Believed to be one of the most influential and famous pieces of the Renaissance art, the painting ‘A goldsmith in His workshop, Possible Saint Eligius’ is a 15th century masterpiece of Petrus Christus, a Flemish painter1. The painting depicts a wealthy and neatly dressed but young gold dealer seated in his workshop taking the weight of some gold objects accompanied by a woman and her male companion2.
The three characters, their mode of dressing, facial appearances as well as the room and the objects around them suggest a harmonious, orderly and civic business environment3. According to various analysts, the painting was an advertisement for a gold dealer4. A number of scholars have cited that the elegant goldsmith was used to portray Saint Eligius, a 15th-century patron of goldsmiths5. However, other arguments claim that the character was used to represent the 15th-century goldsmiths in Europe.
Nevertheless, the main aspect of this masterpiece in art history is the depiction of the society by shifting from the traditional themes of religion to secular themes portrayed by the jovial, dynamic and explicit representation of social aspects of life, relationships, and economic activities. This paper seeks to support this argument by drawing critical evidence from the historical era (Northern Renaissance), artistic appearance, and context of the masterpiece.
Born around 1410 in Baarle, Petrus Christus was one of the pioneer Renaissance painters in the Netherlands. At an early age, Christus moved to Bruges, where he obtained influence from Jan van Eyck6. After Jan Eyck’s death in 1441, Christus became the new workshop owner. In 1444, he became a Burges citizen. In fact, scholars have shown that a thin line exists between some of his work and those previously developed by Jan Eyck7. Most of his works resembled those of Eyck.
Some of them were actually designed by the mentor prior to his death8. Although his artistic style was essentially based on Italian style, it is unclear whether Christus visited Milan or any other part of the country or whether Italian art merchants brought his work to Milan9. Nevertheless, this work is one of the most influential and symbolic masterpieces of the northern European Renaissance, which shows evidence influence of Italian Renaissance in northern Europe10.
From historical perspectives, a number of scholars have argued that the painting was developed to depict St. Eligius, a former patron of goldsmiths who later changed and dedicated his life to God11. It is believed that the painting was one of his advertisements at his gold shop. It is also believed that the painting was done under the patronage of royal and rich merchants in Bruges12.
This group is thought to have formed an organization called Bruges Chapel of Goldsmiths in 1449, which commissioned the painting13. Thus, the merchant in red is supposed to be St. Eligius or another popular gold dealer in the city14.
The nature and appearance of the painting provide evidence of the artist’s adherence to the European Renaissance, especially the Northern Renaissance in the 14th to 16th centuries. For instance, it is made on “oil on oak panel,” the most popular materials of the time. It is relatively large, measuring about 39 3/8 by 33 ¾ inches15.
The painted surface is about 38 5/8 by 33 ½ square inches16. Like Christus’ other works such as ‘the Head of Christ’ or the work of other renaissance artists such as ‘Mona Lisa’ by Da Vinci, this work shows evidence of the freedom to apply color, themes and use of lines and perspective.
The choice of color is one of the most important aspects of the work that provide evidence of the artist’s allegiance with the European Renaissance. For instance, almost every item in the painting appears bright and attractive. The clothes are worn by the three individuals, the items in the room, and the counter table are developed suing different bright colors. The use of light and shade is evident.
For instance, in the foreground, where the characters and the main themes of commerce and romance are portrayed, bright colors are used to provide evidence of illumination17. The items on the background, though well lit, are developed with less bright colors to establish a contrast between them and the events on the foreground. It is also worth noting the aspect of perspective in the painting.
For instance, the objects and characters in the foreground are larger than the objects in the background, creating a linear perspective18. In fact, these are some of the major characteristics and themes of the European Renaissance in arts. The freedom to choose the color, lines, light, and shade, and perspective played a significant role during the transformation of arts from religious to secularity19.
The content and subject of the work have remained a topic of debate over the centuries. First, the original setting of the work, the painting’s objective, function, and patronage are open to debate. An important aspect of this debate is the subject matter. An analysis of the content provides evidence that the setting was in a merchant’s shop rather than a goldsmith’s workshop20.
The painter portrays three elegantly dressed individuals conversing about the items on the table. One of the individuals, the goldsmith or the shop owner, is seated behind the counter table. He is holding a simple lever-balance for balancing a gold weight (which looks like a finger ring) against another unspecified weight reference.
Two small but shinny gold rings are lying on the table alongside other weights and small metal vases. The merchant is elegantly dressed, with a clean red gown that represents those worn by rich individuals in the renaissance period. Behind him are two individuals- a female and a male companion. The young woman is stretching her hand softly, pointing at the golden ring being measured21.
The young woman is also sumptuously clothed, with a large veil that seems to be a wedding gown. In addition, her male companion is holding her softly in her back and seems to be conversing with her. It is evident that the main subject matter in this painting revolves around the sale of a wedding ring. In fact, the sumptuous clothes worn by the two couples are typical of the 15th-century wedding gowns worn by betrothed couples22. Gold rings, bracelets, and other luxurious items were part of the secular aspect of weddings.
In addition, gold was one of the major measures of wealth alongside money. It was highly valued, which shows evidence of the subject’s deviation from religious to secular aspects of wedding, love, and romance. In addition, the betrothal girdle resting on the table is a symbol of chastity.
On the tales, a round mirror reflects two older men standing outside the shop23. They are staring at the three people in the shop, with one holding a falcon. During the renaissance period, a falcon was used to symbolize pride or greed. Thus, the two men outside the shop are likely admiring the gold in possession of the goldsmith or the couple’s clothing24.
The entire environment in the goldsmith’s shop provides a fascinating scene, with well-arranged items that appear expensive. For instance, the shelf at the background displays a number of items such as gemstones and other jewelry. Evidently, the shop does not deal with gold only. It is a jewelry shop dealing with expensive products.
However, a number of other items appearing on the background suggest that the couple belongs from one of the royal families in the city. For instance, a coral, some rubies and sapphires are seen arranged on the rack below the displayed jewelry. According to Ainsworth and Martens,25 The society of the time valued these items, which were quite expensive. For example, it was believed that coral had the power to cure hemorrhage. Rubies were used as an antiseptic agent. In addition, sapphires were thought to cure ulcers.
Moreover, the painting portrays some serpent tongues hanging above the coral, and a goblet is partly hidden by a curtain. According to Ainsworth and Christiansen26, these items had a number of meanings. The serpent’s tongues were used as a litmus test to determine whether food or drinks contained poisons. They changed color in the presence of poison27.
These aspects indicate that the two are here to purchase jewelry as well as items that are likely to protect them from harm. The evils of society are portrayed by the inclusion of these items. In the era, newly married couples in northern Europe and other parts of the continent were threatened by superstitious and physical harm, especially those from royal and rich families. Thus, it was necessary to seek for these items because they were believed to confer a high degree of protection28.
It is also worth noting the painter’s ability to describe the mixture of religious beliefs with non-religious aspects. For instance, apart from the jewelry and the protection objects, the artist includes a crystal container for Eucharistic wafers as well as a scale used to measure the gold. According to Sterling,29
These two items symbolize religious aspects, with the balance scales representing the last judgment in the bible. Therefore, the artist was attempting to portray the impact of religious and non-religious beliefs in the society, a common aspect of the society during the Renaissance.
Apart from the commercial and secular aspects of the painting, civic aspects of the picture are evident. For instance, the business environment is cool, harmonious, and soft. The merchant is looking at something above the ground, probably on the wall in front of his office. He is probably referring to some standards on the wall or referencing to a standard measure in his mind. This is evidence that weights and measures played an important role in business and commerce to reduce exploitations30. In addition, the business is being conducted in a small shop across one of the streets, with no security provided. Thus, it is clear that the society had taken steps to increase its civil service and take responsibilities.
In conclusion, it is clear that the painting provides evidence of the artist’s allegiance with the Northern Renaissance. Apart from history, it is clear that the artistic style, themes, and topic have drifted from an absolute focus on religion to a mixture of secular and socioeconomic aspects.
Bibliography
Ainsworth, Maryan, and Keith Christiansen. From Van Eyck to Bruegel. New York: Metropolitan Museum of Art, 2008.
Ainsworth, Maryan, and Maximiliaan Martens. Petrus Christus: Renaissance Master of Bruges. New York: Metropolitan Museum of Art, 1994.
Ainsworth, Maryan. Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach. New York: Metropolitan Museum of Art, 1995.
Bauman, Guy. “Early Flemish Portraits.” The Metropolitan Museum of Art Bulletin, 43, no. 4 (2004): 1425–1525.
Martens, Maximiliaan. “New Information on Petrus Christus’s Biography and the Patronage of His Brussels Lamentation.” Simiolus: Netherlands Quarterly for the History of Art 20, no.1 (2011): 5–23.
Petrus Christus. “A Goldsmith in His Shop, Possibly Saint Eligius.” In Heilbrunn Timeline of Art History, 1998, edited by Maryan Ainsworth, 175-181. New York: The Metropolitan Museum of Art, 2008.
Sterling, Charles. “Observations on Petrus Christus.” The Art Bulletin 53, no. 1 (2009): 1–26.
Footnotes
1 Guy Bauman, “Early Flemish Portraits,” The Metropolitan Museum of Art Bulletin, 43, no. 4 (2004): 1424.
2 Petrus Christus, “A Goldsmith in His Shop, Possibly Saint Eligius” in Heilbrunn Timeline of Art History, 1998, ed. Maryan Ainsworth (New York: The Metropolitan Museum of Art, 2008), 76.
3 Maximiliaan Martens, “New Information on Petrus Christus’s Biography and the Patronage of His Brussels Lamentation,” Simiolus: Netherlands Quarterly for the History of Art 20, no.1 (2011): 9
4 Charles Sterling “Observations on Petrus Christus,” The Art Bulletin 53, no. 1 (2009): 1
5 Maryan Ainsworth, Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach (New York: Metropolitan Museum of Art, 1995), 281
6 Maryan Ainsworth and Keith Christiansen, From Van Eyck to Bruegel (New York: Metropolitan Museum of Art, 2008), 172
7 Maryan Ainsworth and Maximiliaan Martens, Petrus Christus: Renaissance Master of Bruges (New York: Metropolitan Museum of Art, 1994), 321
8 Sterling, 7
9 Bauman, 1437
10 Martens, 23
11 Ainsworth and Martens, 329
12 Ainsworth and Christiansen, 188
13 Christus, 59
14 Bauman, 1436
15 Christus, 44
16 Christus, 44
17 Sterling, 9
18 Ainsworth and Christiansen, 129
19 Ainsworth and Martens, 367
20 Ainsworth and Martens, 389
21 Sterling, 11
22 Ainsworth and Christiansen, 124
23 Sterling, 11
24 Ainsworth and Martens, 412
25 Ainsworth and Martens, 417
26 Ainsworth and Christiansen, 229
27 Sterling, 16
28 Ainsworth and Christiansen, 121
29 Sterling, 21
30 Ainsworth and Martens, 231