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| around 1410-20, Courtauld Gallery, London |
Seilern Triptych (named after its previous owner)
is considered to be the earliest known work attributed to Robert Campin
(Master of Flemalle). It’s also known as the Entombment Triptych,
after the central scene. However, when we pay closer attention, we can
recognize many iconographic themes unified into that one scene. These
are often called allusions or references to different stages of a larger
cycle, the Passion. In the main theme, Entombment, there are
traditional iconographic elements; Joseph of Arimathea and Nicodemus
are present to wrap the dead body of Christ in his burial shroud. St
John, however, is holding a devastated Virgin, who, in grief, leans over
her dead son’s body. This clearly refers to Lamentation, and creates a
kind of a scene within a scene. Erwin Panofsky called it a bold
combination and compared it to a similar scene in
Parement de Narbonne.
There is also Mary Magdalene, putting oil on Christ’s feet, alluding to
the Anointment. This scene happens chronologically earlier in the
Gospels, but it can be understood as foreshadowing of the future
sacrifice of the Anointed One. In that sense, it is the fulfillment that
is represented in Entombment triptych. Another interesting motive is
the presence of St Veronica with a sudarium, a piece of cloth with which
she wiped Christ’s sweaty face on his way to Golgotha, after which his
face miraculously appeared on the cloth. Her presence in this particular
scene is allusion to Calvary or the Way of the Cross. Finally, the
angels holding instruments of Passion, like spear, sponge, crown of
thorns, are referring to the Crucifixion. Left panel, with empty cross
and a ladder, represents another traditionally separate scene, Descent
from the Cross, or the Deposition. Right panel is reserved for
Resurrection, which traditionally is not a part of the Passion cycle,
but is used as a scene that gives hope and meaning to the Christ’s death
and sacrifice, and therefore can be understood as a part of the
Passion. All three panels are united with a golden background ornamented
with vine branches, symbolizing Christ’s sacrifice, a true vine.
Instead of representing scenes of Passion as narrative episodes,
Robert Campin unifies them in one transcendent scene. This iconographic
unity is not really followed with a formal unity. Two lateral panels are
differently structured than the central one. There is an attempt at
pictorial depth (like in a “Crucified Thief” I wrote about), but it is
still dependent on the style of International Gothic. The central panel
is where Robert Campin’s creative force shines. This panel is crowded
with figures, and with his talent for sculptural forms, it looks almost
like a relief. Tactical quality concerns him more than pictorial depth
here, which is evident in carefully placed folds, detailed wardrobes,
fine sense for color, bold showing of figures from their backs, and
especially in the emotional expression of his characters, most notably
the touching gesture of the angel wiping his tears with the hand.
