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''The Virgin and Child with Canon van der Paele'' is a large oil on oak panel painting by the Early Netherlandish painter Jan van Eyck. The panel was commissioned as an epitaph for Joris van der Paele, a wealthy clergyman from Bruges. It is one of the earliest known Northern ''Sacra conversazione''.〔 It shows the Virgin Mary with the child Jesus on her lap,〔 seated on an elevated throne decorated with carved representations of Adam and Eve, prefigurations of the Crucifixion and Resurrection of Jesus, and figures from Old Testament scenes.〔Borchert (2011), 146〕 Mary is positioned at the center of a tight semicircular and sacred interior space, seemingly modelled on and representing a church interior. Saint Donatian of Reims, patron saint of Bruges' collegiate church, stands to the left, with Saint George (van der Paele's name saint) dressed in the pomp of a medieval knight's armour, to the right. Both are identified in the Latin inscriptions on the lower border of the imitation bronze frame. George is shown lifting his helmet in respect and presenting the elderly Canon to Mary. Van der Paele is dressed in white surplice and is shown piously reading from a book of hours.〔Rothstein, 49〕 It is one of van Eyck's late works, and was commissioned in the autumn 1434 and took two years to complete. It was intended both to celebrate the still living donor's dedication to his church, St. Donatian's Cathedral in Bruges, and to serve as his epitaph. The panel contains one of the finest extant examples of Oriental carpets in Renaissance painting〔Pächt (1999), 82〕 and shows an obvious debt to manuscript illumination.〔Fegley, Susan. "The Contemplative Eye: Early Netherlandish Painting". ''World and I'', August 1998.〕 The painting is characterised by its innovative use of illusionism〔 and complex spatial composition, and incorporates rich and detailed symbolism and allegory. It is widely considered one of van Eyck's most fully realised and ambitious works and has been described as a "masterpiece of masterpieces".〔Van Der Elst, 65〕 The work has an overall sculptural look, while the throne, windows, arches and hanging canvases borrow from the conventions of Romanesque architecture.〔Borchert (2008), 58〕 The panel is still with its original oak frame. Each side bear Latin inscriptions; Donatian is described as having "Enjoy() the Glory of God", while George has "Triumphed over Death".〔 The upper border of the frame contains words from the Book of Wisdom, comparing the Mary to an "unspotted mirror".〔 ==Joris van der Paele== The panel's donor, Joris van der Paele, was born in Bruges c 1370 and spent his early career as a lay papal scribe in Rome before returning to his native city in 1425 as a wealthy man.〔Borchert (2008), 56〕 There he was appointed Canon's Benefice at the Saint Donatian's collegiate church,〔Now a Cathedral〕 a position which afforded him plush living quarters, a significant social status, and income from the various parishes under his remit. In the early 15th century Mary grew in importance as an intercessor between the divine and members of the Christian faith. The concept of purgatory as an intermediary state that each human soul had to pass through before admission to heaven was at its height.〔MacCulloch, Diarmaid. ''The Reformation: Europe's House Divided''. London: Penguin Books, 2005. 11-13. ISBN 0-14-303538-X〕 Prayer was the most obvious means of decreasing time in limbo, while the wealthy could commission new churches, extensions to existing ones, or devotional portraits. At the same time, there was a trend towards the sponsorship of requiem masses, often as part of the terms of a will, a practice that van der Paele, in his official capacity, is known to have actively sponsored. With this income he endowed the churches with embroidered cloths and metal accessories such as chalices, plates and candlesticks.〔 An illness in 1434 left van der Paele unable to fulfill the role and to question both his mortality and position as canon. In response he endowed a chaplainy to the church and commissioned this work from van Eyck. His bequest allowed him a requiem mass, a daily mass and three votive masses a week. A second chaplaincy in 1443〔Rothstein, 211〕 centered on prayers for his family,〔 and guaranteed that after his death, the requiem mass would end with readings of the Miserere mei and de Profundis.〔van Oosterwijk, Anne. "(Madonna with Canon Joris Van der Paele )". Vlaamse kunstcollectie. Retrieved 18 August 2012.〕 An inscription on the lower imitation frame refers to the donation, "Joris van der Paele, canon of this church, had this work made by painter Jan van Eyck. And he founded two chaplaincies here in the choir of the Lord. 1434. He only completed it in 1436, however."〔 The panel was donated to the church either in 1436, or on van der Paele's death in 1443.〔 It remained there until the church was demolished in 1779. Most likely the work was first hung in the church nave as an accompaniment to an altar for Saints Peter and Paul, and used for memorial masses for van der Paele and his family. It was installed at the main altar after the Iconoclasm of 1566.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Virgin and Child with Canon van der Paele」の詳細全文を読む スポンサード リンク
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