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Tag Archives: M&G collection

Object of the Month: March 2021

Christ and the Samaritan Woman

Oil on canvas, c. 1620

Abraham Bloemaert

Dutch, 1566-1651

Abraham Bloemaert, whose career spanned more than 50 years, adapted to several major changes in prevailing artistic styles. His art began firmly rooted in the late mannerist tradition with its elongated figure-types and complex compositions, but later changed to the tenebrist style brought from Italy by some of his students. As the master of many important Dutch painters, including Terbrugghen, van Bijlert, and Honthorst, Bloemaert is considered one of the most important and influential Dutch artists of the early 17th century.

The subject of Christ and the Samaritan Woman enjoyed popularity for many generations in the Netherlands. While artists generally painted this theme in a landscape (horizontal) orientation, Bloemaert chose a vertical one. This change allows him to focus on the figures in the foreground without surrounding countryside to distract the viewer. It also allows him to create a more intimate portrait of the two major characters in the story.

According to Art Daily, “The bulk of his painted oeuvre is made up of history pieces, paintings with large figures depicting an episode from a story. . . . Since the fifteenth century, art theorists had regarded history painting as the apex of the hierarchy of painterly genres.” And since this is a history painting, “to comprehend such a picture, [viewers] have to know the story” (Art Daily).  Bloemaert portrays the Samaritan woman’s conversion as told in the Gospel of John, chapter 4. Of course, he needs to choose which moment in the storyline to freeze for the viewer’s consideration. But make no mistake, the whole story is important.

The Story

In John 4, a weary Christ confronts a marginalized woman with a simple question: “Give me to drink” (4:7). She responds with a defensive reminder that the “Jews had no dealings with the Samaritans” (4:9) who were usually ostracized as an ethnic group.  The Jews hold that their descent from Jacob is the purer one, unadulterated by intermarriage as the Samaritans’ was. This woman is in a very uncomfortable position from the beginning of the conversation. She has also come to the well at noon. Drawing water, then carrying water any distance in the heat of the Middle Eastern day is burdensome. She must have had a compelling reason for her presence at that time. The well was a social gathering spot, a type of “watering hole” for women from the village and even herdsmen from the fields. It seems clear that the woman is avoiding people.

Jesus then asks her another question, a “who” question somewhat like hers: if she only knew Who was asking a drink from her, she would ask Him for water, and it would be “living water” (4:10), superior to that from the well. Defensively, she notes He has nothing with which to draw water from the well, unlike her rope and pitcher seen in the painting. She follows up with a history lesson: Jacob, a common ancestor, dug the well, and it gives good water, tasty and plentiful. Christ responds with an elaboration on His “living water.” The major difference, He says, between the types of water is their thirst-quenching properties. How she must have tired of the hot, dusty chore of fetching water from a well probably some distance from the village. Then she asks for His water in order to ease her workload: “Sir, give me this water, so that I will not be thirsty or have to come here to draw water” (4:15).

Next, Jesus changes the subject abruptly and tells her to call her husband. Here seems to be the moment of the painting, and the marginalization of the woman increases. With His hand outstretched Christ tells her she has had five husbands and is currently living with a man not her husband. Morally, the woman is on the fringe of society; undoubtedly this fact is the reason for her midday water run. In the painting, she tilts her head downward. She must have been astonished by His knowledge; she may have been ashamed. She certainly tries to deflect the conversation.

This woman, like most people, does not want to come directly to Jesus. But she moves one step closer: “I perceive that you are a prophet” (4:19). She poses a religious red herring question about the worship of God: whether the Jews were right about Jerusalem or the Samaritans about their mountain. Christ kindly answers her question, “Salvation is from the Jews” (4:22), from the line of David. She obviously knows her Old Testament and brings up not only the coming of the Messiah, but also His omniscience: “When He comes, He will tell us all things” (4:25). At this point Christ tells her, “I Who speak to you am He” (4:26).

She is on the fringes geographically. Though Jews would go miles out of the way to travel around Samaria if at all possible, yet Jesus “must needs go through” (4:4) the region. She is historically ostracized by the Jews as well and morally shunned by her village. But Jesus goes out of His way, literally, to tell her the truth about Himself. And she is the first to hear from His own lips that He is the Messiah, not only of the Jews, but of all who will accept His offer of living water. But it is the knowledge of her life that convinces her: she leaves her waterpot, goes into the village and tells all, “Come, see a man, which told me all things that ever I did: is not this the Christ? (4:29). The story ends with Christ staying two days in Sychar, Samaria, then returning to Galilee. There is no record of His working in any other town; it appears that meeting this woman and those of her village was His whole purpose for the journey into Samaria.

The Art

Bloemaert has symbolized the woman’s need by the empty copper pot near her feet; while the greenery at Christ’s feet is lush, testifying to the abundant life that Christ’s water gives. The choice of clothing color is also significant. While purple is the color of royalty, Christ’s inner garment is violet, a color representing love, truth, passion, and suffering. His outer cloak is a vibrant red, certainly an association with blood. As the Messiah, Christ would suffer a violent death for the sins of this woman and of the whole world, because He loved those who would surely die without His living water. That a dying Messiah offers living water is an interesting juxtaposition. The yellow of the woman’s gown signals revealed truth but can also signify degradation. Here Bloemaert’s color choices (his palette was distinctive) reveal the storyline too. A sinful, marginalized woman encounters revealed truth, both in word and in person. What she does with that truth removes her shame and allows her to live forever as a child of God.

Karen Rowe Jones, M&G board member

 

Published 2021

Object of the Month: February 2021

Torah Case 

Torah Mantle 

Torah Finger 

From the Bowen Collection of Antiquities

The Torah contains the Pentateuch (the first five books of the Old Testament) divided into 54 sections. These portions are read out loud to Jewish congregations throughout the year in the synagogue, at ceremonies (like weddings, funerals, and Bar Mitzvahs), and at commemorative events in the Jewish calendar. But only a Sefer Torah (one that is approved and ritually clean) can be used in public Jewish worship.

Jewish tradition holds that the very words of the Pentateuch were dictated by God, and thus, are worthy of the extreme care given to ensure that all the 304,805 Hebrew letters in the Pentateuch have been accurately hand copied in a Sefer Torah. To make certain that nothing detracts from the words, only specific fonts are used, and embellishment or illumination of the text is prohibited. However, to show respect for a Sefer Torah and to reflect its value to congregants, the objects associated with it are often lavishly ornamented.

Torah Case: Tik

The Aron Kodesh (the “Torah ark” or “ark”) is the focal point in a synagogue. Depending on the means of the congregation, the ark may be a simple wooden cabinet or a large structure adorned with ornate carvings and precious materials. When the Aron Kodesh is opened the true valuables of the synagogue—its Sefer Torahs and items associated with their use—are revealed.

Generally, Sephardic Jews keep a Torah scroll in a cylindrical case, called the tik, which holds the scroll upright.  M&G’s Torah Case (tik) is a wooden, hinged cylinder covered in fabric and embellished with embossed silver appliqués. The top, decorative portion of the tik is called the Torah crown. M&G’s Torah crown appears to be a modified pomegranate shape. Since God instructed the Jews to use pomegranate motifs on the High Priest’s ceremonial garments, and they were also used to ornament the Tabernacle and Solomonic Temple, modified pomegranates are traditional tik adornments.

On chains from M&G’s Torah crown are tiny bells which would tinkle as the tik was carried from the ark to the bimah, the place in the synagogue where the tik would be opened and the Torah read. However, missing from M&G’s tik are two rimonim (Hebrew word for pomegranate); these decorated finials fit on the rods on top of the tik and serve as handles for opening the scroll. When the tik was fully open on the platform, the scroll (also missing from M&G’s tik) would be upright and a column of the Torah’s text would be visible for the reader.

The picture on the right highlights additional interesting details. For example, the inscription in the upper left reads: “This case of the Scroll of the Law was made by the good woman, the daughter of Meir Zekiel Samuel.” The inscription in the upper right reads: “This is the Law which Moses set before the children of Israel. These are the testimonies, the statues, the ordinances, etc.”

Torah Mantle

Ashkenazic Jews generally store Torah scrolls in mantles that have openings at the top to accommodate the handles of the atzei chayim (the “trees of life”), which are the wooden dowels on which the scroll is rolled. Torah mantles take various forms and can be made of simple cloth, rich brocades, or velvet. They are frequently embellished with elaborate embroidery and appliqué.

M&G’s Torah Mantle is maroon velvet embroidered with the tablets of the 10 commandments, the lion of the tribe of Judah, and crowns representing the Jewish kingdom. Other common mantle motifs include the tree of life, the star of David, pillars of the temple and the seven-branched menorah. Once an Ashkenazi Torah is carried to the bimah (platform or podium), the mantle is removed and depending upon local traditions, the Torah is either laid flat or supported on an incline before being read publicly.

Torah Finger: Yad

The actual writing of a Sefer Torah should not be touched. Not only would it be disrespectful to the words of God, the perspiration and oils from the hand could lead to deterioration and flaking of the ink. Damage to a Torah causes it to no longer be Sefer and thus unusable in Jewish public worship.

To read passages of the Torah during a service is an honor, but keeping one’s place during public oral reading is not always easy. To help prevent mistakes, a yad (sometimes called a Torah finger) is used. Yads often have a handle, a shaft, and a hand with a pointing finger. Some have chains used to hang them on the scroll when stored in the Aron Kodesh. A yad is often made of gold, silver, wood, bone or, like M&G’s Torah Finger, bronze. The person reading may follow the text with the yad, or another person may use the yad to indicate the text to be read.

The extreme care exercised when preserving the text of the Torah and the lavishness of the trappings which adorn the Torah give witness to the reverence the Jewish nation has for the words of God.

William Pinkston, retired educator and M&G volunteer

 

Selected References

Baghdadi Torah Case (Tik): This gallery section shows the scroll within the Torah case.

Jewish Virtual Library: Torah Ornaments

Jewish Virtual Library: Ark

Why Do Sephardim Keep Their Torahs in Cylindrical Cases?

 

Published in 2021

Object of the Month: January 2021

The Presentation of Christ in the Temple

Tempera on canvas, monogrammed and dated 1490 (lower left on base of column)

Antoine de Lonhy, called the Master of the Trinity of Turin

French (active in Spain and Flanders), c. active 1460–1490

French-born Antoine de Lonhy painted this vibrant scene around 1490. Although he trained in the Burgundy region of France, de Lonhy spent parts of his early career in Toulouse and Barcelona. He worked his later years in what is today the Piedmont and Aosta Valley regions of Italy. For many years, de Lonhy’s identity remained a mystery, and he was known only as the Master of the Trinity of Turin. Only in the past 20 years have scholars been able to identify de Lonhy and associate his name with his varied body of work. De Lonhy was a true Renaissance man whose work included panel paintings, illuminated manuscripts, frescoes, and stained glass, as well as textile and sculpture designs.

Mort de la Verge, Antoine de Lonhy

The Presentation of Christ in the Temple was originally painted on panel and at some point, transferred to canvas. M&G’s painting is believed to have been part of a large, lost altarpiece of a church in Piedmont. Another of de Lonhy’s works, Mort de la Verge, displays the same raised gold-leaf technique as well as similar colors and patterns to M&G’s Presentation. It is possible that both panels were once part of the lost altarpiece. De Lonhy’s masterful skill shines in all the details of this work, especially in his pristine architectural elements. The raised gold-leaf, particularly on the halos and borders of the garments, provides texture and dimension. His use of vibrant colors and patterns beautifully illustrates the joyfulness of the occasion. Mary lovingly presents the Christ Child to the priest while Joseph looks on carrying their offering of two turtledoves. Ironically, de Lonhy clad Mary and Joseph in rich, brocade garments which contrasts with the turtledoves, the offering of the poor.

Luke 2:22-40 illuminates the narrative of this scene. Jewish law required a woman to be purified 40 days after giving birth to a son. The mother was required to bring an offering of a year-old lamb or two young pigeons or turtledoves (for those who could not afford a lamb). This offering was presented to the priest who sacrificed them before the Lord to make atonement for the mother (Leviticus 12:1-8). The law of Moses also required the consecration of every firstborn male. In accordance with the law, Mary and Joseph traveled to the temple in Jerusalem to present Christ for consecration. Luke tells of the priest, Simeon, who was promised “by the Holy Spirit that he would not die until he had seen the Lord’s Messiah.” De Lonhy captures the moment when that promise to Simeon was fulfilled: Mary presented the Lord’s Messiah to Simeon for consecration leading Simeon to respond with praise to and adoration of God. Simeon witnessed with his own eyes God’s fulfillment of His promise.

Rebekah Cobb, Registrar

 

Published in 2021

Object of the Month: December 2020

The Adoration of the Shepherds

Oil on canvas, 1625-30, signed with intials: P. DG.

Pieter Fransz. de Grebber

Dutch, c. 1600–1652/53

Pieter Fransz. de Grebber was born in Haarlem around 1600 to an artistic family. His father, his sister Maria, and his brothers Albert and Maurits were all gifted artists. What better place for de Grebber to be born at the beginning of the seventeenth century than Haarlem, the leading center of Dutch painting at that time.

His father Frans Pietersz. de Grebber, a painter and art dealer, taught Pieter initially and later apprenticed him to Hendrick Goltzius. Pieter primarily dedicated his artistic talent to history paintings of Biblical themes. He grew up and remained a devout Catholic often creating paintings for clandestine Catholic churches in Protestant Holland. De Grebber joined with Salomon de Bray in promoting the Baroque classicist school in Haarlem. He eventually joined the Guild of St. Luke in Haarlem and was later elected dean of the Guild. He also contributed to the music and literature of Haarlem as an amateur composer and poet. His artistic style, while uniquely his own, shows the influences of leading Dutch artists Peter Paul Rubens and Rembrandt and even Italian artist Caravaggio, whose style the artists in neighboring Utrecht emulated.

At first glance, this charming scene appears to be a family gathering around its newest member. A rising middle class in northern Europe desired art that related to them and their lives and sought portraits, still life, and domestic and rural scenes. De Grebber’s Adoration of the Shepherds beautifully marries a realistic, contemporary scene with the historical visit of the shepherds to the Christ Child. None of the figures appear in garments typical of first-century Palestine but of those of the seventeenth century furthering the ability of the contemporary viewers to relate to and connect with the subject of the painting. De Grebber intimately lights the scene with candlelight as the shepherds draw near to see the baby. Mary cradles Baby Jesus in her arms, and a fascinated young child gently touches the swaddled Christ under the adults’ careful supervision.

One cannot help but notice the theme of light in this story. When the angels appeared to tell the shepherds the good news, “the glory of the Lord shone round about them.” Such glory would surely have startled and even blinded them in the darkness of night. Upon hearing the angels’ tidings and praise to God, the shepherds immediately rushed to Bethlehem where they found Christ in a humble stable.

The Son of God came into a dark world to provide light and hope. After seeing the Light of the World with their own eyes, the shepherds spread the word of His birth and became messengers bearing the news of this Light come to illuminate the darkness in the hearts of men. De Grebber’s painting demonstrates that Christ offers His light to all people, and no matter how dark life may seem, He is there to illuminate and guide those who come to Him.

Rebekah Cobb, Registrar

 

Published in 2020

Object of the Month: November 2020

The Arrival at Emmaus

Oil on panel

Aert van der Neer

Dutch, c. 1604– d. 1677

Irony in life exists in the world of art as well as in other spheres. There are well-known artists that have died poor or their works were lightly esteemed. Such is the painter of M&G’s The Arrival at Emmaus, Aert van der Neer. He is one of many Dutch landscape artists of the seventeenth century. Born in Gorinchem in the northeastern part of the country and residing mainly in Amsterdam, he is part of the Dutch Golden Age. He was a steward in the early part of his adult life then became more involved in painting in his late thirties or early forties. His wife, Lisabeth, was the sister of artist, Rafael Govertsz Camphuysen (also represented in M&G’s collection).

Rafael Govertsz Camphuysen, Elijah Fed by the Ravens, M&G Collection

While Aert died in poverty, one of his sons, Eglon excelled as an artist and ultimately settled in Dusseldorf as a court painter.

The style of van der Neer and his friendship with painter Aelbert Cuyp led them to work together on a number of paintings. Aert often painted the basic composition, and Aelbert would add the finer details. Works exist with the initials of both artists inscribed on them. However, M&G’s painting is signed only by Aert van der Neer as Neer. (include image: signature detail)

For the whole of his life, Aert never varied his painting style as seen in his many moon-lit landscapes and peopled scenes depicting a centrally placed river. Regardless of some of his repetitive compositional choices, he illustrated favorite parts of his country in an unmistakable way. His landscape style was so frequently imitated during and after his life that author Christopher Wright explains, “Thus—although this is not often realized—van der Neer can be said to have been one of the most influential Dutch painters.”

The Arrival at Emmaus joined M&G’s collection in 1974. It is one of the few scriptural subjects depicted by the artist. Luke 24:13-35 tells the narrative of Christ joining two, heavy-hearted disciples en route to Emmaus from Jerusalem. Christ asked about their conversation, and not recognizing Him, the two shared the tragic account of Christ’s crucifixion and their belief that His missing body could not be located. Little did they know as Christ explained the Old Testament messianic scriptures on their journey, that He was there with them.  When they arrived in Emmaus after a nearly seven-mile journey, the two men graciously urged Him to “abide with” them. Christ took the position of host at their supper table and blessed and broke the bread. At that moment, He opened their eyes (v. 31) to understand Who He was—their risen Messiah. Then, with uncontained joy and full comprehension of why their hearts “burned within” as He had spoken the scriptures on the road, they immediately left Emmaus and returned to Jerusalem! There they exclaimed to the disciples that “the Lord is risen indeed” (v. 34).

Visible in this painting is the representation of Emmaus as a Dutch town. A seventeenth-century cathedral is prominent in the background as daylight is receding and the ducks begin nesting down for the night. The two disciples are seen inviting Christ to be their guest, a guest who would vanish from their sight and leave them with a greater realization of who He is.  As the season of Advent approaches, may we too recognize who Christ truly is.

John Good, M&G Security Manager

 

Additional Resource:

The Dutch Painters, 100 Seventeenth Century Masters

 

Published in 2020

Object of the Month: October 2020

Torah Scroll

Found in Yemen, Arabia

15th century

Jews believe that the Pentateuch, the first five books of the Hebrew Scriptures (Genesis, Exodus, Leviticus, Numbers, and Deuteronomy) were dictated word for word by God to Moses. While the remaining books of the Old Testament, the Nevi’im (the Prophets) and the Ketuvim (the Writings) were inspired by God, the Jews regard the Pentateuch as quite literally, God’s exact words. A Sefer Torah is a kosher (ritually clean) handwritten copy of the formal Hebrew text of the Pentateuch. Both Jews and Christians believe that accurately preserving all God-inspired texts is important; however, Jews hold that the dictated Words of God must receive a higher level of respect and extreme attention to accuracy as they are transmitted to future generations.

A printed copy of the Torah may be used for personal study, but only a Sefer Torah can be used in public Jewish worship. A Sefer Torah must meet high standards in both its construction and transcription. Anything less would not be worthy of the Words of God and should not be used to worship Him.

The materials and tools used in making a Sefer Torah must be ritually clean. The parchment must be from the hides of a kosher animal. Today cow hides are generally used, but M&G’s Torah is made of gazelle parchment.  M&G’s Torah is 121’ long and required about 70 hides. To be kosher the hides must be properly cleaned and tanned. A quill from a kosher bird (or other permitted writing utensil) and a specially prepared kosher ink must be used. Once the parchment panels have been inscribed, they are sewn together with thread made from the sinews of a kosher animal. That thread is also used to attach the parchment to rods, called atzei chayim (the trees of life), on which the scroll is rolled.

The ritual cleanness of materials used in making a Sefer Torah demonstrates reverence to God’s Word, but the accuracy of the text is paramount. Every one of the Torah’s 304,805 Hebrew letters must be precisely duplicated by a specially trained sofer (called a scribe in the New Testament). The sofer begins copying by scoring temporary lines on the parchment to serve as the margins and rule for each line of text. Prior to writing the sofer cleanses in a mikvah (ritual bath) and recites a prayer for scroll writing.  He must then copy each letter exactly from a kosher Torah scroll or another approved source. Since a Sefer Torah scroll embodies the holiness of its message, the focus is on the text itself. Illustrations or artistic decorations are forbidden.

Before beginning work, many sofers today will test their quill and ink by writing the Hebrew word Amalek on a piece of parchment and then crossing it out. Doing so they literally fulfill the command in Deuteronomy 25:17-19 to blot out the name of Israel’s ancient enemy.

When the name of God appears in the text, the sofer must follow additional procedures to demonstrate his recognition of the sacredness of his task and his willingness to make sure it is done with the proper intent and reverence. Corrections can be made by scraping the error from the parchment. But if a mistake is made when writing the name of God, corrections are not permissible. That section of parchment cannot be used.

The sofer proofreads his work but before the Torah can be officially pronounced Sefer it must be proofread by additional approved individuals. Part of this process involves counting letters and lines of text. Generally a Torah is written by a single sofer and takes about a year to complete. The approval process may take additional months. The extreme accuracy of these procedures maintaining the text can be documented by comparing modern Torahs to ancient texts.

The Song of the Sea (Exodus 15:1-18)

Because ornamentation of the text could distract from the Words of God, embellishment within the scroll is prohibited as seen in M&G’s Torah. However, decoration of objects associated with the scroll (i.e. Torah case, Torah finger, etc.) show respect and honor to the Torah and its message.

The Song of the Sea (known as The Song of Moses) was sung by the Israelites after they crossed the Red Sea on dry ground. It describes their experience, Pharaoh’s army being destroyed by the collapsing waters, and looking forward to the Promised Land. This passage is one of the two places in a Torah where the text is inscribed differently. The brickwork pattern of the columns was designed to represent the parting of the Red Sea and the Jews passing between the waters.

The three approved traditions for preparing a Sefer Torah primarily differ in the forms of certain letters, the fonts, and the spacing. Yemenite scrolls, like M&G’s, are usually written in an older, more square-looking font, with 51 lines in each of 226 columns. Most modern Torah scrolls are Ashkenazi or Sephardic and have 248 columns of 42 lines each. Many modern scrolls use more rounded and ornamented fonts. The text is the same, but the general appearance and textual breaks differ. M&G’s Torah, which dates from the fifteenth century, is part of the Bowen Collection of Antiquities. In the 1930s and 40s, Frank and Barbara Bowen traveled to the Holy Land collecting artifacts like M&G’s Torah, to enhance appreciation and understanding of the Scriptures.

If a Sefer Torah is damaged or mistreated it becomes pasul and cannot be used in public worship. If a sofer can repair the damage, it can again become Sefer. If it is beyond repair or if it has become so fragile that continued use would damage it, the scroll remains pasul. Tradition dictates that a pasul Torah be placed in an earthen vessel and buried with dignity. However, Jewish leaders have officially approved the use of pasul Torahs by educational institutions and in museum displays, if they are given proper respect and protection.

William Pinkston, retired educator and M&G volunteer

 

Selected Bibliography

Basic Laws regarding Torah Scrolls

Jewish Encyclopedia: Scroll of the Law

Sofer: The Torah Scribe

How Is the Torah Made?

 

Published in 2020

Object of the Month: September 2020

St. Peter Preaching at Pentecost

Oil on canvas, signed and dated 1785

Benjamin West, P.R.A.

American, active in England, 1738–1820

Benjamin West was born the youngest of ten children to Quakers John and Sarah West on October 10, 1738 in the township of Springfield, Pennsylvania. At an early age, he showed remarkable artistic talent by painting likenesses of his family. True or not, charming anecdotes have been passed down that the Indians instructed him in preparing colors and that Benjamin made his first paintbrush by plucking tail and back hairs from Gremalkin, the family cat.

At nine, he met a British portraitist, William Williams, who genuinely inspired the young boy. He lent West two books about painting, which developed in him an enduring interest in both the great historians who recorded the stories of the noble and virtuous and the great master painters who depicted the lofty scenes of Scripture and the past.

West continued to paint portraits and at age 18, following his mother’s death, he moved to Philadelphia to live with his married sister. There, he benefited from the mentoring of Rev. William Smith, a respected scholar, minister, and intellectual. Smith found a way for West (age 22, armed with letters of introduction) to travel to Rome, where the great artists studied. West was the first American artist to travel to Italy, where he not only studied and copied the Old Masters and sculpture of Greek and Roman antiquity, but he befriended the contemporary Neoclassical painters including Anton Raphael Mengs and Pompeo Batoni.

In 1763, West moved to England and joined the Society of Artists, where he exhibited and earned the nickname, “the American Raphael”—it was the beginning of a successful career and a lifetime of commissions. Along with Sir Joshua Reynolds and other artists, the king made West a charter member of the Royal Academy.

Defying precedent, West pursued a controversial approach in 1770 for the first exhibition of the Royal Academy by painting The Death of General Wolfe. The scene portrayed a moment of recent history—the heroic death of a great general during Britain’s Seven Years War with France in North America. Rather than following the day’s expectation of clothing the characters in robes of antiquity, West painted the men wearing modern dress. It was a milestone in English and American art, and it established his artistic reputation.

West became England’s leading Neoclassical painter and historical painter to King George III. Following Reynolds’ death, West was made the 2nd president of the Royal Academy and the longest serving. West’s success and recognition attracted art students from America. He gave them opportunities to study and assist on commissions in his studio, where he trained three generations of American artists, including Charles Wilson Peale and Gilbert Stuart. As the “Father of American Painting,” he helped establish a sophisticated American style and provided a foundation for the growth of the arts in America during the Federal period.

In 1780, King George commissioned West to decorate a proposed chapel at Windsor Castle “for the purpose of displaying a pictorial illustration” of subjects from the Bible, “which Christians of all denominations, might contemplate without offense to their tenets.” West developed multiple plans for the chapel over a 20-year period, so it is difficult to know the total paintings he intended to complete. According to records from 1801, his concept for the Chapel of the History of Revealed Religion contained approximately 35 paintings featuring the Scriptural events when God specifically revealed Himself to man.

M&G’s St. Peter Preaching at Pentecost is one of the paintings originally planned for the king’s chapel. The festival of Pentecost brought many visitors from around the known world to Jerusalem. The disciples were gathered together on the feast day when suddenly the sound of a rushing wind filled the house. Flames of fire appeared above their heads, and they were filled with the Holy Spirit and began to speak in other languages. Others at the feast thought the disciples were drunk, but Peter powerfully preached to the assembled crowd, who understood what he spoke in their own language. He explained to them that the miracle they were observing was the fulfillment of Joel’s prophecy and that Jesus came to save them from their sins, died, and was resurrected on the third day. Three thousand people believed on Jesus Christ that day.

West beautifully and subtly displays this New Testament event from Acts 2, by representing the presence of the Holy Spirit with a smoky quality and the slightest hint of faintly glowing flames above Peter’s head and John’s (behind Peter and wearing green and red). The crowd scene is an observer’s study in reading people. Each person responds differently as they intently consider the apostle’s words. One of West’s special details is the mother with her two young children, which references his skill as a portraitist.

Of course, many factors prevented the chapel and commission from being finished including the American and French Revolutions and the king’s ongoing health struggles. However, West completed 18 large paintings for the chapel and left one unfinished. Of those 18 finished works, 5 are now lost, which leaves 13 paintings with known locations. Six can be found in the collections at the National Gallery in DC, the Pennsylvania Academy of Fine Art, the Palace of Westminster in London, the Tate Gallery, Margram Castle in Neath, and St. Martin’s Church in Wales. Remarkably, M&G displays the remaining 7 paintings all together in the War Memorial Chapel on the campus of Bob Jones University.

These are no ordinary pictures, and they represent the creative talent and skill of the first, significant American artist. Art historian Alfred Scharf has honored these works as “the most outstanding series of religious paintings in 18th-century England.”

Erin R. Jones, Executive Director

 

Published in 2020

Object of the Month: August 2020

Seat of State

Walnut

Italian, 16th century

A throne is usually a large, ornate chair designed to impress. The majesty and power of the one seated on the throne is visually communicated by the throne’s magnificence. Thrones are also designed to intimidate the one who stands, kneels or bows before the one seated upon it. Today the judge’s bench of a courtroom and the dais of an assemblies’ chairman are designed to have a similar effect.

Technically a high backed, multi-seat bench is a settle. Settles generally have arms, and elaborate ones often have canopies. They are generally stationary and may be an architectural feature built into a room. A settee is the settle’s smaller, movable cousin. Today’s couch, sofa or love seat can be called a settee.

In the 15th and 16th centuries various kinds of settles were used in Italian city-states for ceremonial purposes.  In the Chamber of the Great Council of the Doge’s Palace in Venice, massive, built-in settles surround the room. Along the front wall is a raised seven-seat settle for officials of the Maggior Consiglio. The central, larger, higher seat was for the Doge.

The three seat Throne of Giuliano Dei Medici (son of Lorenzo the Magnificent) is very similar to M&G’s Seat of State. Although the provenance of Giuliano’s throne is not clear, most likely it originated in Florence. Another elaborate three-seat throne, attributed to Bartolomeo Baglioni, was probably made in the early 1500s for the Strozzi family of Venice (now currently in the Ringling Museum).

Other than the Seat of State being crafted in Italy in the 16th century, its origin is unknown. But similarity to these and other examples, give credence to it having served as the ceremonial seat of an Italian, high-ranking, three-person governmental body.

M&G’s Seat of State lacks features that would associate it with a particular city or individual. The rich profusion of intricate carvings reflects scrolling foliage, mythical beings, grotesque masks and geometric embellishments. There are small crests, but they appear to be stylized ornaments rather than official symbols.  Also, they are not located in prominent places where identifying crests could be recognized and appreciated by those in front of the settle.

The stylized crests are not in the prominent places where one would expect to find official crests (center image). Highly skilled craftsmen embellished M&G’s massive settle with ornate details (left-right images).

The choir stall, also represented in M&G’s furniture collection, is similar to a settle. Choir stalls generally have uniform, narrow seats. Their high backs and canopies are more for acoustics and aesthetics of the room than aggrandizement of the individuals seated on them. Choir stall seats are often collapsible, permitting the choir to stand or kneel during religious services. The visible carvings of a choir stall generally have religious themes with geometric ornamentation.

The Seat of State is constructed of interlocking pieces of solid walnut fitted together with mortise and tenon joints. The seat is a chest, and each person sits on a hinged lid. Because of the height and depth of the seat, unless you have long legs, you must sit forward on the bench, which makes the back too far away to rest comfortably. The settle’s lack of comfort might have helped to keep ceremonies and meetings short.

Standing in front of M&G’s 10’ high, ornately carved, polished red-brown Seat of State one is impressed with its magnificence. Now, envision being led into that position while three officials in their elaborate ceremonial garb sat on those seats and stared down at you. Will they grant your petition? Will they decide in your favor?  Whatever they do, you just know they have the power and authority to do it.

It worked. That is exactly what this settle was to settle in your mind.

William Pinkston, retired educator and M&G volunteer

 

Published in 2020

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