrons and by their materials. sharing his father's affection for Netherlandish painting and for graphical ones. The sixteenth-century Netherlandish Schools will the technical investigation of paintings. I have had access to a
In the course of research, some remarkable discoveries have the Gallery, has contributed most generously towards the cost be treated in a later volume, which will include pictures by Bosch, very much greater body of technical information than Davies
been made. In the Arnolfini portait, for example, the couple had of producing this catalogue. active from 1474, and Quinten Massys, born in 1465-6. Their ever knew.
been wrongly identified; the idea that they are getting married or work is markedly different in style and in technique from that of Working in close association with my colleagues in the
betrothed and that the portrait is full of hidden symbols appears Neil MacGregor, DIRECTOR van Eyck, van der Weyden and Memling. The present catalogue Conservation and Scientific Departments, I have studied each
includes some pictures certainly painted in the sixteenth century picture, brought to the Conservation Department for that purpose.
in the workshops of artists such as Gerard David, the Master of I had already consulted records of any conservation treatment
Delft and the Master of the Magdalen Legend. They are more or previous examinations, X-radiographs, infra-red and other
conveniently attached to the fifteenth-century traditions of van technical photographs and reports on paint- and medium-
der Goes, Geertgen and van der Weyden than to the sixteenth- samples. With Rachel Billinge, formerly Leverhulme Research
century traditions of Massys, Lucas van Leyden and van Orley. Fellow and now Rausing Research Associate, I studied the
Fifty-two works are catalogued here. The following pairs of structure of any frame that was original and the construction of
paintings are counted as single 'works': the pairs of wing panels each support. The supports were measured and notes were made
by followers of Gerard David (NG 657) and by Memling (NG of any inscriptions, seals, numbers or other significant marks on
747); the two fragments by Marmion, which are from the same the reverses. Using infra-red reflectography, Rachel Billinge
altarpiece (NG 1302,1303); the pairs of portraits by Campin (NG examined the entire surface of each painting, took detailed notes

FOREWORD PREFACE
and made reflectograms of any significant or potentially Curator of German, Early Netherlandish and British Paintings,
significant passages.4 We looked at many of the pictures under has been unfailingly supportive.
FRIESLAND
ultra-violet light. We then examined every paint surface under I am grateful to everyone who has responded to requests for
the binocular microscope and made notes with a view to writing information. Their names are recorded at the end of the relevant
a detailed description of the picture and a report on its condition. entry; if there are omissions, they are inadvertent. Colleagues in
What appeared in the reflectograms to be underdrawing was other museums and galleries, both in Britain and abroad, have
scrutinised to ensure that it was in truth underdrawing rather assisted in many different ways. The librarians and archivists at
than dark lines in the surface paint. The edges were examined the Gallery, the British Library, the Courtauld Institute of Art,
.Zwolle with particular care to establish whether they had been cut and, the Institute of Historical Research, the Principal Probate Registry,
if so, how the cuts had been made; and to detect any traces of the Public Record Office, the Warburg Institute and Dr Williams's
C O U N T Y OF
paint or gilding which might have strayed onto the painted Library have been exceedingly helpful. I have had a great deal
HOLLAND
.Deventer surface when the original frame was decorated. Where possible, of assistance from the staffs of the Bisschoppelijk Archief, the
, D U C H Y OF 7TJTpHFN
pigments were identified and layer-structures observed. We tried Rijksarchief, the Stadsarchief and the Stadsbibliotheek in Bruges;
>utrecht GUELDERS to note and describe any unusual, or potentially unusual, aspects the Archives Generates du Royaume and the Bibliotheque Royale
of the painting technique. Our colleagues from the Scientific in Brussels; the Koninklijke Bibliotheek and the Rijksbureau
The Hague^ Ddft
Department also took part in the microscopic examination, when voor Kunsthistorische Documentatie in The Hague; the Archives
we decided whether and where it would be possible to obtain Departementales du Nord in Lille; the Archivio di Stato in Lucca;
paint-, ground- and medium-samples. These were taken from the the Archives Nationales and the Bibliotheque Nationale in Paris.
edges of the painted surfaces, or, on rare occasions, from the Among the friends, students and colleagues who have helped
.j-igfe , / " 's-Hertogenbosch edges of damages. Ashok Roy, Raymond White, Marika Spring in various ways, I would like to thank in particular: Paul Ackroyd:
and Jennie Pile took samples for analysis and re-examined Richard Beresford; Christopher Brown: Catriona Campbell; David
Breda
existing samples from the Department's archives. Martin Wyld, Chambers; Nicola Coldstream; John Cupitt; Judy Egerton; Caroline
the Chief Restorer, David Bomford, Jill Dunkerton and Anthony Elam; Judy Evans; Gabriele Finaldi; Celia Fisher; Dillian Gordon;
DUCHY OF & Reeve, all Restorers, and Marika Spring and Jo Kirby of the Sarah Herring; Susan Jones; Larry Keith; Erika Langmuir;
BRABANT Scientific Department have given particularly helpful advice. If John Leighton; Jacqueline McComish; Elizabeth McGrath; Scot
Ter Doest
X-radiographs or other technical photographs were required, McKendrick; Susie Nash; Nicholas Penny; Sarah Perry; Carol
Bruges, Sint-Kmi! , /Antwerp
--""'*
Sc Maaseik they were taken at that stage and the picture was returned to its Plazzotta; David Saunders; Alistair Smith; H. Martin Stuchfield;
^7 G llC ill \
C O U N T Y Qf?X_,___/t^ Mechlin v _ v <
place in the Gallery. Luke Syson; Caroline Villers; Humphrey Wine; Alison Wright.
r:-. Nieuwkapelle Diksmuide A Nn p/^7 Dendermonde Rachel Billinge made up the computerised reflectogram Michael Bratchel, Christine Meek and Jacques Paviot have been
Calais' vGravehnes tLAJNJJCKy Le6beke
f.Affligem ,
-Louvam ; 2 Maastricht assemblies and the paint- and medium-samples were studied in exceptionally generous in communicating the results of their
i Tienen
,. ^*~ - ^ ^> -.~^ .^^^^^ L1JV1 rj U rvG the Scientific Department. Grounds, pigments and layer structure investigations bearing on van Eyck's portrait of Giovanni(P)
,,^ **,<, ^ ^x^ ,r (JT *~ TO v s
i / St-Omer * , were examined by optical microscopy and analyses undertaken Arnolfini and his wife. Jo Kirby and Marika Spring have read and
'/i '
^ s^-_^^^ Lille. ' Upoumai \s
by X-ray microanalysis in the scanning electron microscope commented upon much of my text. Peter Klein, of the Ordinariat
f v
v % , Nivelles
(SEM-EDX) and by X-ray powder diffraction (XRD). Lake pigments fur Holzbiologie at the University of Hamburg, has generously
were studied using high-performance liquid chromatography allowed me to cite his reports on the panels which he has exam-
,'J"' ARNTmSF ''--,
AKIUlci " n
''"'KcOUNTY
' f
M OF : -^;.,.--''c
Mons " f (HPLC) and paint binding media were identified by gas- ined. My sister Jennifer Campbell made the reconstruction draw-
%-f 'Hesdin C* O U a 'l^V HAINAULT chromatography linked to mass-spectrometry (GC-MS) and using ings reproduced on pp. 127 and 399. Rachel Billinge, who has
Arras ^ ^ ^^t^^Valenciennes ^
^ -"N ,* /-" *Maubeuge~ --,
the complementary technique of Fourier-transform infra-red worked with me on this project for several years, has discussed
s microspectrophotometry (FTIR). At regular intervals we discussed with me most of the text, has suggested many corrections and
Cambran
Abbe and collated our results.5 improvements and has contributed a great many pertinent obser-
In preparing this catalogue I have become much indebted vations. Catherine Reynolds has read and discussed with me the
to many persons and I cannot adequately acknowledge all the entire text, has provided much important information, has advised
help that has been given. In 1992-3, as a British Academy/ me on many points of interpretation and has been a tactful but
Leverhulme Trust Research Fellow, and in 1993-4, as a British searching critic as well as a constant source of encouragement.
Academy Research Reader, I was released from my duties at the
Courtauld Institute of Art in order to work full-time on the cata- London, 22 July 1997
logue. In 1994-5,1 was allowed a further year's leave of absence
from the Institute. I am deeply grateful to my former colleagues
The Low Countries in the fifteeth century at the Institute and to the authorities of the British Academy for While the book was being prepared for publication, I received
making possible these arrangements. At the Gallery I have had indispensable assistance from the editor, Marie Leahy, and from
constant help of various kinds from all my colleagues, past and the Gallery Editor, Diana Davies. I am no less grateful to the
present. I would like to thank in particular those in the Curatorial, designer, Gillian Greenwood, and to my colleagues at National
Conservation, Art Handling, Framing, Libraries and Archive, Gallery Publications Limited, particularly Sue Curnow, Jan Green,
Photographic and Scientific Departments. Susan Foister, the John Jervis, Felicity Luard and Patricia Williams.

1. Davies 1968, p. 5. a DataCell S2200 frame capture board mounted in the computer used
2. Davies 1970, p. vii. for reflectogram assembly, a Sun SPARC-station 20. The assemblies are
generated using Vips-ip software. For a more complete explanation, see
3. Davies 1968, p. 73. R. Billinge, J. Cupitt, N. Dessipris and D. Saunders, 'A Note on an improved
4. The equipment used consists of a Hamamatsu C2400 camera with an procedure for the rapid assembly of infrared reflectogram mosaics', Studies
N2606 series infra-red vidicon tube that is sensitive to about 2000 nm. in Conservation, vol. XXXVIII, 1993, pp. 92-8.
The camera is fitted with a 36 mm lens to which a Kodak 87A Wratten 5. See also Campbell, Foister and Roy 1997.
filter is attached to exclude visible light. The video signal is digitized using

PREFACE
REFERENCES

ADHEMAR 1962 BIGWOOD 1921-2 CAMPBELL 1981


Adhemar, H., Les Primitifs flamands, I. Bigwood, G., Le Regime juridique et Campbell, L., 'The Early Netherlandish
Corpus .... 5, Le Musee National du Louvre, economique du commerce de I'argent dans la Painters and their Workshops' in Le
Paris, vol. I, Brussels 1962 Belgique du Moyen-Age (Academie royale Dessin sous-jacent dans la peinture, Colloque
de Belgique, Classe des lettres et des III, 6-7-8 septembre 1979, Le Probleme
AINS WORTH 1989
sciences morales et politiques, Memoires, Maitre de Flemalle-van der Weyden, eds
Ainsworth, M.W., 'Northern Renaissance
collection in-8, 2e ser. vol. XIV), Brussels D. Hollanders-Favart and R. Van Schoute
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EXHIBITIONS 455
454 REFERENCES
INDEX BY INVENTORY NUMBER INDEX OF PROPER NAMES

186 Jan van EYCK Gerard DAVID 2612 MASTER OF THE VIEW OF Bold type has been used for references Bardi. Bartolomea de' 194 Bouts Duchesses of see Bonne of
to main catalogue entries; page Bardi. Enrico di Borbone. Conte di Aelbrecht 38, 52, 54, 59, 338, Artois, Isabella of Portugal,
222 Jan van EYCK Gerard DAVID ST GUDULA
numbers in italics refer to the 92 344 Margaret of Flanders,
290 Jan van EYCK Dirk BOUTS 2613 attributed to Pieter van comparative illustrations. Baroncelli, Pierantonio 109 Dirk 19,20,21,22,25,26, Margaret of York, Mary of
CONINXLOO Baroni 29, 30, 38-71,41,42. 70, Burgundy
653 Robert CAMPIN follower of Rogier van der Bernardino 208 n. 179, 209 164, 188, 344, 353 n. 45, Dukes of see Charles the Bold,
654 Rogier van der WEYDEN WEYDEN 2614 workshop of the MASTER OF Adelbald. Archbishop of Cologne n. 219 419,422 John the Fearless, Philip the
THE MAGDALEN LEGEND 414,418 Giuseppe Vincenzo 209 n. 219 after 41 Bold, Philip the Good
657 followers of Gerard DAVID 1087 MASTER OF THE BRUGES Barrett, Thomas 12, 122 attributed to 70 John of, Bishop of Cambrai 352
Aders, Karl (Charles) and Eliza
PASSION SCENES 2669 follower of Simon MARMION
658 after Hugo van der GOES 12-13, 14 Bartolomeo, Fra 362, 366, 367 circle of 71 Philip of (son of Philip the Good)
1280 JUAN de Flandes 2922 MASTER OF DELFT Adrian of Utrecht (Pope Adrian VI) Battel, Jan van 115 n. 6 followers of 26 21
664 Dirk BOUTS Baudot, Francois-Nicolas see workshopof 14,22, 23, 25, Burlamacchi, Filippa 196
3066 follower of Hugo van der GOES 50
686 Hans MEMLING 1302,1303 Simon MARMION Affligem Abbey 157n. 56 Dubuisson-Aubenay 27, 30, 60-71, 62 Busleyden, Jerome de 246
1432 Gerard DAVID 3067 Gerard DAVID Agnello, Battista dell' 445, 446 Bavaria see Albert, Isabella, Dirk, the Younger 38
696 follower of Jan van EYCK Jacqueline, John, Ludwig I of Brabant Cagnuoli, Camilla 208 n. 154
3116 workshop of the MASTER OF n. 29
708 workshop of Dirk BOUTS 1433 workshop of Rogier van der Ailly, Raoul d' 87 Bave, Adriaen 129 Ansegisel, Duke of 180 Cambrai, abbey church of St-
WEYDEN THE MAGDALEN LEGEND Alatruye, Barthelemy 82, 422 Beaucousin, Marie Edmond John IV, Duke of 194,419 Aubert 22, 187
709 Hans MEMLING Campin, Robert 18,19, 23. 27,
3 3 79 follower of the MASTER OF Alba, Duke of 352 13-14 Bramati, Giuseppe, Antonio and
710 Gerard DAVID 1939 follower of Lieven van Albergati, Cardinal 31.216 Beaumont, Sir George 13 Luigi 274 28,29, 31, 32, 34, 35,49,
THE SAINT URSULA LEGEND
LATHEM Albert, Prince Consort 14, 16 Becket, Thomas a 12 Bramantino 286 72-9, 87, 91,97, 98, 100,
711,712 workshop of Dirk BOUTS 4081 GEERTGEN tot Sint Jans Albert of Bavaria, Count of Holland Bedford, John, Duke of 12 Broederlam, Melchior 33 n. 29, 104, 187, 205 n. 46, 245, 259,
2159 after Hugo van der GOES
747 Hans MEMLING 6265 attributed to the workshop of 231 Beer, Donaas de 209 n. 185 201 316, 340,392,405,420,430
2593 Petrus CHRISTUS Albion, Violante de 264 Beer, Jan de 89 Brown. Ford Madox 181 after 100-3
755, 756 JUSTUS of Ghent and Rogier van der WEYDEN Altdorfer, Albrecht 14 Beest, Dirck van 322, 333 n. 32 Brownlow, 3rd Earl 15, 16 followers of 15, 21, 22, 28, 87,
workshop 2594 Hans MEMLING
6275 Hans MEMLING Altveus, Abbot of Andage 414 Begga, Saint. Duchess of Brabant Bruges 92-9, 178,200,404,405,
7 74 workshop of Dirk BOUTS 2595 Dirk BOUTS Angelo da Siena 288 180 churches: 436
6377 workshopof Robert CAMPIN Antonello da Messina 297 Bellini, Giovanni 44, 227 n. 20 Our Lady 27, 119-21, 151 workshop of 16, 23, 28,
783 Rogier van der WEYDEN 2596 workshop of Gerard DAVID Bening, Simon 164 St Basil 436 80-91. 252
6394 workshop of Rogier van der Arenberg, Alexandre d'. Prince of
and workshop 2602 follower of Jan van EYCK WEYDEN Chimay 438 Benson, Ambrosius 25, 28, 116. StDonatian 20-2, 122, Capelle, de Visch van der
Arnolfini 164, 166 126, 128, 132, 146, Richard 146-57
943 Dirk BOUTS 2608 after Robert CAMPIN 6514 workshop of Robert CAMPIN Bartolomeo di Nicolao 193, Bergen, Elisabeth van 66 150-3, 155,436 family 20. 128-9, 132, 150-6,
1045 Gerard DAVID 2609 follower of Robert CAMPIN (Jacques DARET?) 196, 197 Berlaimont, Seigneurs de 214 St James 195, 436 156 n. 34. 157 nn. 3 7 & 3 9
Battista di Nicolao 193,194, Jacques de 217 n. 20 StSalvator 27, 119-21 see also family tree 153
195, 196, 197. 198 Bernard, Saint 189 confraternities: Cardigan, Thomas 383
Costanza see Trenta Berruguete, Pedro 267, 286, 289 Our Lady of the Dry Tree 33 Carlyle, Thomas 13
Elisabeth 196 Berry n. 12. 152, 155, 195, 196 Casanova. Giuseppe 45 n. 32
Giovanni (?) 174-211, 193 Caroline, Duchesse de 99 n. 5 Our Lady of the Snow 3 3 Castel Durante 286
LIST OF ATTRIBUTIONS C H A N G E D FROM THE 1968 CATALOGUE Giovanni di Arrigo 193, 194, John, Duke of 96, 189 n. 12. 195. 210 n. 240 Catherine, Infanta 180. 181
195-6, 197, 198, 199 Berthoz, Hippolyte de 3 72 Stlvo 436 Cats (Cricx). Alice 394 n. 4
Inventory Giovanni di Nicolao 193-5, Bessborough, Earl of 12 convents: Cavalcanti
Old attribution number New attribution 197-8, 199. 201, 208 n. 161 Biagio di Antonio 362, 367 Augustinian Friars 11921, Bartolomea and Ginevra 192,
'Helene te Jan Arnulphyns' Binchois, Gilles 220, 223 n. 11 196 194
style of Aelbrecht BOUTS 1083 Dirk BOUTS 208 n. 179 Blackere, Gilles le 220 Carmelites of Sion 20,116, Giovanni di Amerigo and
Jacopo di Nicolao 192, 194 Bladelin, Pieter 208 n. 167 128-9,132,151-2,154-5 Niccolo 194
Dirk BOUTS 7 74 workshop of Dirk BOUTS Jeanne see Cenami Blake, William 13 Dominicans 436 Cenami
follower of Dirk BOUTS 708 workshop of Dirk BOUTS Michele di Arrigo 193,195, Bliec, Anna and Marie 133 n. 51 Franciscans 436 Guglielmo 223 n. 21
Robert CAMPIN 196, 197, 198 Blois, Charles of, The Blessed 436 Rich Clares 195-6 Jacques 206 n, 80
2609 follower of Robert CAMPIN
Petronella 198 Boccaccio: Decameron 200 hospital of St John 46.48 Jean 195
Robert CAMPIN 6377 workshop of Robert CAMPIN see also family tree 192 Boels, Jan 50 see also 'Roger of Bruges' Jeanne 193, 195, 199. 206 n.
ascribed to Robert CAMPIN 653 Robert CAMPIN Arras Bogaert. Pieter 152 Bruggen (metten Gelde), Catharina 80. 208 n. 159, 209 n. 219,
imitator of Robert CAMPIN Abbey of St-Vaast 90,187 Bohn, Henry G. 17 n. 45 van der (wife of Dirk Bouts) 3 3 210 n. 258
658 after Hugo van der GOES Arundel, Thomas Howard, Earl of Boisseree, Melchior and Sulpiz n. 14. 38 Marc 209 n. 221
follower of Gerard DAVID 657 followers of Gerard DAVID 12, 212 12. 14, 72, 78 Brune Champaigne, Philippe de 17 n. 52
studio of Gerard DAVID (after Hugo van der GOES?) 3066 follower of Hugo van der GOES Asselt, Jan van der 201 Bonaparte. Joseph 176 Augustin de 33 n. 10 Charlemagne 200, 414
Aubert, David 419 Bonciani, Gaspare 129 Catharina and Jacomine de 151 Charles I, King of Great Britain 12
ascribed to GEERTGEN tot Sint Jans 4081 GEERTGEN tot Sint Jans Brussels 7, 29, 102 Charles V, Emperor 198, 207 n.
Austria Bonde, John 153
after Hugo van der GOES(?) 2159 after Hugo van der GOES Margaret of see Margaret of Bonkil, Edward 12 churches: 127,260,264, 298, 446 n. 29
JOOS van Wassenhove 755 JUSTUS of Ghent and workshop Austria Bonne of Artois, Duchess of Our Lady of the Zavel (Notre Charles V, King of France 205
Philip of see Philip the Burgundy 180, 181 Dame du Sablon) 27, n. 64
JOOS van Wassenhove 756 JUSTUS of Ghent and workshop Handsome Borromei 350-2 Charles VII, King of France 193
style of MARMION 1939 follower of Lieven van LATHEM Auxy, Jean d' 436 Borromeo 133 n. 20 StGudula 22. 346,407.425 Charles the Bold, Duke of
style of MARMION Axpoele, Willem van 201 Lisabetta 127, 133 n. 20 chapel of Saint Hubert Burgundy 50, 152, 154, 178,
2669 follower of MARMION 179, 187, 189, 193, 196, 197,
Bosch, Hieronymus 7, 156 n. 24 418-22.425
NETHERLANDISH School 2602 follower of Jan van EYCK Baegert. Derick 253 Bossche, Aert van den 33 n. 31, confraternities: 205 n. 64. 260, 352, 384-5
NETHERLANDISH School 2613 attributed to Pieter van CONINXLOO Bailleul, Gilles de 21 331 Crossbowmen 350-2 Chastellain, Georges 195
Balbani, Biagio 194 Botticelli, Sandro 288 Holy Cross 33 n. 12 Chaugy, Michel de 22
NETHERLANDISH School 3116 workshop of the MASTER OF THE MAGDALEN LEGEND Balbiano family 92, 98-9 Bouchout. Jan van 50 Coudenberg Gates 350-2, 351 Chevalier, Etienne 209 n. 206,
NETHERLANDISH School 3379 follower of the MASTER OF THE SAINT URSULA LEGEND Barbarigo Bouchoute, Nicolaus de 150 Maison de Jauche 350-2 372
studio of MEMLINC 686 Hans MEMLING Andrea and Francesco 226 Bourbon poelen 350 Chevrot, Jean 109 n. 31, 205
Marco 7, 12, 14, 21.224-7, Frangois of. Count of Vendome Wollendriestoren (Grosse Tour) n. 64
studio of MEMLINC 709 Hans MEMLING 226 210 n. 257 351 Christus, Petrus 12,13.17 n. 14.
Rogier van der WEYDEN 1433 workshop of van der WEYDEN brothers of 227 n. 21 Isabella of, Countess of Bugatto, Zanetto 20. 392 20, 25, 33 n. 12,48, 104-9,
Rogier van der WEYDEN Barbara, Francesco 194, 227 Charolais 430 Burgundy 178. 186, 187, 189, 226,231,
6265 attributed to the workshop of van der WEYDEN Adolf of, Lord of Veere 161 244.252,432
n. 21 Louis, Duke of 208 n. 161
follower of Rogier van der WEYDEN 783 Rogier van der WEYDEN and workshop Barbo, Marco 227 n. 29 Bousies. Marie de 21 Cornells of 352 Claeissens, Antoon 119, 256

460 INDEX OF PROPER NAMES 461


'Claessen' 256 Degas, Edgar 14, 167, 172, 173 Margaret, wife of Jan van 31-2, Groote, Jean and Charles de 352 Isabella Clara Eugenia, Infanta Leyden, Lucas van 7, 41, 66, 108, Mary of Hungary 176,192,198 Master of the Virgo inter Virgines
Clerck, Margareta de 128, 133 Delemer, Jean 400, 422 174, 192,201, 214-16, Gruuthuse, Louis of 206 n. 77, 180, 181 226, 331-2, 400 Massys, Quinten 7, 77, 78, 102, 15
n. 38 Delft 217 n. 27, 223 n. 43 384, 387 Isabella d'Este 217 n. 27 Lichton, George 49 138 n. 11, 145, 351,437 Matanca, Juan de 156
Cleve, Joos van 253, 334n. 1, 340 Koningsveld, Gubbio, ducal palace (studiolo) Isabella of Portugal, Duchess of Licques, Marguerite de 352 Master of 149 9 14 Maximilian I, Emperor, King of the
Cleves Premonstratensian convent Farneta, Charterhouse of 196 285-6 Burgundy 15, 174, 187, 434, Liedet, Loyset 25, 162, 178-80, Master of the Aachen Cupboard Romans 21, 113, 114, 115,
John II, Duke of 370 (provosts: Jacob van Fazio, Bartolomeo 174, 211 n. 288 Guevara 437 201, 205 n. 64,419,420 Doors 205 n. 23 152, 446 n. 28
Philip of, Lord of Ravenstein 188 Divoorde, Reynerus de Nova Ferdinand, King of Aragon 262, Diego de 174, 176, 192-3, and workshop 179,419 Master of the Aachen Panels of the Mazerolles, Philippe de 298
Clifford Ecclesia, Herman van 264 198, 201, 202, 204 n. 5 Jacqueline of Bavaria, Countess of workshop of 180 Virgin (attributed to) 178,179, Medici
Francis, 4th Earl of Cumberland Rossum, Nicolaus Wolteri de Ferdinand (Ferrante), King of Felipe de 192 Hainault and Holland 191, Lieferinxe. Josse 2 7 201 Cosimo de' (il Vecchio) 194
387 Delft) 22. 332 Naples 282 Ladron de (the elder) 192 206 n. 66,222 Liege, church of St Peter 414 Master of the Abbey of Affligem Cosimo III de', Grand Duke of
Thomas, Lord 381 New Church of 328, 329 Fever, Colard de 208 n. 167 Ladron de (the younger) 193, Jaquelin, Laurent 22 Limbourg, brothers de 259 205 n. 51 Tuscany 212
Clugny family 20, 22, 297, 299 Delia Quercia, Jacopo 194 Fillastre, Guillaume 20. 300. 207 nn. 132 & 133, 210 Jehan, Dreux 24, 26. 28 Linnell, John 13 Master of the Aix Annunciation Ginevra de' see Cavalcanti
n. 16 Delia Rovere, Luchina 196 306-8, 436 n. 255 Joanna the Mad, Queen of Castile Lippi, Filippino 366, 368 34 n. 72 Lorenzo di Giovanni de' 194,
Cnoop Desbonnes, Jean 206 n. 99 Fine, Arnoldus de 193 Guicciardi 115, 350 Lonhy, Antoine de 299 n. 16 Master of the Andre Virgin 121 208 n. 178
Cornelia (wife of Gerard David) Deventer, Jacob van 351 Flamel, Jean 189 Diego 38, 42, 44 Joannis, Godefridus 180 Lorenzo Monaco 16, 290 n. 3 n. 7 Lorenzo the Magnificent 367
33 n. 15, 133 n. 51, 152, Dewitte, Dom Charles-Joseph 308 Flanders Eleonora and Paolo 45 n. 32 Joest, Jan 253 Louis XI, King of France 20,193, Master of the Baroncelli Portraits Lorenzo di Pierfrancesco de'
157 n. 40 Diemen, Geertruid van 322 Baldwin VII, Count of 192 Guidiccioni family 193,196 John XXII, Pope 107 195, 351. 392 109, 353 n. 45 194, 367
Jacob 133 n. 51, 157 Dillis, Georg von 72 Counts and Countesses of 115 Aldibrando 194, 208 nn. 155 John of Bavaria 174 Louis the Pious, Emperor 200, Master of the Bruges Passion Pierfrancesco de' 194
Coels Dolci, Carlo 15, 17 n. 5,201 &167 John the Fearless, Duke of Burgundy 414,418 Scenes 25, 30, 316-21 see also Arnolfini family tree
Gillis 419, 420 Donatello 194 Louis of Male, Count of 26 Marco 193-4, 196, 208 194 Louthe, Thomas 382 Master of the Saint Catherine 192
Hendrik (father of Jan) 419 Donne, Sir John and Lady Flandes, Juan de see Juan de nn. 154 & 161 Joris, David 20, 21 Louvain Legend 14, 369 n. 31,421 Meire, Gerard van der 60, 226
Hendrik (bastard son of Jan) 420 (Elizabeth Hastings) 21,22, Flandes Marco the younger 210 n. 234 Julius II, Pope 196 abbey of St Gertrude 50 Master of Delft 7. 15, 19, 21, 22. Melozzo da Forli 16, 286
Jan (campsor) 20, 419-20, 422 374-91, 382, 386 Flaxman, John 13 Guinigi Juan de Flandes 7, 19, 21, 23, church of St Peter 21 2 3 , 2 5 , 2 9 , 35, 322-33 Melzi
wife of see Vrientschap, daughters: Floreins, Jan 119 Antonia 195 29, 30, 34, 35, 99 n. 29, inn of the Wild Man 22 Master of the Embroidered Foliage Diego and Vittorio 45 n. 32
Catharina (Anne?) Lady Rede and Flores, Diego 264 Arrigo di Lazzaro 194 260-6, 264 priory of St Ursula 50 17 n. 14,27, 102, 346 Memling, Hans 12, 13, 14, 15,
Coels, Jan ('of Dworp') 419-20 Margaret Trussell 383 Floris, Frans 145 Michele 194, 208 n. 175 Justus of Ghent 7, 14, 19, 20. 21. University 20, 49-51, 66, 128, 'Master of the Exhumation of Saint 16, 19,20,21,22,23,26,28,
Coessaet, Jan 154 sons: Foscari Nicolao (Bishop of Lucca) 194 2 3 , 2 7 , 2 9 , 35, 138 n. 11, 151-2, 173 n. 5. 196,231 Hubert' 422 29, 30, 31, 33 n. 12.35,46,
Coleridge, Samuel Taylor 13, 14 Sir Edward 382, 383, 384, Federico (Ferigo) 44 Paolo (Lord of Lucca) 187. 267-92, 280-3. 422 n. 11, 333 n. 32, 337 n. 13, Master of Flemalle see Campin, 48, 50, 109. 119, 120, 144,
Cologne, church of St Gereon 205 387, 390 n. 47 Francesco 38, 44 193-5, 207 n. 136 attributed to 289, 290 352 Robert 152, 157 n. 56, 164, 190,244,
n. 23 Sir Griffith 383, 387 Fouquet, Jean 209 n. 206, 372 Guizzardi see Guicciardi, Diego and workshop 7, 14, 267-92 College of St Ivo 436 Master of Frankfurt 88, 89, 202, 297, 308, 316, 320-1,331,
Coninxloo, Pieter van 15, 19, 20, see also family tree 388-9 Francesco di Giorgio 286, 289 Gundlach, Hieremias 198 Collegium Winckelianum 50 239 n. 18, 258 344, 354-91, 366, 385, 394,
21,29, 110-15,297, 334 Doppere, Rombout de 128,129, Franchi, Ettore 290 n. 3 Keddekin Lucca Master of Saint Giles 7, 426 n. 23 430,437
attributed to 110-15 133 n. 51 Franciotti, Agata, Francesca and Hadebald see Adelbald Burchard 152, 157 n. 50 Charles-Louis of Bourbon-Parma, Master of Girart de Rousillon see after 386
Constable, John 13 Drieux (Driutius), Michiel 66 Giovanni Francesco 196 Halewyn, van, family 151 Hendrik (Abbot of Ter Doest) Duke of 99 n. 5 Jehan, Dreux Meulen, Adam-Francois van der
Conti Du Bois, Jean 152 Fugger, Jacob 66 Haulterue, Haquinet de 2 5 157 n. 50 cathedral of San Martino 196 Master of the Guild of Saint George 17 n. 52
Cosimo, Prince of Trevignano Dubuisson-Aubenay 407,417-8, Hastings Kempis, Thomas a 52, 63 churches: at Mechlin 114 Meyere, Barbara de 133 n. 58
274, 285 422 Gaddi, Taddeo 298 Anne 386 Ketelbuetere, Ghysbrecht die 34 Santo Agostino 196 Master of Saint-Jean-de-Luze 109 Meyrick, Samuel Rush 383
Gian Giuseppe 285, 291 n. 40 DuPuys, Remy 145 Gand, Michel de 187 Elizabeth see Donne n. 65 San Francesco 196 n. 32 Micheli
Cornells, Aelbrecht 25 Diirer, Albrecht 60, 100, 202, Geertgen [tot Sint Jans] 7, 12, 15. William (Lord) 383, 384, 386, Key, Willem 138 SanFrediano 194, 196 Master of Saint John the Evangelist Antonia 196. 198
Cornelisz., Jacob 172 205 n. 54, 207 n. 121,265, 19,26, 162,232-9,259, 331 387 Kievit, Pieter Jansz. 331 San Pier Cigoli 196 254 Francesco 194, 198
Corsini, Adelaide 291 n. 4 308, 316, 321,445 after 237 Hay, James 176, 178 King, Frederick Benjamin 134, San Romano 195-6 Master of the Joseph Sequence Jacopo 196
Coter. Colijn de 27, 28, 97, 247 Duvenvoorde, Lysbeth van 211 Geldenhauer, Gerard 21 Haydon, Benjamin 13 138, 139, 145 Ludwig I, King of Bavaria 12 115 Michiel, Marcantonio 48
n. 4, 340 n. 301 George IV, King of Great Britain Heere, Lucas de 216 Knyvett, Christopher 331 n. 2 Luxembourg, Marie of (Countess Master of the Khanenko Adoration Miliani, Paolo 194, 195
Cotman, John Sell 17 n. 23 Duvernay, Yolande Marie Louise 176 Henry the Navigator, Prince 220 Koningsveld see Delft of Romont, then of Vendome) 102 Mitridate, Flavio 282
Cottereau see Lyne-Stephens, Yolande Gerards (Gheeraerts), Marcus the Henry V, King of England 12, 194 Krain, Heinrich 205 n. 23 210 n. 257 Master of Liesborn 108 Molinet, Jean 31, 32, 300
Jean (grandson of Robert) 352 Dwnn, Lewys 383 Elder 119 Henry VI, King of England 190 Krel, Oswolt 202 Lyne-Stephens Master of the Saint Lucy Legend Monogrammist ie 321
Philippe (son of Robert) and Gerritsz., Gerrit see Geertgen Henry VII, King of England 12 Kriiger, Carl Wilhelm August 13 Stephens 15 60, 121 n. 7, 164, 172, 173, Montigny, Adrien de 434
brothers 20, 352, 353 n. 41 Eastlake, Sir Charles 13, 14, 16, Gheerolf, Passchier 33 n. 10 Herdincx Yolande (Pauline Duvernay) 297 Moreel, Willem and Barbara
Robert 352 17, 38,42, 67, 132, 173, 274 Ghent Gossuin, Abbot of Affligem 352 La Baume, Guillaume de 382, 15, 16, 17 Master of the Magdalen Legend 359-60
Coxcie, Michiel 13 Edessa, Joscelin II, Count of 26 Hall of the Aldermen of the Margareta 352 387 7, 15, 19. 20, 334-41, 247 Morosini, Cassandra 226
Crabbe, Jan (Abbot of Ter Duinen) Edward IV, King of England Keure 201 Herlin, Friedrich 25,403 La Marche, Olivier de 189, 222 Mabuse see Gossaert, Jan n. 1 Morrill, George 67, 71 n. 8, 362,
152, 157n. 56 381-2, 384, 385, 386, 387 Giustiniani Herperson, Henry 227 La Marck, Everard IV de 188 Macheclier, Pierart 25 workshop of 15. 22, 29, 114, 407
Cranach, Lucas, the Elder 198. Ellis, Wynn 14, 16 Alessandro 146 Heyden, Pieter van der 419 Lamb, Charles 13 Madrid 334-41 Mors, Walburga of 180
231 Eisner, Jakob 202 Bartolomeo 156 n. 4 Hilarius (family name) 231 Landor, Walter Savage 13 Alcazar 176 Master of Mary of Burgundy 162, Morton, John, Archbishop of
Croy Engebrechtsz., Cornells 331-2 Pantaleo 146 Langhe Jans, Michiel 189 Palacio Nuevo 176 164, 259 Canterbury 384
Hillharius, Adolff 231
Charles de 434 Erasmus, Desiderius 50 Vincenzo 146 Lannoy, Baudouin de 15, 192, PalacioReal 264 Master of Merode 78,97 Multscher, Hans 34 n. 72
Hogenberg, Frans 353 n. 23
Jean de 220, 223 n. 20 Ertborn, Florent van 161 Goes, Hugo van der 12, 13, 15, Holbein, Hans 336 216, 217 n. 20 Mander, Carel van 198 Master of Moulins 7, 247 n. 33,
Philippe de 180, 438 Eugenius IV, Pope 419 18, 19,20,23,25,28, 70, 102, Hondt Laredo, church of Santa Maria de Mantegna, Andrea 44, 321 314 'Nardus, Leo' 398
Cuba, Johannes de 205 n. 54 Eyck 120, 138 n. 11, 146. 152. 154, la Asuncion 400, 416 Margaret of Austria 15, 20, 21, Master of the Pearl of Brabant 70 Naude, Gabriel 267
Anna and Barbara de 157
Cuelbis, Diego see Quelviz, Jakob Hubert van 13, 33 n. 29, 174, La Rue, Jean de 260 110-15, 113, 114, 174, 176, Master of the Polling Altarpiece Nieuwenhove, Maarten van 297,
232,237-8,240-59,251, Christiaan de 151-2,157
Cyriacus of Ancona 18 216,231 286, 314, 354, 372, 386,445 Lathem 192, 193, 198,201,202, 421 371-2, 386
Honthorst, Gerard van 238
Jan van 12, 13, 14, 16, 18, Jacob van 293, 298,299 264-5, 446 n. 28 Master of the Prado Adoration Nieuwenhuys, Chretien-Jean 14,
after 237, 248-59, 250, 251 Horenbout, Gerard 162, 173
Dacre, Joan 381 1 9 , 2 0 , 2 1 , 2 3 , 2 4 , 2 5 , 30, followers of 12, 15, 29, 34, Houde Lieven van 293-9, 298 Margaret of Flanders, Duchess of 14, 109 n. 31, 369 n. 31 17, 72, 167, 173, 176,439
Dale, Gord van den 2 5 31, 32, 33, 34, 60, 66, 70, 240-7, 258 Jacob van den 128 follower of 13, 15, 19,20, Burgundy 190, 201 Master of the Prado Redemption n. 35
Dal Pozzo, Gabriele 217 n. 2 7 103, 104, 107, 109, 122, Goffaert Martine van den 128 34 n. 87, 35n. 97, 293-9 Margaret of York, Duchess of 108,421 Noveliers, Pieter 438
Damant, Pierre 129 129, 132, 174-223, 193, Elisabeth (wife of Rogier van der Houwaert, Jan Baptist 426 n. 51 workshop of 22 Burgundy 187, 189, 260, 382, Master of the Privileges of Ghent
Daret, Jacques 15, 19, 23, 28, 216, 217 n. 20, 308, 359, Weyden) 392 La Tour, Georges de 238 384, 385, 387 and Flanders 190 Obrechts
Hove, Edmond van den 46
72, 80-2, 83-91, 90, 187, 383^, 422, 443 Jan 392 Lawrence, Sir Thomas 13, 176 Marmion, Simon 7, 13, 19, 20, Master of Rene of Anjou 295 Catharina 419, 420
Hughes, Grisold 387
344, 392 followers of 14, 16,21,27, Layard, Sir Austen Henry 15,16 27, 29, 30. 31-2, 33 n. 15, Master of the della Rovere Missal Jacob (alias de Vos) (father of
Gossaert, Jan (Mabuse) 18, 34 Hungary, Mary of see Mary of
David, Gerard 12, 14, 15, 19, 20, 29, 34, 35, 108, 162, n. 89, 120, 122, 129, 144, Le Clercq, Charles 334 n. 2 35 n. 106, 56, 164,200,211 299 n. 16 Catharina) 419
Hungary
2 1 , 2 2 , 2 3 . 2 5 . 2 6 , 2 7 , 2 9 , 30, Le Due, Louis 23, 28, 260, 394 n. 310, 300-15,306-7, 314 Master of the Saint Ulrich Legend Jacob (brother of Catharina)
174, 224-31,230 145, 161,259, 372 Hunt, William Holman 180
33, 34, 35. 102, 116-63, 120, after 181 Goude, Damiaen van der 139,145 Leedham, Francis 71 n. 8, 407 followers of 15, 34, 35, 310-15, 231 n. 6,421 419
130, 144, 154, 155, 161, 237, self portraits 217 n. 27 Leeuw, Jande 174,214,216 382 Master of the Saint Ursula Legend Oettingen-Wallerstein, Ludwig
Gracht, Marie van der 151 Imhof, Conrad 202
244 Lemaire de Beiges, Jean 24, 25, Martin V, Pope 194 15, 19, 20, 29,121 n. 7, 342-5 Kraft Ernst, Prince of 14
school of 297 Green, Anne Eliza (Hammond) and Isaacq, Thomas 334 n. 1
followers of 14, 167-73 workshop of 23 Joseph Henry 14, 16 31, 300 Martins, Jan 201 follower of 342-5 Ofhuys
Isabella I, Queen of Castile 19, 21,
school of 120 Lambert van 174, 191, 207 Grimston, Edward 12 Leonardo da Vinci 15 Mary of Burgundy 113,114, Master of the View of St Gudula Caspar 240
23, 260^262,264
workshop of 7, 15, 126, 138, n. 114, 222, 223 n. 30 Le Roy, Etienne-Victor 146 115, 193, 207 n. 117, 336, 12, 15, 19,20, 2 3 , 2 4 , 2 7 , 2 9 , Jan 394 n. 4
Groeninge Isabella of Bavaria, Queen of
145, 164-6 Le Tavernier, Jean 48 382, 387 30, 35, 230, 346-53, 351, 448 O'Meara, William Aloysius 42^1
Margaret van 60 abbey 157 n. 56 France 211 n. 301

INDEX OF PROPER NAMES 463


462 INDEX OF PROPER NAMES
Onesti, Isabella 194 'Roger of Bruges' 226 Stuerbout, Hubert and Mechtilde wife of see Obrechts, Catharina
Orley, Bernaert van 7, 27-8. 87, Rolin, Nicolas 216. 222 50, 51 n. 41 Willem (father of Jan and
97, 102. 334 n. 1 Rossem. van, family 128, 1 33 n. 24 Surreau, Jeanne and Pierre 206 Catharina) 419
Orsini, Rinaldo 367 ' Christine van 128-9,132 n. 80 Vucht, brothers de 426 n. 44
Ortelmans, Damiaan 145 n. 35 Rubens, Peter Paul 180 Sykes, William 12, 212 Vullincx
Ouwater, Aelbrecht van 143, Ruzzini, Lucia 226 Catharina 50
231,232,421 Tafur, Pero 187 Jan 51 n. 40
Overbeke, Willem van 152 St Kruis, church of 128 Tanagli, Giuseppe 290 n. 3
Ovid 176, 198-9 St-Omer, abbey of St Bertin 20, TerDoest, Abbot of 152 Walcaud, Bishop of Liege 414
300 Ter Duinen, Abbey (Koksijde) 121 Wallace, Lady 15
Paele, Joris van der 174, 189, 216 Salamanca, Old Cathedral 100 n. 13 Walpole, Horace 12, 122. 132
Pagagnotti Salting, George 15, 16, 17 Terriesi, Francesco 212 Wardrop, Dr James 176, 205
Benedetto 21, 23, 367 Salviati Thane, John 374. 386 n. 14
Paolo Ulivieri 367, 368 Bernardijn 21, 122-33, 151, Themseke, van, family 430 Wassenaer. Elisabeth van 21
Sandro 366-7 152, 154-5, 156 Timotheos of Miletus 220 Wassenhove, Joos van (Justus of
Palmer, Samuel 13 Borromeo 127 Timynck, Clawes 188 Ghent?) 267
Parma, Ranuccio I Farnese, Duke Francesco (Archbishop of Pisa) Tournai, Compagnie du Chapel Waterloo, Battle of 176
of 192 andjacopo 127, 133 n. 20 Vert 220 Watteau, Antoine 17 n. 52
Parr. Sir John 384 Sanchez Coello. Alonso 180, 181. Trenta Wellington, 1st Duke of 176
Patinir, Joachim 154 198 Bartolomea see Cavalcanti Werl, Heinrich 80, 178, 404
Philip II, King of Spain 145.174, Sandei, brothers 194 Costanza 194, 197 Weyden
176, 180, 198-9, 264 Sanderus. Antonius 119 Galvano, Girolamo and Lorenzo Goswijn van der 28, 102, 247
Philip the Bold, Duke of Burgundy Savonarola, Girolamo 367 di Maestro Federigo 194 n. 31. 338
33 n. 29, 34 n. 80, 190,201. Savoy Isabella see Onesti Pieter van der 28,394
208 n. 161 Jacques of, Count of Romont Lorenzo di Matteo 208 n. 172 Rogier van der 12, 13, 18. 19.
Philip the Good, Duke of Burgundy 210 n. 257, 372 see also Arnolfini family tree 20,21,22,25,26,27,28,
15,20,23, 33 n. 29, 34 n. 80, Maria Anna of, Duchessa del 192 31, 33 n. 12, 35,40,41,44,
91, 108,174,187.191,193-5, Chiablese 285 Trompes, Jan des 130,156 48,49, 52, 54, 63, 66, 72,
200, 206 nn. 87 & 89, 208 Saxony Truffin, Philippe 24, 25 77, 82, 96,97,98, 104,
n. 172,222, 300. 352,431 Frederick the Wise, Elector of Trussell 108, 109, 137, 187, 190,
Philip the Handsome (son of 114 Edward 383 192-3, 202, 205 n. 47, 259.
Maximilian I) 15,20,21,22, John Frederick, Elector of 198 Margaret see Donne 297,331, 354, 359,369
113, 110-15, 113-14, 152, Scallequin, Jean 189 Turner, Dawson 13 n. 31, 392-449
293-9 Scharf, George 438 Tura. Cosimo 288 after 444
Picquigny, Jan de, Canon of St Scheut, Charterhouse of 20, 352 attributed to 444, 445
Gudula 419 Schinkel, Karl 13 Ulivieri, Paolo see Pagagnotti followers of 14, 15,22,41,
Pinti, Rafaelle 274, 362 Schongauer, Martin 25, 162, 163 Urbania see Castel Durante 187. 246, 247 n. 4, 447-9,
Pipenpoy, Christine and Lucas 420 n. 2, 252, 320-1. 330, 331,394 Urbino 448
Pizan, Christine de 191,211 Schoof, Jan 154 Confraternity of the Corpus 'school of 66,430
n. 301 Scorel, Jan van 447 Domini 267, 286 and workshop 407-27
Poel, Robert van de 436 Sculteti, Willem 35 n. 109 Dukes of: workshop of 12, 15, 16, 21,
Poggio, Paolo di 196 Sedano, Jan de 156,162 Federico da Montefeltro 2 3 , 2 4 , 2 7 , 2 8 . 2 9 , 34,
Poitiers, Alienor de 187. 200 Seguier, William 13, 176 19, 21, 2 6 7 , 2 7 9 , 2 8 2 , 35, 428-46
Pollaiuolo, Piero 288 Sergius. Pope 417-8 284-6. 288-9 Rogier van der, the Younger
Portinari Sforza, Costanzo, Lord of Pesaro Guidobaldo da Montefeltro 28,66, 78, 137,400
Benedetto 372, 386 282 282,285-6 White, William Benoni 14, 16,
Tommaso and family 386 Shrewsbury, George Talbot, 4th 122, 132 n. 7
Portugal, Beatrice of (Lady of Earl of 386 Varenacker, Jan 21 Wijck, Christina van der 195
Ravenstein) 430 Siebel, Gerard 12, 17 n. 14 Vaernewij ck, Marcus van 198, Winckele
Pottelsberghe Simondi, Bernardin 27 199,200 Catharina van see Vullincx
Lieven van 167 Sittow, Michiel 2 3 7 , 2 6 2 , 2 6 5 Vecchia, family 158 Jan van 20. 21, 46-51, 66
Livina van see Steelandt Sixtus IV, Pope 196, 246 Alberto and Angelo 163 n. 8 Jan van, the Younger 50, 66
Provana Smith. John Raphael 12 Velazquez, Diego 180 Mechtilde van see Stuerbout
Antonio 98. 99 Sousa, Isabel de 187 Velde Windsor, St George's Chapel 382,
Clara 98, 99 Spapen (van Pede), Vranck 394 Barbara van de see Meyere 387
n. 4 Joris van de 129-30, 133 Winne, Arendt 143
I Ouaroube, Jeanne de (wife of Spence, William Blundell 274, Vento, Girolamo 21, 445 Witte, Lieven de 143, 145
Marmion) 33 n. 15 276,285 Vermande, Abraham 405 n. 1 Wohlgemut, Michael 331
Quelviz, Jakob 174,176.198 Spring Rice, Thomas (Lord Vespasiano da Bisticci 267, 286, Wommene
Ouesnoy, Simon du 3 3 7 n. 13 Monteagle) 13, 17 n. 23 289 Catharina van see Zijl
Steelandt, Livina van 167,173, Vianello, Michele 217 n. 2 7 Roelandvan 128,129,153,156
Ram, Alessandro and Zuan 48 246 Victor Emmanuel II, King of Wordsworth, William 13
Raphael 437 Steenhuffel, Goedele (Gudula) van Sardinia 274 Wren, Geoffrey 387
Rapondi 419 Victoria, Queen 14, 16, 285 Wyatt, James 122
Dino 133 n. 44 Stephens, Yolande Lyne- Villena, Sor Isabel de 262
Giusfredo 194-5 see Lyne-Stephens Vitoria, Battle of 176 York
Margherita 192 Stevens, Alfred 428 Vlamynck, Pierre-Jean De 46 Margaret of see Margaret of York
Reali, Reale 198, 208 n. 159 Stevens, Peeter 212, 214 Vleuten, Willem 209 n. 211 Richard, Duke of 382, 384
Reboux, Mme 92, 94-5 Stockt Vos. Lieven de 129, 133 Ypres, Aldermen's Hall 201
Rechberg, Josef, Count von 14 Bernaert van der 20, 334 Voshem, Elisabeth van (wife of Ysenbrandt, Adriaen 25, 26, 130,
Rede Jan van der 24 Dirk Bouts) 33 137, 154, 155, 164, 166, 172.
Elizabeth and Mary 383 Kateline van der 24 Vrelant, Willem 109 n. 10 237
Sir William 383 Michiel van der 20 Vriendt, Albrecht De 46
Rembrandt van Rijn 238 Vranck van der 20, 24, 25, Vrientschap Zijl
Reyngout, Maerten 152. 155 334 Catharina 419-20 Catharina van 128,129,133,
Robinson, Henry Crabb 12, 17 Stradanus, Joannes 260 n. 7 Goedele see Steenhuffel 153
n. 14, 54 n. 1 Strate. Jan van der 260 Jan 21,419-20,422 Jacqueline van 128, 151, 153
Rode Klooster 240, 245 Strozzi, Filippo 445 children of 420 Zoetack, Jan 419, 426 n. 47

464 INDEX OF PROPER NAMES

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