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822:, from which it was hidden in an attic for decades. When it was brought out, the nude souls – thought to be offensive – were painted over with clothing and flames; it was moved to a different room, hung three metres (10 ft) from the ground, and portions were whitewashed. In 1836, the Commission of Antiquities retrieved it and began plans to have it restored. Four decades later it underwent major restoration – between 1875 and 1878 – when many of these additions were removed, but not without significant damage to the original paintwork, such as the loss of pigment to the wall-hangings in the donor panels, which were originally red and gold. In general, the central inside panels are better preserved than the interior and exterior wings. De Salins' panel is damaged; its colours have darkened with age; originally the
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776:, and the patron is recognizable from that work; both portraits show similar lips, a large chin and somewhat pointed ears. In van Eyck's portrait, Rolin is presented as perhaps pompous and arrogant; here – ten years later – he appears more thoughtful and concerned with humility. Campbell notes wryly that van der Weyden may have been able to disguise the sitter's ugliness and age, and that the unusual shape of his mouth may have been downplayed. He writes that while "van Eyck impassively recorded, van der Weyden imposed a stylised and highly personal vision of the subject". Van Eyck's depiction was most likely the more accurate; van der Weyden embellished, mainly by lengthening the nose, enlarging the eyes and raising the eyebrows.
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718:, completed in 1432. The use of grisaille is borrowed from that work, as is the treatment of the Annunciation. Van der Weyden uses iconography in the Beaune exterior that is not found in his other works, suggesting that Rolin may have asked that the altarpiece follow van Eyck's example. Van der Weyden was not inclined merely to imitate though, and arranged the panels and figures in a concentrated and compact format. Jacobs writes that "the exterior presents the most consistent pictorial rendering of trompe l'oeil sculpture to date". Gabriel's scroll and Mary's lily appear to be made of stone; the figures cast shadows against the back of their niches, creating a sense of depth which adds to the illusion.
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130:, who is buried in front of the altarpiece's original location. It is in poor condition; it was moved in the 20th century both to shield it against sunlight and protect it from the almost 300,000 visitors the hospice receives annually. It has suffered from extensive paint loss, the wearing and darkening of its colours, and an accumulation of dirt. In addition, a heavy layer of over-paint was applied during restoration. The two painted sides of the outer panels have been separated to be displayed; traditionally, the shutters would have been opened only on selected Sundays or church holidays.
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309:" interior panels. These document the possible spiritual fates of the viewers: that they might reach Heaven or Hell, salvation or damnation; stark alternatives appropriate for a hospice. When the outer wings (or shutters) are folded, the exterior paintings (across two upper and four lower panels) are visible. The exterior panels serve as a funerary monument for the donors. Art historian Lynn Jacobs believes that the "dual function of the work accounts for the choice of the theme of the Last Judgement on its interior".
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outside instigator of evil makes us realize that the chief torture of the Damned is not so much physical pain as a perpetual and intolerably sharpened consciousness of their state". According to
Bernhard Ridderbos, van der Weyden accentuated the theme by "restricting the number of the dead and treating them almost as individuals. As the damned approach the abyss of hell they become more and more compressed."
686:, two containing saints, and two panels with Gabriel presenting himself to Mary. The donors are on the outer wings, kneeling in front of their prayer books. Four imitation statues in grisaille make up the inner panels. The lower two depict St Sebastian and St Anthony. Sebastian was the saint of plagues and an intercessory against epidemics, Anthony the patron saint of skin diseases and
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287:, patients were unlikely to survive their stay at Beaune, yet the representation of St Michael offered consolation as they could "gaze on his figure immediately above the altar of the chapel every time the altarpiece was opened. Like Saints Anthony and Sebastian on the exterior of the polyptych, the archangel offered ... hope that they would overcome their physical ills."
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650:; the gate to Heaven in this work resembles the entrance to the Beaune hospice. The way to Heaven is shown clearly as a gilded church – the saved ascend a set of steps, turn right, and disappear from sight. It is fully enclosed in a single panel, whereas Hell extends onto the adjoining panel, perhaps hinting that sin contaminates all around it.
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care of patients was as important as the treatment of physical ailments. For those too ill to walk, Rolin specified that 30 beds be placed within sight of the altarpiece which was visible through a pierced screen. There were usually only two patients per bed, a luxury at a time when six to fifteen in a large bed was more common.
216:, signed in August 1443, that "in the interest of my salvation ... in gratitude for the goods which the Lord, source of all wealth, has heaped upon me, from now on and for always, I found a hospital." In the late 1450s, only a few years before he died, he added a provision to the hospital charter stipulating that the
389:. Rolin would have been familiar with the Autun Cathedral entrances, which may have influenced his commissioning of a Last Judgement for the hospice. Additionally, Rolin was aware of the liturgy associated with the Mass for the Dead, and would have known Last Judgement scenes associated with the Mass from 15th-century
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The work's moralising tone is apparent from some of its more overtly dark iconography, its choice of saints, and how the scales tilt far lower beneath the weight of the damned than the saved. The damned to Christ's left are more numerous and less detailed than the saved to his right. In these ways it
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The panels contain quotations in Latin from several biblical texts. They appear either as lettering seemingly sewn into the edges of the figures' clothes (mostly hidden in the folds), or directly on the surface of the central inner panel. The latter occur in four instances; two pairs of text float on
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in his right hand and a sword in his left, and sits on a rainbow extending across two panels, his feet resting on a sphere. His right hand is raised in the act of benediction, and his left hand is lowered. These positions indicate the act of judgement; he is deciding if souls are to be sent to Heaven
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The souls undergo a gradual transformation as they move from panel to panel. Those rising from their graves at
Michael's feet show little expression, but become more animated as they move to either side; horror and desperation become especially visible on the faces of the damned as they move towards
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The lower register presents Earth and contains the gates to Heaven and Hell. The imposing figure of Christ indicates the "reign of heaven is about to begin." The distinction between the earthly and heavenly realms creates a sense of order, and Christ "exudes calm and control", and a sense of balance
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of saints, apostles and clergy above depictions of the entrance to Heaven, and the gates of Hell. In both of the earlier works, Christ perches on a rainbow; in the Deësis panel he is also above a globe. While the two earlier works are filled with dread and chaos, van der Weyden's panels display the
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On the left, the saved have, according to Jacobs, "the same beatific expressions", but their postures gradually change from facing Christ and
Michael to looking towards Heaven's gate, most notably with the couple below Mary where the man turns the woman's gaze away from Michael, and towards Heaven.
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Michael, like
Sebastian and Anthony, was a plague saint and his image would have been visible to patients through the openings of the pierced screen as they lay in their beds. He is portrayed with iconographic elements associated with the Last Judgement, and, dressed in a red cope with woven golden
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The exterior panels are drab, according to Blum, who writes that on Rolin's panel the most colourful figure is the red angel, which, with its gold helmet and keys, "emerges like an apparition". Rolin and de Salins can be identified by the coats-of-arms held by the angels; husband and wife kneel at
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Heaven is represented by an entrance to the
Heavenly City, which is in a contemporary Gothic style illuminated by long, thin rays of light. The saved approach clasping their hands in prayer and are greeted at the entrance by an angel. Only a few souls pass through the heavenly gates at a time. The
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When the shutters are closed the polyptych resembles the upper portion of a cross. The elevated central panel allowed additional space for a narrative scene depicting a heavenly vista, a single large figure, or a crucifixion with space for the cross to extend above the other panels. Van der Weyden
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was intended to provide both comfort and warning to the dying; acting as a reminder of their faith and directing their last thoughts towards the divine. This is evident in its positioning within view of the patients' beds. Medical care was expensive and primitive in the 15th century; the spiritual
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Van der Weyden depicts Hell as a gloomy, crowded place of both close and distant fires, and steep rock faces. The damned tumble helplessly into it, screaming and crying. The sinners enter Hell with heads mostly bowed, dragging each other along as they go. Traditionally, a Last
Judgement painting
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was the first to mention this absence, and proposed that van der Weyden had opted to convey torment in an inward manner, rather than through elaborate descriptions of devils and fiends. He wrote, "The fate of each human being ... inevitably follows from his own past, and the absence of any
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Since before 1000, complex depictions of the Last
Judgement had been developing as a subject in art, and from the 11th century became common as wall-painting in churches, typically placed over the main door in the west wall, where it would be seen by worshippers as they left the building.
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playing trumpets to call the dead to their final destination. Michael's role in the Last
Judgement is emphasised through van der Weyden's use of colour: Michael's gleaming white alb contrasts with the cherubs' red vestments, set against a blue sky directly below heaven's golden clouds.
740:(portable altars) displaying their emblems. Although De Salins was reputedly pious and charitable, and even perhaps the impetus for the building of the hospice, she is placed on the exterior right, traditionally thought of as an inferior position corresponding to Hell, linking her to
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outweigh the blessed; Michael's scales have only one soul in each pan, yet the left pan tips below the right. Michael is given unusual prominence in a "Last
Judgement" for the period, and his powerful presence emphasises the work's function in a hospice and its preoccupation with the
809:) flows in the opposite direction; from the highest point downwards. The inscriptions to Christ's right are decorated in light colours, to the extent that they are usually difficult to discern in reproduction. The lettering opposite faces downwards, and is applied with black paint.
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developed a cult following in 15th-century France, and he was seen as a guardian of the dead, a crucial role given the prevalence of plague in the region. There was another severe outbreak in 1441–1442, just before Rolin founded the hospital. According to the art historian
437:, completed just a few years later in 1452. Christ, placed so high in the pictorial space and spanning both registers, orchestrates the entirety of the inner panels. Whereas earlier Last Judgements might have seemed chaotic, here he brings a sense of order.
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The altarpiece measures 220 cm × 548 cm (87 in × 216 in), and comprises fifteen separate paintings across nine panels, six of which are painted on both sides. When the shutters are opened, the viewer is exposed to the expansive
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dignitaries, dressed in contemporary clothing, are unidentified but include a king, a pope, a bishop, a monk, and three women. Rather than general representative types, they are portraits of specific unidentified individuals, according to
Shirley Blum.
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banker Angelo Tani who gave commissions to van der Weyden before his death in 1464. Because Memling's apprenticeship post-dated the completion and installation of the altarpiece, art historians speculate that Tani or Memling would have seen it
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Iconographical elements were gradually built up, with St Michael weighing the souls first seen in 12th-century Italy. Since this scene has no biblical basis, it is often thought to draw from pre-Christian parallels such as depictions of
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A number of the panels are in poor condition, owing variously to darkening of the colours, accumulated dirt and poor decisions during early restorations. The altarpiece stayed in the chapel from the time of its installation until the
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The Archangel Michael, as the embodiment and conduit of divine justice, is positioned directly below Christ, the only figure to reach both Heaven and Earth. He wears a dispassionate expression as he holds a set of scales to
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Both of the upper register wings contain a pair of angels holding instruments of the Passion. These include a lance, a crown of thorns and a stick with a sponge soaked in vinegar. The angels are dressed in white liturgical
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of death. His feet are positioned as if he is stepping forward, about to move out of the canvas, and he looks directly at the observer, giving the illusion of judging not only the souls in the painting but also the viewer.
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conveys the heavenly sphere in the tall vertical panel, whereas the earthly is relegated to the lower-register panels and the exterior view. Moreover, the T-shape echoes typical configurations of Gothic churches, where the
709:. The two sets of panels, unlike those on the interior, are compositionally very different. The figures occupy distinctly separate niches and the colour schemes of the grisaille saints and the donors contrast sharply.
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Van der Weyden disregarded division between panels; on the top left the apostle's robes flow onto the adjoining panel, on the bottom left a man is seemingly cut in two, and on the right the tip of angel's trumpet is
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workshop – most likely with the aid of apprentices – the panels were transported to the hospice once completed. The altarpiece is first mentioned in a 1501 inventory, at which time it was positioned on the
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or Hell, his gestures echoing the direction and positioning of the scales held by the Archangel Michael beneath him. His palms are open, revealing the wounds sustained when they were nailed to the cross, while his
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contrast sharply with "the hushed serenity of Rogier's composition", according to Lane, and in a mirror image of van der Weyden's altarpiece, Memling shows the saved outweighing the damned in St Michael's scales.
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into damnation. The souls balanced in the scales are naked. The blessed look towards Christ, the banished look downwards. Reinforcing this is the word above the figure in the lighter pan, on the viewer's left,
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The inscriptions follow the 14th-century convention of showing figures, imagery and motifs associated with the saved to Christ's right, and those of the damned to his left. The words beneath the lily (the
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fabrics over a shining white alb, is by far the most colourful figure in the lower panels, "hypnotically attracting the viewer's glance" according to Lane. He is surrounded by four
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sorrowful, self-controlled dignity typical of his best work. This is most evident in the manner in which the oversized and dispassionate Christ orchestrates the scene from Heaven.
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is on the far proper left. Between these, the dead rise from their graves, and are depicted moving from the central panel to their final destinations after receiving judgement.
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The dead rise from their graves around Michael's feet; some emerge to walk towards Heaven, others towards Hell. They are on a dramatically reduced scale compared to the saints.
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Beneath Michael, souls scurry left and right. The saved walk towards the gates of Heaven where they are greeted by a saint; the damned arrive at the mouth of Hell and fall
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in 1422, a position he held for the next 33 years. His tenure with the duke made him a wealthy man, and he donated a large portion of his fortune for the foundation of the
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Six of the outer panels (or shutters) have hinges for folding; when closed the exterior view of saints and donors is visible. The inner panels contain scenes from the
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Documents relating to the altarpiece's commission survive, with the artist, patron, date of completion and place of installation all known – unusual for a
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This contrasts with another couple on the opposite panel who face Hell; the woman is hunched over as the man raises his hand in vain to beseech God for mercy.
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84:. It consists of fifteen paintings on nine panels, of which six are painted on both sides. Unusually for the period, it retains some of its original frames.
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would depict the damned tormented by malevolent spirits; yet here the souls are left alone, the only evidence of their torment in their expressions.
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around 1443, when the hospital was founded. The altarpiece was ready by 1451, the year the chapel was consecrated. Painted in van der Weyden's
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791:("Come ye blessed of my father, inherit the kingdom prepared for you from the foundations of the world"). The text beneath the sword reads:
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notes that the panels indicate a deeply pessimistic view of humanity, with the damned far outnumbering the saved, especially compared to
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Jacobs, Lynn. "The Inverted 'T'-Shape in Early Netherlandish Altarpieces: Studies in the Relation between Painting and Sculpture".
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to imitate sculpture. Hence, the work clearly distinguishes between figures of the divine, earthly and hellish realms.
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imagery of a church as an earthly representation of Heaven was popularised in the 13th century by theologians such as
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in 1441, and was consecrated on 31 December 1452. At the same time, Rolin established the religious order of the
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In Memling's work the Deësis and Christ's placement, above St Michael with his scales, are almost identical to the
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holds scales to weigh souls. The lower register panels form a continuous landscape, with the panel on the far
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The panels were laterally divided so both sides could be displayed simultaneously, and a number have been
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and their inclusion is intended to reassure the dying that they will act as intercessors with the divine.
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Campbell, Lorne. "Early Netherlandish Triptychs: A Study in Patronage by Shirley Neilsen Blum" (review).
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Detail of Guigone de Salins, who is buried in front of the altarpiece's original location in the hospice
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Hayum, Andrée. "The Meaning and Function of the Isenheim Altarpiece: The Hospital Context Revisited".
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either side of Christ, two around Michael. Beneath the lily, in white paint are the words of Christ:
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was a light blue (today it is light green) and the shield held by the angel was painted in blue.
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The presentation of the resurrected dead across the five lower panels is reminiscent of a Gothic
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Lane, Barbara. "The Patron and the Pirate: The Mystery of Memling's Gdańsk Last Judgment".
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Technical analysis shows that the scales were at first tilted in the opposite direction.
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Scholars are unsure whether she was Rolin's second or third wife. See Lane (1989), 169
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arranged across two registers. The large central panel spans both registers and shows
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The view with the wings folded of six panels with the donors kneeling in the far wings
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altarpiece. It was intended as the centrepiece for the chapel, and Rolin approached
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Like many mid-15th century polyptychs, the exterior panels borrow heavily from the
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had decimated the population between 1438 and 1440. Furthermore, in 1435, when the
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DISCEDITE A ME MALEDICTI IN IGNEM ÆTERNUM QUI PARATUS EST DIABOLO ET ANGELIS EJUS
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VENITE BENEDICTI PATRIS MEI POSSIDETE PARATUM VOBIS REGNUM A CONSTITUTIONE MUNDI
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failed to bring a cessation to the longstanding hostility and animosity between
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in judgement. The blessed are to their right, the condemned to their left.
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Jean Wauquelin presenting his 'Chroniques de Hainaut' to Philip the Good
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Smith, Molly Teasdale. "On the Donor of Jan van Eyck's Rolin Madonna".
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Vested Angels: Eucharistic Allusions in Early Netherlandish paintings
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626:'s Cologne panel, where the saved crowd around the gate to Heaven.
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and France, Beaune suffered first the ravages of marauding bands of
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Early Netherlandish Paintings: Rediscovery, Reception and Research
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Petrus Christus: his place in Fifteenth-Century Flemish painting
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Christ sits in judgement in the upper centre panel. He holds a
1941:. University Park: Pennsylvania State University Press, 1989.
1837:. University Park: Pennsylvania State University Press, 2011.
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Van der Weyden may have drawn influence from Stefan Lochner's
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Opening Doors: The Early Netherlandish Triptych Reinterpreted
1747:. Berkeley: California Studies in the History of Art, 1969.
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and St Anthony represent healing. Both were associated with
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Two angels carrying the pillar on which Christ was scourged
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Acres, Alfred. "Rogier van der Weyden's Painted Texts".
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The two small upper register panels show a conventional
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Christ's face is identical to the representation in the
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gapes in places making visible the injury caused by the
1894:
Early Netherlandish Painting: Its Origins and Character
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is painted so as to instil terror, but without devils.
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seated on a rainbow in judgement, while below him, the
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Ridderbos, Bernhard; Van Buren, Anne; Van Veen, Henk.
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Simiolus: Netherlands Quarterly for the History of Art
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The Late Medieval Age of Crisis and Renewal, 1300–1500
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has led art historians to suggest a common tie with
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Diptych of Philip de Croÿ with The Virgin and Child
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Early Netherlandish Triptychs: A Study in Patronage
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1021:Both inscriptions quote from Christ's discourse on
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1903:. Amsterdam: Amsterdam University Press, 2005.
899: 1420 painting now in the Hotel de Ville,
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1814:A History of Ideas and Images in Italian Art
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1955:. Martlesham: Boydell and Brewer, 2012.
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1879:. Leuven: Peeters Publishers, 1998.
1781:. New York: Harper & Row, 1980.
359:and movement throughout the panels.
1896:. New York: Harper & Row, 1953.
1180:Jacobs (1991), 60; Lane (1989), 167
445:. Unusually for Christian art, the
430:, from which pours deep-red blood.
16:15th-century Netherlandish painting
2654:Paintings by Rogier van der Weyden
2327:Portrait of John I, Duke of Cleves
1029:), see Ridderbos et al. (2005), 35
14:
2679:Paintings of Michael (archangel)
2267:Portrait of Isabella of Portugal
1973:
604:
592:
580:
490:
475:
460:
1920:. London: Phaidon Press, 2004.
1849:Zeitschrift für Kunstgeschichte
1764:. London: Chaucer Press, 2004.
963:by van der Weyden's apprentice
692:illegitimate son named Anthony
194:. He dedicated the hospice to
1:
2674:Paintings of John the Baptist
2115:Saint Luke Drawing the Virgin
1816:. London: John Murray, 1983.
1802:. Westport: Greenwood, 2000.
954:
926:, which cared for the dying.
896:
888:
874:performing a similar role in
855:
764:
65:
2669:Paintings of the Virgin Mary
2586:Portrait of Charles the Bold
2291:Portrait of Francesco d'Este
2103:Virgin and Child with Saints
1663:Ridderbos et al., (2005), 31
599:The damned before their fall
587:The damned walk towards Hell
395:Hours of Catherine of Cleves
68:1443–1451 altarpiece by the
2578:Portrait of Philip the Good
2428:Seven Sacraments Altarpiece
2345:Diptych of Jeanne of France
1861:and the Mass of the Dead".
1461:Ridderbos et al. (2005), 35
773:Madonna of Chancellor Rolin
2705:
2570:A Man Reading (Saint Ivo?)
2091:The Descent from the Cross
2043:Virgin and Child Enthroned
1740:, Volume 21, No. 41, 2000.
696:Order of the Golden Fleece
2689:The Last Judgement in art
2255:Portrait of a Young Woman
2223:
2163:Saint Jerome and the Lion
2023:
1934:, Volume 20, No. 1, 1981.
1872:, Volume 73, No. 4, 1991.
1865:, Volume 19, No. 3, 1989.
1851:, Volume 54, No. 1, 1991.
1830:, Volume 59, No. 4, 1977.
1795:, Volume 47, No. 2, 1972.
337:As with van der Weyden's
2659:Judgment in Christianity
2464:Saint Columba Altarpiece
1918:The Northern Renaissance
107:, while the entrance to
2127:Saint Hubert Altarpiece
1743:Blum, Shirley Neilsen.
1023:The Sheep and the Goats
863:Wallraf-Richartz Museum
391:illuminated manuscripts
385:, specifically that at
950:
866:
837:Sources and influences
760:
730:
679:
642:
469:symbols of the Passion
414:
378:
301:
259:
209:
173:
134:Commission and hospice
118:in eastern France, by
46:
38:
2684:Paintings of apostles
2416:Miraflores Altarpiece
2392:Annunciation Triptych
2315:Portrait of Jean Gros
2199:Lamentation of Christ
2175:Saint John Altarpiece
2017:Rogier van der Weyden
1914:Smith, Jeffrey Chipps
932:
844:
831:transferred to canvas
758:
724:
677:
640:
409:Jesus Christ and the
408:
365:
298:
250:
233:Rogier van der Weyden
204:
103:showing the gates of
82:transferred to canvas
74:Rogier van der Weyden
44:
24:
2404:Crucifixion Triptych
2067:The Magdalen Reading
2055:The Madonna Standing
1982:at Wikimedia Commons
1937:Upton, Joel Morgan.
1738:Artibus et Historiae
1681:Hall (1983), 138–143
1564:Panofsky (1953), 270
1315:Jacobs (1991), 60–61
1303:Jacobs (1991), 36–37
1291:Jacobs (1991), 33–35
876:Ancient Egyptian art
122:, Chancellor of the
76:, painted in oil on
2452:The Braque Triptych
2440:Bladelin Altarpiece
2357:Crucifixion Diptych
2243:Portrait of a Woman
1672:Campell (1972), 291
1651:Campbell (2004), 77
1608:Campbell (2004), 22
1587:Lane (1989), 170–71
1578:Campbell (2004), 21
1498:Jacobs (1991), 98–9
1477:Campbell (2004), 81
1409:McNamee (1998), 181
1388:Lane (1989), 176–77
1210:Lane (1989), 171–72
1100:Vaughan (2012), 169
1079:Campbell (2004), 78
1065:Campbell (2004), 74
919:Isenheim Altarpiece
912:can be compared to
373:, west tympanum of
256:Livre de vie active
185:sœurs hospitalières
181:Pope Eugene IV
70:Early Netherlandish
2664:Paintings of Jesus
2303:Portrait of a Lady
1951:Vaughan, Richard.
1875:McNamee, Maurice.
1626:Acres (2000), 86–7
1596:Blum (1969), 40–41
1546:Jacobs (1991), 100
1534:Jacobs (2011), 115
1507:Jacobs (2011), 114
1282:Jacobs (2011), 112
1246:Campbell(1980), 64
1228:Lane (1989), 177–8
1121:Vaughan (2012), 94
951:
914:Matthias Grünewald
867:
761:
731:
680:
643:
641:Entrance to Heaven
415:
379:
302:
260:
254:, folio 77, 1482,
210:
116:Hospices de Beaune
58:The Last Judgement
47:
39:
35:Hospices de Beaune
2596:
2595:
2487:Beaune Altarpiece
1980:Beaune Altarpiece
1978:Media related to
1961:978-0-85115-917-1
1617:Smith (1981), 273
1555:Drees (2000), 501
1516:Jacobs (1991), 47
1363:Jacobs (2011), 60
1333:Jacobs (2011), 98
1324:Jacobs (2011), 97
1219:Hayum (1977), 505
1144:Hayum (1977), 508
1091:Smith (1981), 276
981:Beaune Altarpiece
957: late-1460s
820:French Revolution
795:
789:
542:
536:
411:Archangel Michael
222:Guigone de Salins
218:Mass for the Dead
205:Courtyard of the
196:Anthony the Great
128:Guigone de Salins
124:Duchy of Burgundy
97:Archangel Michael
80:with parts later
52:Beaune Altarpiece
27:Beaune Altarpiece
2696:
2516:
2493:
2470:
2458:
2446:
2434:
2422:
2410:
2398:
2375:
2363:
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2321:
2309:
2297:
2285:
2273:
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2249:
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2228:
2217:
2205:
2193:
2187:Virgin and Child
2181:
2169:
2157:
2145:
2133:
2121:
2109:
2097:
2085:
2073:
2061:
2049:
2033:Single religious
2010:
2003:
1996:
1987:
1977:
1870:The Art Bulletin
1798:Drees, Clayton.
1724:
1723:Lane (1991), 629
1721:
1712:
1711:Lane (1989), 171
1709:
1703:
1697:
1691:
1690:Hall (1983), 6–9
1688:
1682:
1679:
1673:
1670:
1664:
1661:
1652:
1649:
1636:
1635:Acres (2000), 87
1633:
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1462:
1459:
1446:
1445:Lane (1991), 627
1443:
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1427:Lane (1989), 178
1425:
1419:
1416:
1410:
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1397:Upton (1989), 39
1395:
1389:
1386:
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1379:Lane (1989), 172
1377:
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1355:
1354:Lane (1989), 177
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1304:
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1289:
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1280:
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1247:
1244:
1238:
1237:Lane (1989), 180
1235:
1229:
1226:
1220:
1217:
1211:
1208:
1199:
1198:Lane (1989), 170
1196:
1181:
1178:
1172:
1171:Lane (1989), 169
1169:
1163:
1162:Lane (1989), 168
1160:
1154:
1153:Smith (2004), 91
1151:
1145:
1142:
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1135:Lane (1989), 167
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1019:
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1004:
1001:
956:
898:
895:, and a similar
890:
860:
857:
793:
787:
769:
766:
715:Ghent Altarpiece
608:
596:
584:
558:John the Baptist
540:
534:
494:
485:to Christ's left
479:
464:
193:
178:
67:
2704:
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2107:
2095:
2083:
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2059:
2047:
2034:
2028:
2019:
2014:
1970:
1965:
1953:Philip the Good
1890:Panofsky, Erwin
1775:Campbell, Lorne
1758:Campbell, Lorne
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1525:Blum (1969), 46
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1486:Blum (1969), 42
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1418:Blum (1969), 30
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1264:Blum (1969), 39
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486:
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471:
467:Angels holding
465:
435:Braque Triptych
403:
387:Autun Cathedral
375:Autun Cathedral
353:gold background
340:Braque Triptych
335:
293:
187:
165:Treaty of Arras
143:Philip the Good
136:
126:, and his wife
37:, interior view
17:
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2624:1448 paintings
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1968:External links
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1911:
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1845:
1833:Jacobs, Lynn.
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2026:List of works
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894:
885:
883:
882:
877:
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827:
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790:
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751:
747:
743:
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728:
727:Nicolas Rolin
723:
719:
717:
716:
710:
708:
704:
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229:Netherlandish
225:
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139:Nicolas Rolin
133:
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120:Nicolas Rolin
117:
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71:
64:
61:) is a large
60:
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43:
36:
32:
28:
23:
19:
2584:
2581:(after 1450)
2576:
2568:
2550:
2531:
2508:
2486:
2485:
2462:
2450:
2438:
2426:
2414:
2402:
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1952:
1938:
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1917:
1900:
1893:
1876:
1869:
1862:
1858:
1848:
1834:
1828:Art Bulletin
1827:
1813:
1799:
1792:
1778:
1761:
1744:
1737:
1707:
1695:
1686:
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1592:
1583:
1560:
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1512:
1503:
1482:
1423:
1414:
1393:
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1359:
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1329:
1320:
1287:
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1215:
1176:
1167:
1158:
1149:
1140:
1117:
1096:
1017:
1008:
999:
984:
980:
978:
973:
965:Hans Memling
958:
952:
937:
934:Hans Memling
917:
910:
905:Great Deësis
892:
886:
879:
868:
849:
828:
816:
806:
802:
799:
792:
786:
783:
780:Inscriptions
771:
762:
746:original sin
735:
732:
713:
711:
703:Annunciation
700:
681:
656:
652:
644:
632:
628:
617:
551:
539:
533:
528:
526:
510:
501:
439:
434:
432:
416:
380:
370:
357:
338:
336:
333:Inner panels
311:
303:
285:Barbara Lane
269:
261:
255:
251:
226:
211:
146:
137:
113:
101:proper right
86:
57:
56:
51:
50:
48:
26:
18:
2536:(1447–1448)
2134:late 1430s)
891: 1435
750:Fall of man
707:Holy Spirit
684:donor wings
554:Virgin Mary
443:weigh souls
367:Gislebertus
345:iconography
291:Description
188: [
2649:Polyptychs
2603:Categories
2544:Embroidery
2525:Miniatures
2494:1445–1450)
2479:Polyptychs
2423:1442–1445)
2364:1464–1465)
2352:1452–1470)
2322:1460–1464)
2274:1445–1450)
2262:1440–1445)
2218:1460–1464)
2206:1460–1463)
2170:1450–1465)
2151:Visitation
2122:1435–1440)
2110:1435–1438)
2098:1435–1438)
2086:1435–1438)
2074:1435–1438)
2062:1430–1432)
2050:1430–1432)
1036:References
1027:Matthew 25
969:Florentine
737:prie-dieux
725:Detail of
280:St Michael
242:high altar
207:Hôtel-Dieu
175:écorcheurs
148:Hôtel-Dieu
78:oak panels
31:Oil on oak
2573:(c. 1450)
2384:Triptychs
2235:Portraits
1702:"Doom", 6
1041:Citations
865:, Cologne
813:Condition
807:maledicti
803:benedicti
659:hellscape
514:vestments
327:grisaille
272:Sebastian
264:polyptych
63:polyptych
2562:Workshop
2337:Diptychs
1793:Speculum
924:Isenheim
748:and the
688:ergotism
648:Durandus
562:St Peter
535:VIRTUTES
529:en masse
383:tympanum
300:visible.
237:Brussels
169:Burgundy
1730:Sources
974:in situ
859:
768:
630:Hell.
566:St Paul
541:PECCATA
520:and an
505:cherubs
452:liturgy
214:charter
72:artist
2589:(1460)
2515:
2492:
2469:
2457:
2445:
2433:
2421:
2409:
2397:
2374:
2362:
2350:
2320:
2308:
2296:
2284:
2272:
2260:
2248:
2216:
2204:
2192:
2180:
2168:
2156:
2144:
2132:
2120:
2108:
2096:
2084:
2072:
2060:
2048:
1959:
1945:
1924:
1907:
1883:
1841:
1820:
1806:
1785:
1768:
1751:
948:Gdańsk
872:Anubis
861:1435.
570:haloed
483:Deësis
447:damned
161:plague
153:Beaune
105:Heaven
93:Christ
2517:1450)
2502:Civic
2471:1455)
2459:1452)
2447:1450)
2435:1448)
2411:1440)
2399:1434)
2376:1460)
2310:1460)
2298:1460)
2286:1460)
2250:1435)
2194:1460)
2182:1455)
2158:1445)
2146:1441)
2139:Pietà
2035:works
1932:Gesta
992:Notes
901:Diest
824:niche
770:1435
522:amice
428:lance
349:saved
323:choir
315:naves
192:]
157:Autun
1957:ISBN
1943:ISBN
1922:ISBN
1905:ISBN
1881:ISBN
1839:ISBN
1818:ISBN
1804:ISBN
1783:ISBN
1766:ISBN
1749:ISBN
881:doom
657:The
552:The
424:cope
419:lily
319:apse
262:The
109:Hell
55:(or
49:The
25:The
2513:(c.
2490:(c.
2467:(c.
2455:(c.
2443:(c.
2431:(c.
2419:(c.
2407:(c.
2395:(c.
2372:(c.
2360:(c.
2348:(c.
2318:(c.
2306:(c.
2294:(c.
2282:(c.
2270:(c.
2258:(c.
2246:(c.
2214:(c.
2202:(c.
2190:(c.
2178:(c.
2166:(c.
2154:(c.
2142:(c.
2130:(c.
2118:(c.
2106:(c.
2094:(c.
2082:(c.
2058:(c.
2046:(c.
1700:OED
916:'s
742:Eve
518:alb
369:'s
321:or
270:St
151:in
2605::
1916:.
1892:.
1777:.
1760:.
1716:^
1656:^
1640:^
1601:^
1569:^
1539:^
1491:^
1466:^
1450:^
1432:^
1402:^
1368:^
1347:^
1308:^
1296:^
1269:^
1251:^
1203:^
1185:^
1126:^
1105:^
1084:^
1070:^
1048:^
955:c.
946:,
936:,
897:c.
889:c.
884:.
856:c.
854:,
848:,
833:.
765:c.
752:.
744:,
698:.
556:,
524:.
244:.
190:fr
66:c.
33:,
2009:e
2002:t
1995:v
1025:(
305:"
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