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 Enguerrand Quarton's Coronation of the Virgin Berghahn Books Enguerrand Quartern's "Coronation of the Virgin": This World and the Next, the Dogma and the Devotion, the Individual and the Community Author(s): Véronique Plesch Source: Historical Reflections / Réflexions Historiques, Vol. 26, No. 2, The Last Things (Summer 2000), pp. 189-221 Published by: Berghahn Books Stable URL: http://www.jstor.org/stable/41299173 . Accessed: 21/10/2014 21:21 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Berghahn Books is collaborating with JSTOR to digitize, preserve and extend access to Historical Reflections / Réflexions Historiques. http://www.jstor.org This content downloaded from 137.146.177.126 on Tue, 21 Oct 2014 21:21:29 PM All use subject to JSTOR Terms and Conditions Enguerrand Quartern's Coronation of the Virgin : This World and the Next, the Dogma and the Devotion, the Individual and the Community1 Veronique Plesch On September 11,1834 ProsperMerimee, then Inspecteur general des monuments historiques,visited Villeneuve-lez-Avignon with the primary goal ofseeing Pope InnocentVI's tomb at the Charterhouseof the Val-de- Benediction. While there he also paid a visitto other sites. Aftervisiting the Chartreuseand the church he went to the hospital: "The hospital of the same town," he wrote in an account published the followingyear, 1. Myinterest inEnguerrand Quarton's Coronation ofthe Virgin goes back to the early 1980swhen 1 chose it as topicfor a memoirede licence("Le Couronnement de la Vierge d'EnguerrandQuarton: Th£ologie ethistoire des mentalit£s d'une iconographie. XlVe-XVe- XVIesiecles," unpublished thesis, University de Gen&ve, 1984). I am indebtedto Larissa Taylorfor offering me the opportunity toreturn to this amour de jeunesse : this article is an expandedversion of a paperread at the session she organized at the1998 meeting of the Societyfor French Historical Studies in Ottawa. 1am most grateful toWalter Gibson for the inputhe providedme inhis response to my paper at theconference and in subsequent exchanges,as wellas tomy research assistant Yuliya Komska. VeroniquePlesch is Assistant Professor ofArt History at ColbyCollege. ©2000HISTORICAL REFLECTIONS/REFLEXIONS HISTORIQUES , Vol. 26, No. 2 This content downloaded from 137.146.177.126 on Tue, 21 Oct 2014 21:21:29 PM All use subject to JSTOR Terms and Conditions 190 Historical Reflections/Reflexions Historiques . possesses a . veryremarkable paintingfrom the fifteenth century,representing the Last Judgment.Father and Son, clad in long purple robes, occupy the top ofthe composition.Their heads are of the utmostbeauty . Between them,the HolySpirit hovers itsextended wings brushingthe mouthsof the Fatherand the Son, hence forminga link of sorts . Below is the Virgin,draped in blue, and half wrapped in the robes of the Trinity'stwo main persons. Big and square, this head is less beautifulthan the two others. This was the type in fashion around 1500, for there are fashionsfor figures as thereare forgarments. Around the Trinityis gathered a crowd of saints and prophets,not to mentionan army of angels and cherubimred, green,blue, etc.2 The painting Merimee saw is the altarpiece that in 1453 Jean de Montagnac,canon ofthe Avignonese church of Saint-Agricol and chaplain of the Charterhouse,commissioned to the painterEnguerrand Quarton (fig. I).3 A lengthycontract was established before notaryJean Morelli, containing some twenty-sixitems, which detail all the elements to be included in the depiction.4Extremely visual in character,the prix-faitis more than just an enumeration of topics to be depicted; it also stresses the spatial relationshipsbetween thedifferent iconographic components. Its primarysubject matteris stated rightaway; it is not, as Merimee thought,a Last Judgment: First:There should be the formof Paradise, and in thatParadise should be the HolyTrinity, and thereshould not be any difference between the Fatherand the Son; and the HolyGhost in the formof a dove; and Our Lady in frontas it will seem best to Master 2. ProsperMerimee, Notes d'urt voyage dans le midi de la France(Paris, 1835), p. 163. Unlessotherwise noted, all translations aremine. 3. EnguerrandQuarton (or Charonton), who came from the diocese of Laon, is first documentedinAix-en-Provence in1 444; in 1 446 he was living in Aries, and the next year he settledin Avignon. On his oeuvre, see CharlesSterling, Enguerrand Quarton, lepeintre de la Pietdd' Avignon (Paris, 1983), hereafter abbreviated E.Q. 4. Forthe text of the prix-fait, seeSterling, E.Q., pp. 20 1-202; English translations appear inA Documentary History ofArt. vol. 1 , TheMiddle Ages and the Renaissance, ed. Elizabeth GilmoreHolt (Princeton, 1981), pp. 298-302, and Wolfgand Stechow, Northern Renaissance Art,1400-1600, Sources and Documents (Englewood Cliffs, N.J., 1966), pp. 141-145. Sterling, E.Q.,p. 186,noticed several errors in both English translations. This content downloaded from 137.146.177.126 on Tue, 21 Oct 2014 21:21:29 PM All use subject to JSTOR Terms and Conditions Quarton's Coronation of the Virgin 191 Figure 1. EnguerrandQuarton, Coronation of the Virgin. PhotographbyMary an Daspet, courtesy ofthe Musee Pierre de Luxembourg, Villeneuve-lez- Avignon. This content downloaded from 137.146.177.126 on Tue, 21 Oct 2014 21:21:29 PM All use subject to JSTOR Terms and Conditions 192 Historical Reflections /Reflexions Historiques Enguerrand;the Holy Trinitywill place the crown on the head of Our Lady.5 In heaven the Trinitycrowns the Virgin.A varied angelic hierarchy surrounds them: we see blue cherubim, red seraphim (but no green angels despite what Merimee wrote!), the archangels Gabriel and Michael. On each side of the centralgroup we have the heavenly court, theprix-fait listing some ofthe apostles, confessorsand saintswho should be present. Also in attendance are representativesof all the strata of society,"all the estates ofthe world." Below heaven is the world,with the cities of Rome and Jerusalem.Within them landmarks are placed: for Rome we have the Castel Sant'Angelo and "many churches," among them the churchof Santa Croce where pope Gregorycelebrates the mass as Christmiraculously appears to him. The tombs of Christand of the Virginare on the side ofJerusalem, among others.Below, on theviewer's left,are the infants'limbo and purgatory,and on the right,hell. The Iconographic Program and the Decree Laetentur caeli It is well established by now how many of the elements specified in the contract are indebted to the discussions of the seventeenth ecumenical council successively held in Basel (1431-37), Ferrara(1438- 39), and Florence (1 439-43).6The decree Laetenturcaeli issued on 6 July 1439 was meant to cement the union between the western and eastern churches, an urgently needed response to the Turkish threat to Constantinople.7In the decree, several litigious points are given an expression satisfactoryfor both "Latins" and "Greeks," and these formulationsvery much correspond to what we findin the altarpiece. The decree's firstpoint concerns the relationship between the members of the Trinity,that is, whether to Saint John's definitionof the Spiritproceeding "ex patre" should be added the formula"et filio"(or filioque,as thewhole issue came to be known) so the entireTrinity would 5. Unlessotherwise noted, I quote from Holt's English translation ofthe prix-fait. 6. Firststated by Etienne Delaruelle, L'Eglise ail temps du grand schisme et de la crise conciliaire( 1378-1449) inHistoire de 1'Eglise, depuis les originesjusqu'a nos jours, vol. 1 4, ed. EtienneDelaruelle, Paul Ourliac, Edmond-Rene Labande (Paris, 1962-64), p.556 n. 5 andp. 766n. 32; see also DonDenny, "The Trinity in Enguerrand Quarton's Coronation of the VirginArt Bulletin 45 (1963),pp. 48-52. 7. See JosephGill, The Council of Florence (New York, 1982). The decree appears on pp.412-15. A French translation appears in Joseph Gill, Constance et Bale-Florence (Paris, 1965),pp. 355-59. This content downloaded from 137.146.177.126 on Tue, 21 Oct 2014 21:21:29 PM All use subject to JSTOR Terms and Conditions Quarton's Coronation of the Virgin 193 be presentin the Creed. The Greeks fearedthat with that addition Father and Son would appear as "duobus principiiset duabus spirationis,"as two disunitedentities. The decree reassures them,emphasizing thatthis does not deny the Fatherto be "the source and principlefor all divinity" and that "it eternallyproceeds fromone and the other as one principle and one spiration"(et unica spiratione). Hence the iconographicformula adopted forthe Trinity, with the identicalFather and Son, expressingtheir coeternityand equality,and withthe dove' s wings touchingboth mouths, translatingits simultaneous and, in a way, unique procession fromthe Father and the Son.8 Note that the Holy Ghost in no way appears in a situation secondary to that of the two other hypostases thanks to the forcefulalignment of the cruciformhaloes. Furthermore,with its beak touching the Virgin'scrown, the dove fullyparticipates in the act. The uniqueness of the formulais hintedat by a contractQuarton received a few years later. When on 7 November 1461 abbess Georgeta Quella
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