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Two Paintings from the Cistercian Convent of Flines Author(S): Andrea G

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Two Paintings from the Cistercian Convent of Flines Author(S): Andrea G Nuns, Images, and the Ideals of Women's Monasticism: Two Paintings from the Cistercian Convent of Flines Author(s): Andrea G. Pearson Source: Renaissance Quarterly, Vol. 54, No. 4, Part 2 (Winter, 2001), pp. 1356-1402 Published by: The University of Chicago Press on behalf of the Renaissance Society of America Stable URL: http://www.jstor.org/stable/1262157 . Accessed: 10/06/2013 08:52 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]. The University of Chicago Press and Renaissance Society of America are collaborating with JSTOR to digitize, preserve and extend access to Renaissance Quarterly. http://www.jstor.org This content downloaded from 198.91.32.137 on Mon, 10 Jun 2013 08:52:00 AM All use subject to JSTOR Terms and Conditions IVuns, Images, and the Ideals f W170men'sAlonasticism: TwoPaintings 'rom the Cistercian * Convento,fFli nes byANDREA G. PEARSON Thisstudy explores the dynamics between visual images and expectationsforfeminine monasticism in northernEurope via tzvopaintingsfrom the Cistercian convent ofFlines. It arguesthat abbess Jeannede Boubais commissioned theimagesfor clerics who hadpromoted reform ofFlines, in order tosuggest compliance with the mandates of the program and theintegralplace of the convent withinCistercian monasticism. In the wake ofthe dissolution ofseveral convents that had resisted reform,conveying a desire to yield to the Order must have seemed crucialfor the community survivaL venas recentstudies on religiouswomen of medieval and renaissance Europehave done much to broadenour knowledge of convent fife,' a considerableamount of work remains to be done.Such is thecase with the arts.One areathat needs further attention is therelationship between visual imagesand clericalexpectations for nuns' lives. This subject is thefocus of thepresent investigation oftwo panel paintings commissioned by Jeanne de Boubais,abbess of the Cistercian convent of Flines, located near Douai in theFrench-speaking, Burgundian controlled south Netherlandish province ofHainault. From its foundation in 1234and reaching into the seventeenth century,Flines was one ofthe best-known and mosthighly regarded com- 2 munitiesfor religious women in the Low Countries. A periodicallythriving economy,especially strong during Jeanne de Boubais'prelature from 1507 *1wish to thankthose whose thoughtful comments permitted me to improvethis essay: AnnJensen Adams, Larry Ayres, James France, Mark Meadow, Ann M. Roberts,Christine Sperling,Vera Viditz-Ward, Robert Williams, and theanonymous Renaissance Quarterly readers.I am alsograteful to MaryanW Ainsworth,Michael B. Allen,Dagmar Eichberger, LehuaC. Fisher,and Jeffrey Chipps Smith for their support and assistance, and theSamuel H. KressFoundation and the RE.O. Sisterhoodfor enablinv, research abroad. 'Whilesuch contributions are too numerous to list here, those especiaHy helpful for the presentstudy are Gilchrist, Hamburger, McNamara, Montulet-Henneau, Vandenbroeck, Wood,and Ziegler. For further bibliography, see Roberts. 'Flineswas founded by Margaret of Constantinople in 1234 as a communityfor Cis- tercianwomen and as a place of burialfor herself and her family.The longstanding prevalenceof the convent is suggestedby the communitys exceedingly large population: I 00 professednuns in 1270,57 in 1542 (impressiveby sixteenth-century standards) and up to RenaissanceQuarterly 54 (2001): 1356-1402 [ 13561 This content downloaded from 198.91.32.137 on Mon, 10 Jun 2013 08:52:00 AM All use subject to JSTOR Terms and Conditions THE IDEALS OF WOMEN'S MONASTICISM 1357 to 1533, allowedthe nuns to commissiona remarkablylarge body of images.3 The twopaintings discussed here, both by Jean Bellegambe, date to a periodin theconvent's history in which relationships between the nuns and theirmale superiors were undergoing vigorous redefinition through reform. The workswere not, it seems, intended for the nuns of the community, but ratherfor two clerics who had initiated and enforced the program at Flines. Despitea callfor a shiftin power away from the abbess to the clerics, the im- ageryof the paintings suggests compliance with the program's directives and, byextension, implies an integralposition for Flines within Cistercian mo- nasticismgenerally. Given priorresistance to reformon the partof numerousother women's houses, and thepermanent dissolution of some conventsthat had notcooperated, conveying such a messagemust have seemedvital to thevery survival of the community. JEAN BELLEGAMBE AND FLINES The twoimages considered here, one a diptychcomprised of two painted panelsand theother a triptychconsisting of three, have been assigned on 4 stylisticgrounds to Jean Bellegambe of Douai (1470-75/1535).The trip tychis one ofthe earliest large-scale works produced by the artist: prior to takingon thecommission, Bellegambe had producedonly three other knownpanel paintings. These include an altarpieceof the Lamentation, a Reston theFlight into Egypt, and a small-scaletriptych portraying the Vir- ginand Child.The latterwas commissioned by the Benedictine monastery ofAnchin, not far from Flines, between 1500 and 1505.The nunsof Flines hadconnected with Bellegambe by 1509 at'the latest, for a documentfrom theconvent dated to thatyear records the artist as havingmade an altarpiece 150 in theseventeenth century. The onlycomprehensive modern studies of Flines are those byHautcoeur, which are highly romanticized and mustbe usedwith caution. For the early historyof the convent, see Jordan, and Morganstern, esp. Chapter 3. 'For theartistic patronage of Flines in thesixteenth century, see Pearson,1995, where ninepanel paintings, two illuminated manuscripts, a leaf from a gradual,and an antepen- diumare tied to theconvent through abbesses' coats of arms (catalog on 402-37). Fora discussionof the financial aspects of the nuns' patronage, see Pearson, forthcoming. For the convent'seconomy in thefifteenth and early sixteenth centuries, see Hanke. 'For Bellegambe'swork at Flinesand elsewhere in the environs of Douai, see Dehaisnes, Baligand,and Genaille, 1976. This content downloaded from 198.91.32.137 on Mon, 10 Jun 2013 08:52:00 AM All use subject to JSTOR Terms and Conditions 1358 RENAISSANCE QUARTERLY forthe chapel of Saint Michael at Flines.' While the circumstancessur- roundingthe initialcontact between Flines and Bellegambeare unknown, the relationshipconceivably came about throughmutual acquaintances at Anchin,as theabbey's distinctive four-tower silhouette is visiblein theback- ground of the Flines triptych.'The frequencywith which Bellegambe's name is mentionedin the Flines'manuals of expendituresafter 1509 sug- geststhat he was the primarypainter working for the conventin the early sixteenthcentury. As Bellegambewent on to completea numberof commis- sionsfor patrons other than the nuns of Flines,his earlyassociation with the community,and withAnchin, afforded him notorietyas a painter. Despite an abundance of writtenevidence forBellegambe's work at Flines,no directtextual evidence for the two paintingsbrought together for this studyhas been found.' Nonetheless,heraldic devices in both works leaveno doubt thatthe impetus for the images originated with the convent, and specificallywith the patronageof abbessJeanne de Boubais. Although neitherthe diptychnor the triptychis signedor dated,abbatial croziers af- fixedto Jeannede Boubais' coats of armstie theworks to the periodof her prelature,which ranged from 1507 to 1533. It is not knownwhether Jeanne used personalor conventfunds to financethe commissions,or paid forthe 8 paintingsin some otherway, such as througha familialliaison. The Flines triptychhas come to be knownas the Retabledu Cellieror TheLe CellierAltarpiece (New York,Metropolitan Museum of Art)after its discoveryin the chapel of the Cisterciangranary Le Celliernear the mon- asteryof Clairvauxin the middleof the nineteenthcentury.9 The painting 'For theprocurement of art by enclosed nuns, see Pearson,forthcoming, and Ham- burger,1992 and 1998, 35-109. The Bellegambealtarpiece of 1509 is listedin Douai, ArchivesMunicipales (hereafter Arch. Mun.), Archive de la Famillede Lalaing,Layette LIX, no. 322. 6M61y,105, has compared the structure as portrayedby Bellegambe with that on the crozierof Abbot Charles Goguin in the1509-13 Polyptyque dAnchin (Douai, Mus6ede la Chartreuse).To thisI add an imageof Anchin in theAlbums de Cro, illustratedby Mis- onne,245. 'The suggestionby Genaille, 1952, that the triptych is theBellegambe painting de- scribedin a documentof 1509 (Douai, Arch.Mun.), is notconvincing, as thedescription lackssufficient detail to link it with certainty to anywork. 'Fora discussionof the financing of artistic commissions atFlines generally, see Pearson, forthcoming. 9 M. d'Arboisde Jubainvillerediscovered the triptych prior to 1861,as discussedin the Ripertoirearchiologique de lAubecited by Burroughsand Wehle,6. Fora synopsisof the scholarshipon thealtarpiece, see the entry by Mary Spinson de Jesus in Ainsworth and Chris- tiansen,332-34. For the most recent study of medieval Cistercian art generally, see France, 1998. This content downloaded from 198.91.32.137
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