Sir Edward Boncle, Provost der Trinity College Kirk

Position Edinburgh, Trinity College Kirk
Sir Edward Boncle, Provost der Trinity College Kirk
Hugo van der Goes (1470–1480), Sir Edward Boncle, Provost der Trinity College Kirk, Edinburgh, Trinity College Kirk, jetzt Edinburgh, Scottish National Gallery, Saal 3, Gotik und Renaissance, um 1478–1479, Bild 1/4
Hugo van der Goes (1470–1480), Sir Edward Boncle, Provost der Trinity College Kirk, Edinburgh, Trinity College Kirk, jetzt Edinburgh, Scottish National Gallery, Saal 3, Gotik und Renaissance, um 1478–1479, Bild 1/4
Hugo van der Goes (1470–1480), Sir Edward Boncle, Provost der Trinity College Kirk, Edinburgh, Trinity College Kirk, jetzt Edinburgh, Scottish National Gallery, Saal 3, Gotik und Renaissance, um 1478–1479, Bild 2/4
Hugo van der Goes (1470–1480), Sir Edward Boncle, Provost der Trinity College Kirk, Edinburgh, Trinity College Kirk, jetzt Edinburgh, Scottish National Gallery, Saal 3, Gotik und Renaissance, um 1478–1479, Bild 3/4
Hugo van der Goes (1470–1480), Sir Edward Boncle, Provost der Trinity College Kirk, Edinburgh, Trinity College Kirk, jetzt Edinburgh, Scottish National Gallery, Saal 3, Gotik und Renaissance, um 1478–1479, Bild 4/4

This is the most important surviving altarpiece commissioned for Scotland. It was painted for the Collegiate Church of the Holy Trinity in Edinburgh. Located near the present site of Waverley Station, the building was demolished in 1848. The altarpiece was commissioned by the first provost of the church, Edward Bonkil. The panels are wings which were attached by hinges to a lost central panel. When open, as presented here, the panels reveal on the left, King James III with St Andrew, the patron saint of Scotland and the king's first son James; and on the right, Margaret of Denmark, Queen of Scots, with St George. The royal faces appear rather 'wooden', as, presumably, the artist did not paint them from life, but made copies from another source. The panels to the rear here are the outer wings of the altarpiece which would have been visible when closed; the Holy Trinity as a heavenly vision on the right and Bonkil on the left. Bonkil had close ties to Bruges and must have sat for his strikingly lifelike portrait. The two wings almost certainly flanked a central panel, perhaps of Coronation of the Virgin, which is thought to have been destroyed during the Reformation. The images of royalty probably preserved the panels from similar attack.

Edinburgh, Scottish National Gallery, Saal 3, Gotik und Renaissance
Edinburgh, Scottish National Gallery, Saal 3, Gotik und Renaissance, Bild 1/2
Edinburgh, Scottish National Gallery, Saal 3, Gotik und Renaissance, Bild 1/2
Edinburgh, Scottish National Gallery, Saal 3, Gotik und Renaissance, Bild 2/2

In Vorbereitung: Paris, Musée d’Orsay; Paris, Musée des Arts décoratifs; L'Aquila, Museo Nazionale d'Abruzzo; Ascoli Piceno, Pinacoteca civica

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