Seilern Triptych by Robert Campin (Master of Flemalle)

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.