Continue now along this wall to the R. of the Adam and Eve.
24. J. Gossart, called Mabuse (1470-1541), triptych with a Glorification of the Magdalen, given by a special votary. The central panel contains the chief event in her history—the Supper at the House of Simon the Pharisee. The host and one guest are admirably represented by Flemish portraits, exquisitely robed, and reproduced in marvellous detail. The figure of the Christ is, as usual, insipid. Beneath the table, the Magdalen, as central figure, with her alabaster box of ointment, kisses the feet of Christ. To the right, Judas, with his traditional red hair, and bearing the purse, asks, with a contemptuous gesture, Why this was not sold and given to the poor? In the background are the Apostles. Conspicuous amongst them is the conventional round face of St. Peter. The whole scene takes place in a richly decorated interior, with charming colouring and a finely rendered clock, curtain, and other accessories. Gossart visited Italy, and was one of the earliest Flemings to be influenced by the Italian Renaissance. You will not overlook the half-Gothic, half-Renaissance architecture, nor the chained squirrel, nor the semi-grotesque episodes in the background, very domestic and Flemish. (Moses above the Pharisee’s head marks his devotion.)
The left panel has another principal event in the Magdalen’s life, the Resurrection of Lazarus. Here also the Christ is insipid, but the Peter behind him, in a green robe, is finely characterized; and the John, affected. Beside are the Magdalen (same dress as before) and Martha, with a group of women and bystanders in singular head-dresses. In the background rises a very ideal Bethany. The right panel represents the kneeling donor (an unknown Premonstratensian abbot); on his book is written, “Mary Magdalen, pray for us.” Above him is seen the floating figure of the Magdalen, clad only in her own luxuriant hair, and raised aloft by angels from her cave, the Sainte Baume, in Provence, to behold the Beatific Vision. The background has Stations of the Cross, actually copied (with the rest of the landscape) from those at the Sainte Baume, which Gossart must have visited at his patron’s instance. On the backs of the wings, yet another scene in the life of the Saint, Christ and the Magdalen in the Garden. All this triptych is finely modelled and well-coloured.
552. Three panels attributed to Roger van der Weyden, of Tournai, town painter of Brussels, and teacher of Memling—a highly symbolical and religious master. Scenes from the Life of the Virgin. In the centre, the Presentation of the Virgin in the Temple. The foreground is occupied by St. Joachim and St. Anna, parents of the little Virgin, who is seen mounting the regulation fifteen steps of the Temple, assisted by a somewhat unusual angel. At the head of the steps stands the High Priest. Within, the Virgins of the Lord are seen reading. To the right, still in the same panel, is the Annunciation, with the usual features, angel L., Madonna R., prie-dieu, bed, Annunciation lily, and arcade in the foreground. The left panel has the Circumcision; and the right, Christ among the Doctors in the Temple, with some excellent portraits in the background. (For Van der Weyden’s place in art, see Conway; for the Madonna ascending the steps, Legends of the Madonna.)
554. Also attributed to Roger van der Weyden: parts of the same series, Way to Calvary and the Crucifixion. The first has the usual brutal soldiers and a suffering but not very dignified Christ. (Study for comparison with others.) Beside the Virgin kneels the donor. The second has the conventional figures of the fainting Madonna, St. John, the Magdalen, and the other Maries: sun and moon darkened. In the distance of both, Flemish towns. (Good trees and landscape.)
105a. Fine Madonna with Child, and an apple by Van Clìve.
159. A crowded Calvary of the German School (late 15th century) with an emaciated Saviour, writhing and distorted thieves, and rather wooden spectators. Observe the St. Longinus in armour on the bay horse, piercing the side of Christ, for comparison hereafter with such later conceptions as Rubens’s at Antwerp. To the L. is the group of the Madonna, St. John, and the two Maries. The red eyes of St. John are characteristic of this scene, and descend to Van Dyck. The Maries are unmitigated German housewives. The Magdalen embraces the foot of the Cross. On the right are spectators and a brawl between soldiers. The background is full of characteristic German devils and horrors: also St. Veronica, Peter and Malchus, Judas hanging himself, etc.
Above it, 523, German School, attributed to Wolgemut, Christ and the Apostles: gold background. Very flavourless: shows the tendencies from which the Van Eycks revolted.
517. Roger van der Weyden: head of a Woman Weeping. Perhaps a portion of a large composition, or a study for one. More likely, a copy by a pupil. Much damaged.
Now, return along the same wall, beyond the great Van Eyck in the centre.