Praying in bed
The Diptych of Christiaan de Hondt, Abbot at Ten Duinen, is an exceptionally captivating artwork.
The name of the painter remains unknown. Referred to out of necessity as the "Master of 1499," this provisional name derives from the date inscribed on the outer side of the right panel. Currently, three diptychs, a drawing, and two miniatures in an illuminated manuscript are attributed to him. We know that the outer panels of this diptych were overpainted at the request of a later abbot, sustainability avant la lettre.
When the diptych is opened, the left panel reveals a copy of Jan van Eyck’s painting Madonna in the Church (Berlin, Gemäldegalerie). Even in the 15th century, the great master was highly esteemed, and his works were frequently copied—here too, although Van Eyck had been dead for almost sixty years. The fact that Mary appears too large for the church might seem odd to us, but it is not due to a lack of skill. Rather, it conveys an idea: Mary is the pillar of the church. More precisely: Mary is the church.
An Intimate Experience
The abbot on the right is shown in adoration of the Madonna. Notice the precision with which the painter renders the objects and architecture. On the prie-dieu lies an illuminated prayer book resting on a cushion, complete with ornate clasps and a protective cloth beneath it. It clearly is a precious item. The abbot’s mitre, decorated with pearls and gemstones, stands on a cushion beside him in the foreground. His heavy abbatial staff leans against the wall near the fireplace, where a crackling fire provides warmth.
Even the sleeping dog on the carpet seems to enjoy the cozy atmosphere of the room. Its presence is likely a nod to the name of the praying abbot: De Hondt. Pewter jugs with decorated lids rest on a tresor, a type of sideboard or dresser. And be sure to notice the three oranges, extremely expensive imported fruit from distant Spain. Next to the blue canopy bed stands a settle or small bench, complete with a comfort cushion and a bookshelf above it.
Copy to Jan van Eycks Painting Madonna in the Church (Berlin, Gemäldegalerie).
Abt De Hondt in aanbidding voor de Madonna.
Abbot De Hondt does in paint what Abbot De Hondt did in real life: praying with his gaze fixed on an image of Mary or Christ. Diptychs like this served precisely that purpose, to inspire faith and devotion. Thanks to its convenient size, barely larger than a landscape A4 sheet, this little diptych could be taken along on travels. It provided what we would now call an intimate “experience.” Devotional pieces like this were displayed in quiet rooms where no visitors came.
Christiaan de Hondt hung his diptych on a chain from his canopy bed. This way, he could remain in his warm bed while praying the Matins and Lauds, the obligatory nighttime prayers.
This article first appeared in ZAAL Z, the museum’s magazine. For just 35 euros, you can receive four issues that immerse you in the fascinating world of the museum and its magnificent collection.
