Lot Essay
This tapestry depicts the moral struggle between the forces of good and evil as portayed by the virtues and vices that are encountered upon the journey through life. This eternal subject was one that much exercised the medieval imagination and was one of the central themes of the art of the Middle Ages. It was often associated with the Last Judgement as in the Giotto frescoes in the Scrovegni Chapel, Padua.
The present example is an accomplished and richly detailed version of the journey, typical of the last flowering of gothic art. The young nobleman, the 'Peccator' (sinner) is seated in the foregound in the centre of a group of courtly allegorical figures. To his right is 'Concupiscientia' (Covetousness) and above her 'Conscientia' (conscience) profers two whips, beside her 'Culpa' (guilt) rejects the whips. The figure to the left of the 'Peccator' who is touching his shoulder and points towards God is 'Caritas' (Charity). The 'Peccator' is illustrated in the upper left hand portion of the tapestry seated at a table laden with gold surrounded by 'Consciencia' and 'Culpa' who is filling his cup (to counteract the ministrations of Consciencia) and other allegorical figures including 'Justicia' who has drawn his sword on the sinner. The third depiction of the 'Peccator' (upper right hand side) illustrates the young nobleman kneeling in penitence before God and two angels, the figure of 'Culpa' has been pushed aside. The prophet Jonah waves a scroll at 'Conscientia' in the lower left portion; his inclusion in the iconography of this tapestry is probably a reference to his own repentence after being swallowed by the 'great fish'.
The virtues and vices were depicted generally as female figures, personifications of abstract concepts and well known to classical antiquity. The conflict between the individual virtues and vices is illustrated in the present panel ('Culpa' rejects the whips of 'Concientia'). Apart from the seven principal virtues and vices there were a large number of minor allegorical figures whose precise symbolic role has become obscure.
The present example is an accomplished and richly detailed version of the journey, typical of the last flowering of gothic art. The young nobleman, the 'Peccator' (sinner) is seated in the foregound in the centre of a group of courtly allegorical figures. To his right is 'Concupiscientia' (Covetousness) and above her 'Conscientia' (conscience) profers two whips, beside her 'Culpa' (guilt) rejects the whips. The figure to the left of the 'Peccator' who is touching his shoulder and points towards God is 'Caritas' (Charity). The 'Peccator' is illustrated in the upper left hand portion of the tapestry seated at a table laden with gold surrounded by 'Consciencia' and 'Culpa' who is filling his cup (to counteract the ministrations of Consciencia) and other allegorical figures including 'Justicia' who has drawn his sword on the sinner. The third depiction of the 'Peccator' (upper right hand side) illustrates the young nobleman kneeling in penitence before God and two angels, the figure of 'Culpa' has been pushed aside. The prophet Jonah waves a scroll at 'Conscientia' in the lower left portion; his inclusion in the iconography of this tapestry is probably a reference to his own repentence after being swallowed by the 'great fish'.
The virtues and vices were depicted generally as female figures, personifications of abstract concepts and well known to classical antiquity. The conflict between the individual virtues and vices is illustrated in the present panel ('Culpa' rejects the whips of 'Concientia'). Apart from the seven principal virtues and vices there were a large number of minor allegorical figures whose precise symbolic role has become obscure.