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Braque Triptych
'' The Braque Triptych'' (or '' The Braque Family Triptych'') is a c. 1452 oil-on-oak altarpiece by the Early Netherlandish painter Rogier van der Weyden. When open, its three half-length panels reveal, from left to right, John the Baptist, The Virgin Mary with Jesus and Saint John the Evangelist, and on the right, Mary Magdalene. When the wings are closed, the work shows a vanitas motif of a skull and cross.
The altarpiece was probably commissioned by either Jehan Braque of Tournai or, more likely, his wife Catherine de Brabant – possibly after Jehan's sudden and early death in 1452. The couple had only been married for a brief period. Catherine was much younger than her husband; when they married in 1450 or early 1451, she was 20 and some 12 or 13 years his junior. She evidently held a deep and lasting affection for him. When she died, almost 50 years after him, she had asked to be buried alongside him, despite remarrying years earlier.〔Blum, 30-1〕
''The Braque Triptych'' is the only surviving devotional van der Weyden work known to be painted for private rather than public display.〔Blum, 30〕
==Triptych==
Inscription and free floating text play a major role in the work. Each interior panel contains Latin inscriptions issuing from the figures' mouths or floating above them, serving as either speech bubbles or commentary. They are echoed by the words inscribed on the cross of the left exterior panel. The texts are all taken from the Gospel of John, except for that of the Virgin's, which comes from the Gospel of Luke. The words of John the Baptist curve upwards from his mouth to the top right corner of the frame, and seem to join those of the Virgin in the center panel, which in turn flow along the top of the center panel.〔Acres, 89〕 The words of the Magdalen, in contrast, form a flat horizontal line, breaking the curved left to right continuity of the text of the left and central panels. Similarly The Magdalene's words differ from that of the other panels; they are not uttered by her and instead consist as a detached commentary on her. It is perhaps because of this that they are not rendered with, as art historian Alfred Acres puts it, the "sinuous grace" of the others, as they are "words written ''of'' the Magdalene not spoken or written ''by'' her."〔 Her text, from John 12:3, reads ''Mary therefore took a pound of ointment of right spikenard, of great price, and anointed the feet of Jesus''.〔Acres, 88〕
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