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Object of the Month: July 2015

St. Michael the Archangel and St. Agnes

Oil on panel

Colijn de Coter

Flemish, c. 1455–d. 1538

Click on the links throughout the article to view additional artists’ works and reference material.

The construction of Colijn’s artistic career is based on three signed works, each representing the early, middle, and later phases of his style. Rogier van der Weyden’s compositional sense greatly influenced him, even though Colijn painted nearly half a century later. Colijn loved to explore the tactile qualities of the subjects he painted, while retaining the sculptural drapery effects characteristic of the art of this period. The influence of this artist’s works spread throughout his native Brussels in the late fifteenth and early sixteenth centuries.

Here, St. Michael is richly dressed in priestly embroidered silk robes similar to those found in van der Weyden’s works. The highly decorative cope is rendered so carefully that seemingly every gold thread of the garment is visible. The front trim of the cope has various unidentifiable saints within architectural niches while an elaborate gold quatrefoil morse clasps the garment together. Because St. Michael was originally part of a wing panel, de Coter breaks from van der Weyden’s frontal model and faces the character to the right in a contrapposto position that takes up nearly the entire width and height of the panel. The animation of his twisting pose is graphically emphasized by the long cross-staff that he uses to defeat the demon. One hand balances and thrusts the symbolic weapon into the demon’s throat, causing the flesh of its neck to protrude. Two fingers of the other hand carefully hold a ring in the fulcrum of the scales of justice.

The objects being weighed in the scales are of particular interest. On the right is a tiny seraph, identified by its six wings, representing a soul. Although Michael’s efforts will successfully prevent the demon from pulling the soul down, the object in the left pan of the scale far outweighs the soul and tips the scale to keep the symbolic seraph aloft (and safe from hell). What is it that could be providing such power to raise the soul out of evil’s grasp? At first glance it seems as if it might be representing the blood of Christ in a shallow dish. I John 1:7 says, “…and the blood of Jesus Christ his Son cleanseth us from all sin.” Closer examination reveals an image painted into the red oval shape (with pointed ends) that portrays a figure with a tiered tiara wearing a cope with a cross staff held in the left hand, the right hand across the front in a blessing position, and an arched throne behind. A narrow band also runs around the outer edge with marks that appear to represent letters. Altogether, the imagery presented identifies this object as a red wax seal in a lead dish—a type used by numerous secular and ecclesiastic rulers at this time but closest in shape and image to seals of a bishop or an abbot.

The presence of an ecclesiastic seal on St. Michael’s scale is virtually unknown outside of this image. Use of wax seals were commonplace throughout Europe in the fourteenth and fifteenth centuries and were used to validate acts or protect and validate documents that were executed under an official’s name. The implied meaning behind the seal’s efficacy to counterbalance the soul and keep it from going to hell is remarkable. Its presence either authenticates the seal owner’s power to save souls (on Christ’s behalf) or is meant to show a certain bishop or ecclesiastic’s validation for Christ’s payment for mankind’s sins (as evidenced by Michael’s cross-staff overcoming the demon’s efforts to claim the soul). The specific identity of the ecclesiastic office represented by the seal is not readily apparent in the present image. Nothing on the seal identifies a specific person who owns it. Perhaps the original panel(s) that belonged with the present wings provided more information on whose seal and authority is being promoted with this iconography.

The other figure on the fused panel represents St. Agnes dressed in gorgeous brocade and scarlet fabric. Agnes actively reads her book while holding her symbolic, name-sake lamb on a gold-chained leash. The finery of dress is particularly evident and provides a pleasing balance to the ecclesiastic garb of Michael. De Coter’s composition delicately balances the swayed poses of the two figures as each gently holds their respective objects—Michael’s scale and Agnes’s leash.

Although no original documents are known for the present work and little period archival documentation survives on the artist himself, de Coter remains one of the most important and prolific painters from the Renaissance in Brussels. St. Michael the Archangel and St. Agnes is among his best preserved works and testifies to the ability and ingenuity of this artist.

John M. Nolan, Curator

Published in 2015

Whatsoever Things Are… Just: St. Michael the Archangel and St. Agnes

In this rare painting by the artist, Colijn de Coter creates an exquisite, powerful image to highlight the wonder of the gospel.

Visit HERE for the next video to consider what is Just, referencing Christ’s life.

Northern Renaissance

The first principality in Northern Europe to emerge culturally from the devastating ravages of medieval times was the Duchy of Burgundy. By 1425 the Burgundian provinces of Flanders (now Belgium) and Holland rose as the centers of artistic innovation. Flanders produced the most commercially viable towns–Bruges, Ghent, Antwerp and Brussels. Of these cities, Bruges emerged as the artistic center of the century. For example, the van Eyck brothers established themselves in Bruges as the greatest artists of the period. Their pictorial achievements blended the artistic elements of space, color, and perspective with a realistic technique that brought nature into focus with unprecedented detail.

The heightened sense of realism resulted largely from the use of oil pigments instead of tempera and egg yolk. The attention to detail in early Flemish painting derives in part from the artists’ heritage as book illuminators, in contrast to Italian artists whose heritage consisted of monumental frescoes.

Object of the Month: August 2023

St. Margaret, St. Ursula, and St. Agnus

Oil on panel

Unknown Rhenish School

Rhenish, active c. 1500

In last month’s article on the companion panel by this Rhenish Master, we discovered that context reveals a wealth of information. We also learned that although there are common symbols in Christian iconography, most saints have one or more distinct attributes that alert us to their identity. Such clues are particularly important when seeking to determine saints with common names like Catherine—or Margaret.

There are two Margaret’s mentioned in traditional hagiographies: St. Margaret of Antioch and St. Margaret of Scotland. The far-left figure in this panel is most likely St. Margaret of Scotland. How do we know? According to legend, Margaret of Antioch was a young beauty who endured several harrowing ordeals before being martyred, including being swallowed by a dragon. The absence of this mythical beast, which became Margaret of Antioch’s distinguishing attribute, provides the first clue. In addition, there are no accompanying symbols indicating that the figure in this panel was martyred (e.g., no laurel wreath, sword, etc.). This elegantly posed Margaret simply points to the cross she holds. The cross is, of course, a universal symbol of Christianity but it is also an integral part of Margaret of Scotland’s life and legacy.

A relative of Edward the confessor, Margaret and her brother were forced to flee England when William the Conqueror invaded the realm. They took refuge in Scotland at the court of King Malcolm Canmore where Margaret “as beautiful as she was good and accomplished” soon captured the heart the king. The two were married in 1070. Alban Butler notes, “This marriage was fraught with great blessing for Malcolm and for Scotland. He was rough and uncultured but his disposition was good, and Margaret through the great influence she acquired over him, softened his temper, polished his manners, and rendered him one of the most virtuous kings who ever occupied the Scottish throne. . . . What she did for her husband Margaret also did in a great measure for her adopted country” (Butler, p. 182). She encouraged (and in some cases spearheaded) much needed reforms in the arts, education, and religion. She would die just four days after her husband, who had been slain while trying to stave off an attack on their castle. In addition to a cross, Margaret is often shown wearing her crown as in the stained-glass panel to the right from the Royal Collection Trust. (For a more detailed overview of Margaret’s life and times see David McRoberts historical essay, “St. Margaret Queen of Scotland.”)

Unlike Margaret of Scotland, there is considerable doubt regarding the historicity of the center figure St. Ursula. According to legend Ursula was the daughter of a Christian monarch who caught the eye of a pagan king. Upon his proposal Ursula asked (and was granted) a three-year delay. During this time of reprieve, she sailed off to visit the shrines of the saints. Accompanying her on the journey were ten noble ladies-in-waiting and several thousand companions of “lower birth.” At the end of the grace period, this formidable entourage turned toward home. However, a storm-tossed sea drove them off course forcing them to disembark at Cologne. While awaiting favorable winds, they crossed the Alps to visit the tombs of the apostles in Rome. Unfortunately when the sojourners returned to Cologne, they found the city besieged by the Huns—whose chieftain demanded that Ursula become his wife. When she refused, she and her fellow travelers “were set upon and massacred for their Christianity by the heathen Huns. Then the barbarians were dispersed by angels, the citizens buried the martyrs, and a church was built in their honor” (Butler, 130).

In this panel, Ursula is pictured holding a heart pierced with the three arrows the Chieftain supposedly used to kill her. In addition to this distinguishing attribute Ursula is also sometimes painted surrounded by her martyred entourage. The painting to the left by Vittore Carpaccio is a good illustration. Carpaccio’s rendering of Ursula is part of a famous cycle in the Gallerie dell’ Accademia in Venice—which is currently undergoing restoration. The cycle consists of nine paintings from Ursula’s life. You can read more about the history and preservation of this impressive undertaking at Save Venice: Conserving Art, Celebrating History.

The third figure, St. Agnes, has always been extremely popular in the lexicon of saints. According to the eminent church father Augustine, she was just thirteen when martyred. Her death likely occurred in Rome at the outset of Diocletian’s persecution which began in March of 303 AD. Though just a girl, “her riches and beauty excited the young noblemen of the first families in Rome to contend as rivals for her hand” (Butler, p. 96). But Agnes had resolved not to marry and when her suitors failed to persuade her otherwise, they went as one before the governor to accuse her of being a Christian. The wily politician at first endeavored to procure her recantation through seductive promises of worldly treasure. To no avail. “He then made use of threats, . . .terrible fires were made, and iron hooks, racks and other instruments of torture displayed before her, with threats of immediate execution. The heroic child surveyed them undismayed” (Butler, p. 96). The profligate politician then sent her to a house of prostitution, but any who sought to harm her, “were seized with such awe at the sight of the saint that they durst not approach her” (Ibid, p. 96). She was sent back to the governor unscathed which so stoked his rage that he had her beheaded, making the sword one of her defining attributes. She is also often pictured with a lamb (relating her name to the word agnus which is Latin for lamb). M&G’s St. Michael the Archangel and St. Agnes by the Flemish painter Colijin de Coter highlights this symbol. Although modern authorities tend to dismiss many of the particulars of Agnes’s story, there is little doubt that she was martyred during the Roman persecution and that she was subsequently buried in one of the catacombs just outside of Rome along the Via Nomentana.

Donnalynn Hess, Director of Education

Reference:

One Hundred and One Saints: Their Lives and Likenesses Drawn from Butler’s “Lives of the Saints and Great Works of Western Art.” A Bulfinch Press Book: Little, Brown and Company (Compilation Copyright 1993).

Published 2023