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Index
John Oliver Hand (Editor), Ron Spronk (Editor)
Description: Essays in Context: Unfolding the Netherlandish Diptych
Essays in Context: Unfolding the Netherlandish Diptych
Index
Author
John Oliver Hand (Editor), Ron Spronk (Editor)
PublisherHarvard Art Museums
Copyright© 2006 by President and Fellows of Harvard College
https://doi.org/10.37862/aaeportal.00045.020
Stable URL: https://aaeportal.com/?id=-18145
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Index
Boldface numbers indicate illustrations.
anachronism, 116, 117, 118, 202
Annunciation themes, overview, 16, 77–78
Antwerp-Baltimore Quadriptych (anonymous), 167–169, 241
background compositions: architectural framing, 73, 74, 104, 191n14
iconography of, 101–105, 115, 117–119, 202
privacy and, 55
Bellegambe, Jean: Virgin and Child and Cisterian Monk with Saint Bernard (reverse: Abbess Jeanne de Boubais; Pittsburgh), 35
Beste, Guarin de, 36 36, 44n26
Bon, Jean le, 51, 58n24, 174
books of hours: depicting devotional practices, 30n54, 47
diptychs and, 19, 48–51, 56, 67–68
inheritance of, 51, 58n20
personalized iconography of, 51
popularity of, 49
portrait placement conventions in, 38–40, 51–52, 55, 146
portraits in, 35, 49–52, 55–56, 58n16, 58n24, 59n25, 101
prayers within, 49–50, 51–52, 54
printing of, 58n12
purpose of, 48, 177
regional comparisons of, 19
as status symbols, 68–70
women and, 25, 50. See also Fouquet, Jean: Hours of Étienne Chevalier; Jacquemart de Hesdin: Brussels Hours of Jean de Berry
botanical imagery, 97–100
Bouts, Albrecht: Ecce Homo and Mater Dolorosa (wings: The Angel Gabriel and The Virgin Annunciate; Aachen), 187, 187, 223
Bouts, Dirck, and workshop of: placement conventions of, 38, 132–133
Man of Sorrows and Mater Dolorosa (London), 132–133, 173, 223
Portrait of a Man (London), 218
Breviary of Catherine of Valois: as manuscript precursor to diptych form, 19, 34, 53, 190n6
portrait placement conventions and, 38, 52, 53, 59n27
provenance of, 43n11, 59n26
Campin, Robert: related sculptural works, 74, 82n2
Annunciation Triptych (Merode Triptych; New York), 101–102, 102
Christ Blessing with the Virgin in Prayer (Philadelphia), 131–132
The Trinity and Virgin and Child (Saint Petersburg), 16, 73, 74, 165–166, 166 (perspective). See also Master of Flémalle
Campin, Robert, workshop of (Jacques Daret?): Virgin and Child in an Interior (London), 166, 167
Carondelet, Jean, portraits of, 34, 40. See also Gossaert, Jan: Jean Carondelet and Virgin and Child
Charles the Bold, 39, 40, 63, 64–65, 86
Chevalier, Étienne. See Fouquet, Jean: Hours of Étienne Chevalier; Melun Diptych
Christus, Petrus, 83n17, 175, 195n33
Church of Notre-Dame (Melun), 20, 128, 146–147, 152n64
Church of Our Lady (Bruges), 88, 88–89, 139–141, 151n47, 154, 155
Church of Saint Donatian (or Donaas, Bruges), 133–138, 135, 136
Church of Sainte-Savine (Troyes), 142–143, 143, 144
Clercq, Robrecht de, 41, 121n21, 179, 195n41, 181. See also Duinen, Ter, Abbey of; Master of 1499: Abbot Christiaan de Hondt and Virgin in the Church (reverse: Abbot Robrecht de Clercq)
coats of arms, 18, 20, 37, 100, 128
consular diptychs, 15, 48
covers, protective, 158
Crucifixion themes, overview, 16, 20–21, 177. See also Man of Sorrows themes
David, Gerard, 126
Diptych of Bernardijn Salviati (London and Berlin): commission details, 133–137, 136
description and original location, 126, 137–139
portrait placement conventions and, 38
reconstruction of, 126, 127, 128, 139, 145, 238–239, 240
David, Gerard, follower of, and unidentified artist: Joos van der Burch and Saint Simon of Jerusalem (Cambridge, Mass.; right wing of Virgin and Child [follower of Rogier van der Weyden]), 24, 58n19, 196n49
death and medieval devotions, 54, 59n35
dendrochronology, 215–223
devotional and devotional portrait diptychs, overview: books of hours compared to, 19, 48–51, 56, 67–68
characteristics of, 24, 34–35, 48, 93, 96
survival and intact preservation of, 182, 184–186. See also specific artists, titles, and related topics
devotional practices: cult status of devotional images, 174
death and, 54, 59n35
depictions of, on diptychs, 47, 50, 68–69, 163
foundation acts, 86–87, 133–137
public vs. private, 24–25, 50, 55, 115, 177
religious aids for, 47
dextrality, principle of, 40, 130–133, 145–147, 148n11, 149n15
Diptych Altarpiece of the Passion (Troyes), 143, 144
diptychs, overview: as accessories in diptych paintings, 68–69, 163
characteristics, common, 15, 47–48, 207
earliest known, 53
formats of, 16, 27n10, 173
inventory descriptions of, 18–19, 26n7, 26n9, 33–36, 43n19, 49, 112, 125n4, 185, 187, 188, 191n12, 195n40, 197n54
origin and evolution of, 15, 48–50, 57n4, 67–68, 173–179, 184
regional comparisons of, 16–18, 28n22
size and, 20, 21, 126
term usage, 15–16. See also specific artists, titles, and types of diptychs
donors and supplicants: placement conventions and, 36–41, 127–133, 148n11, 132, 145–147
portrait representations of, 17, 19–20, 23–24, 34, 103
scale and, 17, 53, 59n27, 56, 68
updating of diptychs by, 115, 121n21, 179–182, 195n41
women as, 25, 37, 132
Duinen, Ter, Abbey of, 37, 69, 111, 120n4, 121n21, 127, 179, 182, 195n41, 196n53
Compendium (Visch), 115
Dunis, De, Abbey of. See Duinen, Ter, Abbey of
embellishments. See materials and embellishments
epitaphs, 19–23, 34, 41, 50, 58n19, 88
Ertborn, Florent van, 182, 188
etiquette, court, 40, 45n55, 130–131
Exemplar (Seuse), 98, 100
Eyck, Jan van: artistic versatility and skill, 51, 81
color and, 82n6, 116
dextrality, principle of, and, 132
The Angel Gabriel and The Virgin Annunciate (Madrid): color and theme of, 76–77, 82n6
composition and iconography of, 73, 74, 79–81
figure comparisons, 79, 79
reflection, detail of, 231
Annunciation (Dresden), 75, 75, 78, 83n16
Annunciation (Washington), 76, 76, 78, 82n15, 167
The Crucifixion and The Last Judgment (New York), 48, 175, 176
Ghent Altarpiece with Annunciation: description, 77, 77
figure comparisons, 79, 79
hierarchical placement and perspective, 129, 130, 164, 165, 166
iconography, 78, 82n15
Portrait of Margaret van Eyck (Bruges), 194n33
Virgin and Child with Chancellor Rolin (Paris), 20, 101, 146
Virgin at the Fountain (Antwerp), 179
Virgin in the Church (Berlin), 80–81, 111–119, 179, 180–181, 233
Eyck, Jan van, Assistant of: Saint John the Baptist and Virgin and Child (Paris), 74, 158–159
Fall of Angels (Paris), 175
foundation acts, 86–87, 133–137
Fouquet, Jean: Guillaume Jouvenel des Ursins (Paris), 23, 23, 126, 128, 146
Hours of Étienne Chevalier (Chantilly): commission of, 54, 59n33
description, 54–55, 228, 229
portrait placement conventions and, 19, 39, 40, 146–147
Hours of Simon de Varye (Los Angeles), 40, 146
Melun (or Chevalier) Diptych (Berlin and Antwerp), 20, 23, 29n41, 38, 40, 54, 126, 127–128, 146, 147, 152n64
Froment, Nicolas: Rene I, Duke of Anjou and Jeanne de Laval (Paris), 35–36, 158
functions of diptychs: commemorative, 41–42
as epitaphs, 19–23, 50, 50n19
as intercession tools, 42, 47–48, 103–104, 108n32, 145
nonreligious, 22–23, 35–36, 48, 179, 195n41
original use vs. historical patterns of, 207–211
perspective and, 146–147, 159–160, 163–167
portability and, 25, 125–126
private vs. public, 24–25, 50–51, 55, 115
reverses (versos), decorated, and, 25, 35, 126–127, 158, 163, 169
as status symbols, 61, 69–70, 85–90. See also handling instructions and indicators
Geertgen tot Sint Jans: The Crucifixion with Saints Jerome and Dominic and Scenes from the Passion and The Glorification of the Virgin (Edinburgh and Rotterdam), 27n17
gender specificity, 25, 37, 50–51, 127–128, 132, 161
Goes, Hugo van der: The Fall of Man and The Lamentation (Vienna), 132, 182
gold and goldwork, 61–62, 64–66, 174–175
Goldenes Rössl (anonymous; Altötting), 64, 66, 66
Gossaert, Jan: Jean Carondelet and Virgin and Child (Paris): description, 38, 209
handling indicators for, 159
historical understanding of, 209–210
inscription and diptych function, 42
museum display of, 209
placement conventions and, 40, 128, 146
reverse decorations of, 35
Saint Donatian with Carondelet portrait (Tournai and Kansas City), 40
Virgin in the Church and Antonio Siciliano and Saint Anthony (Rome), 111–119, 180–181, 236, 237
Grimani Breviary, 68, 117, 180
Gros, Jean de, 85–90, 86, 87, 186–187
handling instructions and indicators: of closed diptychs, 158–163
hierarchy and, 157
incompatibility of conventions, 157–158
manuscript formats, 158–159
narrative or chronological scenes and, 167, 168
of opened diptychs, 158, 163–167
portable objects and painted reverses, 158
quadriptychs and reversible diptychs, 167–169, 241
hardware: fastening mechanisms, 162–163
hinges and hinging, 15, 162, 163, 169
hook devices, 162–163
heraldry: coats of arms, 18, 20, 37, 100, 128
handling indicators and, 157–158
in Italian diptychs, 18
placement conventions and, 37, 40, 127–128
hierarchy, 129–132, 145–147, 157, 163–167
historical retrieval and understanding, 207–211
holy figure imagery, overview: interaction with, as diptych function, 47–48
in illuminated manuscripts, 19
patron saints, 17, 19, 53, 111, 129, 137
scale and, 17, 53, 56, 59n27, 68
themes, common, and, 16–17, 28n20, 58n22, 97, 174
viewer identification with, 103–104, 108n32, 145. See also Man of Sorrows themes; Virgin, imagery of
Hondt, Christiaan de, 115–116. See also Master of 1499: Abbot Christiaan de Hondt and Virgin in the Church
Les honneurs de la cour (Poitiers), 130–131
iconography: of books of hours, 51
botanical references, 97–103
of compositional proximity, 52–53, 55, 79, 96–97, 106n4
diptych function and, 47–48
of Eyckian Annunciation narratives, 77–78
Gombrich’s dictionary fallacy and, 203
hierarchy and, 129–130, 131–132, 145–146
meaning and, 203–204
of medieval concept of time, 76–77
of prayers, 97–101
of spatial settings, 101–105
Icon to Narrative (Ringbom), 93
identity, concept of, 19–20, 129, 178
illuminated manuscripts, 19, 24, 34, 38–39, 47, 51, 57n3. See also books of hours
intercession, chain of, 42, 103, 108n32, 145
Isenbrant, Adriaan: Diptych of the Van de Velde Family (Brussels and Bruges): background and commission of, 139, 140–141
description and purpose, 126–127, 139–141
placement conventions and, 38, 141–142
reconstruction, 142, 145, 145
triptych theory and, 128
ivory, 62–63, 67, 79, 174–175. See also ivory diptychs
ivory diptychs: function and light, 79
as inspiration for painted diptychs, 67, 73–74, 178
Saint George and the Dragon and Virgin and Child with Saints (Princeton), 67, 68
Virgin and Child and Christ Blessing (Salting Ivory; London), 73, 74
Jacquemart de Hesdin (?): Brussels Hours of Jean de Berry (Très Belles Heures de Notre-Dame; Brussels): attribution, 59n29
common scale, use of, 59n27
description and format theories of, 53, 53–54
embroidery embellishments of, 19
handling indicators of, 158
portrait placement conventions and, 19, 38, 146
Jeanne of France, 25, 38, 176–177, 179
John the Fearless, 21–22, 22, 47
The Jouvenel des Ursins Family (Paris), 23, 24
Jouvenel des Ursins family diptychs, 23, 23, 24, 126, 128, 146
Lathem, Lieven van: Prayer Book of Charles the Bold (Los Angeles), 39, 40
lighting: direction of, 78, 79
handling indicators of, 159–162, 161, 162
Loyet, Gérard: Gold Votive Statue of Charles the Bold (Liège), 63, 230
Maelwael, Johan: Virgin and Child with Angels (Berlin), 21–22
Man of Sorrows themes: diptychs or pairings featuring, 20–21, 21, 132–133, 173
manuscript to panel painting, transition of, 58n22
private devotion and, 97
reliquaries with, 64, 65
thematic pairings with, 16
manuscript illuminations. See books of hours; illuminated manuscripts
Margaret of Austria: De Clercq and, 115n21
descriptions of diptychs of, 35, 49
as devotional diptych owner, 25
diptych of, by Master of 1499, 114, 114–115, 166, 167, 179–180
Siciliano and, 117
Van Orley portrait of, 34
Massys, Quentin: Virgin placement in diptychs of, 38
Desiderius Erasmus (Hampton Court) and Peter Gillis, 36
Virgin at Prayer and Christ as Savior (Antwerp), 132
Master of 1499: The Angel Gabriel and The Virgin Annunciate (Berlin), 113, 113
Virgin and Child and Margaret of Austria (Ghent), 114, 114–115, 166, 167, 179–180
Virgin in the Church and Abbot Christiaan de Hondt (reverse: Abbot Robrecht de Clercq; Antwerp): description of, 55, 68–69, 127, 234, 235
functions of, 25
perspective and hierarchy, 164, 164–165
placement conventions and, 41, 128
provenance and preservation of, 182
reception strategies of, 179–180
reworking of, 41, 121n21, 179, 192n41, 181
Van Eyck’s Virgin in the Church as prototype for, 111, 112–117
Master of Antoine Rolin: Prayer Book of Adrienne de Stavele, 40
Master of the Benson Portraits: Portrait of a Man and Portrait of a Woman (Antwerp), 163
Master of Flémalle and workshop: Barthélemy Alatruye and Marie de Pacey (Brussels), 177–178, 178. See also Campin, Robert
Master of Mary of Burgundy, 177, 193n25
Master of Moulins: Madeleine of Burgundy, Dame de Laage, Presented by the Magdalen (Paris), 38
Master of Saint-Jean-de-Luze, 35
Master of the David Scenes: Virgin and Child and Joanna of Castile in Prayer (London), 19, 35, 68, 69
Master of the Embroidered Foliage: The Virgin and Child Enthroned (Williamstown, Mass.), 203, 204
Master of the Magdalen Legend and unknown French artist: Virgin and Child and Willem van Bibaut (reverse: The Five Wounds of Christ), 180, 181, 182
Master of the Prado Redemption (?): Crucifixion diptych of Jeanne of France (Chantilly), 38, 176–177, 179
Master of the Saint Ursula Legend, 31n59
Epitaph of Anna de Blasere (New York), 88
patrons of, 85
Master of the View of Saint Gudule, 101
materials and embellishments: embroidery, 19
gems, 61–62
gold and gold-work, 61–62, 64–66, 174–175
ivory, 62–63, 67, 79, 174–175 (see also ivory diptychs); marbling , decorative, 17, 22n22, 159
sculpture imitation, 73–74, 75, 78
silver leaf, 61
wood, 15, 215–223. See also hardware
Meditationes vitae Christi (Meditations on the Life of Christ), 67
Memling, Hans: diptych format preferences of, 126, 148n11, 149n14
Gilles Joye portrait by, 23
Heavenly Redemption and Earthly Vanity (Strasbourg), reconstruction, 169, 242
Saint John the Baptist and Saint Veronica (reverse: Chalice of Saint John the Evangelist; Munich and Washington), 161, 161–162, 182
Saint John Triptych (Bruges), 115
Triptych of Adriaan Reins (Bruges), 162–163
Triptych of Benedetto Portinari (Florence and Berlin), 38, 169
Virgin and Child and Maarten van Nieuwenhove (Bruges): description, 93, 94, 95
fastening mechanisms of, 163
functions of, 25, 42, 90
iconography of, 96, 97–99, 102–104, 106n4, 232
perspective and handling indicators, 159, 166, 167
preservation and provenance of, 182
standardization practices and, 181
Virgin and Child and a Donor (Chicago), 159
The Virgin and Child with Female Saints and Jean du Cellier with Saint John the Baptist (Paris), 177, 183, 183
Young Man in Prayer (Madrid), 162, 162
memorial tablets (epitaphs), 19–23, 34, 41, 50, 58n19, 88
narrative scenes, 132, 157–158, 167, 168
Natural History (Pliny), 63
Nieuwenhove, Maarten van, 88, 88–90, 100. See also Memling, Hans: Virgin and Child and Maarten van Nieuvenhove
Orley, Bernard van: descriptions of donor portraits by, 34, 40
Portrait of Marie Haneton, First Wife of Lambert du Briaerd (Edinburgh), 34, 41, 41
Virgin and Child (Polesden Lacey), 40
ownership. See donors and supplicants
Passion themes, overview, 16. See also Man of Sorrows themes
patronage, 18, 66–67, 80, 85, 178. See also donors and supplicants
The Patron at Prayer before the Virgin and Child (London), 38, 39
pendant paintings, 33–36, 111–112, 120n6, 173, 177–178, 181, 194n33
perspective: dextrality, principle of, and, 149n15
hierarchical organization and, 129, 163–167
lighting and, 159–160
perpendicular opening of diptych and, 146–147
Philip the Bold, 18, 30n55, 34, 80
Philip the Good: Jean de Gros and, 85
inventories of, 64–65, 148n4
prayer book of, 30n54, 47
Tavernier miniature of, 24–25, 47, 64, 64 (detail)
placement conventions: in books of hours, 38–41, 51–52, 55, 146
court etiquette and, 40, 130–131
dextrality, principle of, 129–133
in diptychs, 36–38, 40–41
exceptions to, 128, 145–147, 148n11
hierarchy of status and, 129–130, 131–132, 145–146
inverted perspective and, 149n15
laws of heraldry, 127–128
Pleydenwurff, Hans: Christ as Man of Sorrows and Count Georg von Löwenstein (Basel and Nuremberg), 20–21, 21
Crucifixion with Count Georg von Löwenstein (Nuremberg), 20, 20
Poitiers, Aliénor de, 40–41, 45n55, 130–131
portraits: in books of hours, 35, 38–40, 49–52, 55–56, 101
composition variations of, 34–35
devotional importance of, 24–25
false pairs of, 35–36, 36
gender and, 25, 31n59, 50–51, 132
of married couples, 37, 127, 148n8
paired vs. diptychs, 35–36, 177
representational, first, 51, 58n24. See also placement conventions
Prayer Book of Philip the Good (Vienna), 30n54, 47
prayer books. See books of hours
prayers, 49–50, 51–52, 54, 55, 97–101
preservation and survival, 182, 184–186
privacy, medieval notions of, 55
provenance and reconstruction, 182–189
Provoost, Jan: Christ Carrying the Cross and Portrait of a Fifty-four-year-old Franciscan (Bruges), 159, 160
Pucelle, Jean: Hours of Jeanne d’Evreaux (New York), 51, 58n24
reception, 178, 179–182, 184
reconstruction, 182–189
Reliquary with Man of Sorrows (anonymous; Amsterdam), 64, 65
reverses (versos), decorated: function of, 25, 35, 126–127, 158, 163, 169
hierarchical organization and, 159
of Italian diptychs, 17
lighting perspectives and, 159–160
subjects and decorations on, 17, 18, 35
triptychs and molding of, 159
reversible diptychs, 35, 158, 169
Rijckere, Bernard de: Adriaan van Santvoort and His Sons Guillaume and Adriaan and Anna van Santvoort and Her Daughter Catharina and Son Jan Baptiste, 148n8
royalty, French, practices of, 40, 85–90, 130–131, 174, 178
Saint George and the Dragon and Virgin and Child with Saints (ivory; Princeton), 67, 68
saints, patron, 17, 19, 53, 111, 129, 137
Salviati, Bernardijn, 133–137. See David, Gerard: Diptych of Bernardijn Salviati
scale, 17, 53, 56, 59n27, 68
Scorel, Jan van: Virgin and Child and Portrait of a Man (Tambov and Berlin), 34, 35
secular diptychs, 35–36
Siciliano, Antonio, 111–119, 122n35, 180–181
Sittow, Michel: Virgin and Child and Portrait of Diego de Guevara (Berlin and Washington), 188–189
spatial construction, 79, 96–97, 103–105, 106n4, 145
stationary diptychs, 126–127
status, social, 61–63, 68–70, 85–90, 129–132, 145–146
Suger (abbot of Saint Denis), 62, 63
supplicants. See donors and supplicants
Tavernier, Jean le: A Miracle of Our Lady (Paris), 138, 138
Philip the Good at Mass (Brussels), 47, 55, 64, 64
themes, 16–17, 97, 174. See also Man of Sorrows themes; Virgin, imagery of
Three Books on Life (Ficino), 62
time, concept of, 50, 76–77
triptychs, characteristics of, 128, 148n11, 159–160, 162–163, 168–169
updating of diptychs, 115–116, 179–182, 195n41
Velde, Joris van de, 139, 140, 141. See also Isenbrant, Adriaan: Diptych of the Van de Velde Family
Vermeyen, Jan Cornelisz: Cardinal Érard de la Marck and The Holy Family (Maastricht and Haarlem), 34, 38
Veronica, Saint, cult of, 59n35, 76
versos. See reverses (versos), decorated
viewer interaction and response: intercession and sacred image identification, 42, 103–104, 108n32, 145
proximity, illusions of, 52–53, 55, 79, 96–97, 106n4
Virgin, imagery of: in books of hours, 51–53
compositional proximity and, 52–53, 96–97, 106n4
iconography of, 47–48, 96–100, 102–103
placement conventions of, 38
for private devotion, 177
thematic panel pairs with, 16
Virgin and Child themes, 16, 19–20, 51–53, 103. See also specific titles of Virgin images
Virgin and Child and Christ Blessing (ivory; London), 73, 75
Weyden, Goossen van der, 98–99, 99
Weyden, Rogier van der: artistic versatility of, 51
diptych format of, 20, 35, 57n3, 73, 74, 85, 177
patrons of, 178
Deposition (Madrid), 74
Miraflores Altarpiece (Berlin), 167, 168
Saint George and the Dragon and Virgin and Child (Washington and Madrid), 65–66, 73, 174–175
Saint Luke Drawing the Portrait of the Virgin (Boston), 101
Virgin and Child (Vienna), 74
Virgin and Child and Jean de Gros (Tournai and Chicago), 85–90, 86, 186–187
Virgin and Child and Philippe de Croÿ (San Marino, Calif., and Antwerp), 61, 187–188
Weyden, Rogier van der, follower of: Virgin and Child (Cambridge, Mass.; left wing of Joos van der Burch and Saint Simon of Jerusalem [follower of Gerard David and unidentified artist]), 24, 58n19, 196n49
Wilton Diptych, 16, 17, 17, 18, 34, 48, 128, 146
wood panels, dating of, 215–223
Wouters, Laureins, 36, 36, 44n26