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appearance, most especially the removal of strands of fair hair below the chaperon. It has sustained structural damage, especially to the marble on the reverse. The
National Gallery repaired some "slight injuries" when it came into their possession in 1857. Campbell notes a number of efforts by later restorers were imperfect and "rather disfiguring", including touchings to the man's nostrils and eyelashes, and the tip of his nose. There is a yellowish glaze over the eyes that seems to be either damage or overpaint. The panel is discoloured overall and suffers from aged and degenerated varnishes that make the original pigments hard to discern.
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canons of ideal beauty. The sitter appears to be bald, although there are some faint traces of fair hair, leading Erwin
Panofsky to conclude that his "countenance is as 'Nordic' as his dress is Burgundian." Though he has neither eyebrows nor stubble, he does have eyelashes that are believed to have been added by a 19th-century restorer. Van Eyck's cool observation of the man's narrow shoulders, pursed lips, and thin eyebrows extends to detailing the moisture on his blue eyes.
202:
324:. Agreeing with Panofsky, he observes a "thoughtfulness on the high, wrinkled forehead, visionary force in the dreamy yet steady eyes, a formidable strength of passion in the wide, firm mouth". According to Panofsky, the man's face is not that of an intellectual, yet he detects a pensive and lonely nature, "the face of one who feels and produces rather than observes and dissects".
400:", and that the lettering forms two words rather than one. In this interpretation, the letters spell TYΜω ΘΕΟN, meaning "Honour God". While this would be more straightforward than "Timotheus", he rejects the possibility. He writes that "the presence of a shorter horizontal line connecting with the slightly tapering top of the vertical stroke and completing it into a
333:
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The panel consists of a single 8-millimetre (0.3 in)-thick oak board, cut vertically down close to the painted surface. It has a small unpainted area at the upper left. The support's encasing was probably changed in the 19th century; today four of the eight supports are fixed to the edges of the
240:
with a bourrelet and cornette hanging forward. The headdress is trimmed with fur, fastened with two buttons, and extends to the parapet. His right hand might be holding the end of the cornette. Neither the shape of his head nor his facial features correspond to contemporary standard types, let alone
698:
century. When the
National Gallery was verifying attribution, the two copper reproductions were noted. The first was found by Eastlake in the collection of the Lochis family of Bergamo in Italy, the second in Turin, belonging to Count Castellane Harrach is described as smaller than the original and
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and underdrawings, but no hint as to the identity of the sitter. Its ground is mostly chalk-based; the pigments are predominantly blacks, red lake, and blues. The final portrait differs in many ways from the underdrawing – the fingers are shorter, the right thumb and the parapet are lower, and
608:
The portrait is not particularly well preserved. There are yellowish layers of glaze over the face, probably later additions. The varnishes have degraded and lost their original colours. The panel has undergone a number of detrimental retouchings. In some instances, these have altered the sitter's
317:
A number of art historians have noted the apparent contradiction between the man's plain looks and enigmatic expression. Meiss describes him as "plain and rustic", and finds a resemblance between his rather generic face and a number of figures in the lower portions of the "Adoration of the Lamb"
156:
The parapet dominates the portrait, and his head seems oversized compared to his upper body. Some art historians speculate that this is a result of van Eyck's then inexperience; it was only his second known portrait. Meiss speculates that van Eyck may have "los control of design as a whole by
111:. Panofsky drew the same conclusion, eliminating other Greeks bearing the name Timothy; they were of religious or military background, professions that do not match the civilian dress of the sitter. Panofsky believed the man was probably a highly placed musician in Philip's court, possibly
455:
352:. The last character is deliberately concealed by a chip in the imitation stone, a touch described by Panofsky as a "terminal flourish". This makes the meaning of the inscription difficult to discern. A general consensus among art historians is that the final character is a square C or
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446. Gevaert held that the portrait was a commemoration of a court artist who had recently died and that the classical reference was intended to flatter his memory. Panofsky largely went with this position in 1949. He speculated that the sitter was the celebrated musician
340:
The parapet has three horizontal rows of inscriptions; on the upper and lower rows is smaller lettering that is often not visible in reproductions. In places, the Greek characters are unclear and have been subject to much speculation by art historians, not least due to
305:
Eyck's early portraits. He is youthful, and his face has a soft fleshiness achieved through shallow curves and flowing, harmonious brushstrokes, giving the appearance of a relaxed, warm, and open personality, which Meiss describes as evoking an almost
72:
portraiture; his slight and unassuming torso is contrasted with a sophisticated facial expression. His features have been described as "plain and rustic", yet thoughtful and inward-looking. The sitter was apparently significant enough a member of the
575:, then favoured by the legal profession. In either case, although he is not grandly dressed and is probably a member of the middle class, he must have been highly regarded in Philip's court, given that such portraits rarely depicted non-nobles.
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the right arm once extended over a larger area. In the final portrait, the ear is elevated, and the scroll occupies a larger pictorial space. Analysis of the pigment shows that the flesh of his face is painted with whites and
686:, the National Gallery's collector and later director, in 1857, the year it was acquired. He mentions that it had been in the possession of the Scottish landscape painter Karl Ross (1816–1858) "before 1854". Like many of van
268:
Eyck's sitters are often shown holding objects indicative of their profession. The scroll contains six lines of illegible writing. The abbreviations are more prominent and seem to be in Latin, but may be vernacular.
252:
Eyck hands were often something of an afterthought. They are generically rendered, do not contain much detail and may have been a later workshop addition. Yet they are very similar to those of the sitter in his
431:. There is no Germanic name that might imply a humanistic imitation of a Greek word, so art historians have sought to identify the man from Greek history or legend. Although some have suggested certain
95:
and made errors, so readings by modern scholars vary. The first inscription is in Greek and seems to spell "TYΜ.ωΘΕΟϹ", which has not been satisfactorily interpreted but has led some to title the work
420:
538:
Eyck would have made this explicit, portraying him holding a device or emblem clearly symbolising music. She concludes that he is an accountant or lawyer holding a legal or financial document.
118:
More recent research focuses on the legalistic wording in one of the inscriptions, suggesting to some that he was in some way connected to the legal profession, or an employee of
68:, dated 1432. The sitter has not been identified, but his highly individual features suggest a historical person rather than the hypothetical ideal usual at the time in northern
153:
surfaces, could be applied across a range of thicknesses and was manipulable while wet, which allowed far more subtle detail than available to previous generations of painters.
103:("Loyal Memory") and indicates that the portrait is a posthumous commemoration. The third records van Eyck's signature and the date of execution. The 19th-century art historian
427:
Eastlake's translation is generally accepted. The possibility of it being a variant of "Timothy" has been discounted, as that word was not used in
Northern Europe before the
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warmth and sympathy". The sitter is not handsome; he has a flattish face, a stubby yet pointed nose, and prominent cheekbones that might, according to
Panofsky, belong to a "
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or, less likely, that it is a self-portrait. Though there is much disagreement, it is probable that he was a native French speaker, and a notary, poet, or member of the
702:
Ink markings on the marble reverse show a small cross that may record a merchant's mark or emblem. Although it is incomplete and no identification has been made,
1911:
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detected the mark of "an early
Italian, probably Venetian owner". An early provenance in Italy would not imply that the man came from that country; van
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with three sets of painted inscriptions, each rendered to look as if chiselled or scratched into stone. Van Eyck did not have full command of either
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510:, Bruges. Campbell is sceptical, disclaiming that the sitter "is not dressed as a cleric". Other theories include that the man was a Greek or
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588:. The other four act as inner pins. The varnish is severely degraded, with key areas of paint and ground either removed or overpainted.
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Detail showing the uppermost inscription. Note the punctuation after the third character, and the deliberately obscured final character.
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Eyck may have known of these from travels to France. The lower inscription reads "Actu ano dni.1432.10.die octobris.a.ioh de Eyck" (
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portrait. Roman tombstones often showed a representation of the deceased behind a parapet with a carved inscription, and van
485:), and is painted to give the impression that it was carved into the parapet. In 1927 Hippolyte Fierens Gevaert put forward
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allows van Eyck to display his skill at mimicking stone chiselling and scarring, and shows the influence of classical Roman
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Light falls from the left, leaving traces of shadow on the side of the man's face, a device commonly found in van
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The man is positioned within an undefined narrow space and set against a flat black background. Typically for van
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However, if this were the intended meaning, more correct lettering would have read "TIM.OΘEOC". See Paviot, 214
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in medieval
European art and one of the earliest extant unidealised representations. This is apparent in its
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Eyck seems to be reinforcing the idea that the man was a legal professional, who may have worked for the
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264:. The man holds a scroll that might be a legal document, letter, or pamphlet. In his early portraits, van
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Eyck "appears to have employed the Greek alphabet systematically", and always employed the square sigma
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and acute observation of the details of the man's everyday appearance. Van Eyck worked in the early
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557:). Campbell observes that the phrasing of this extended signature is surprisingly reminiscent of
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The Early
Portrait, from the Collection of the Prince of Liechtenstein and the Kunstmuseum Basel
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Eyck's early portraits typically show the sitter holding an emblem of his profession and class.
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form) for the Latin "O". The inscription may be meant to read "Honour God", or "Be
Honoured, O
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in that it is also unusually tall and narrow, with a large space above the sitter's head.
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8:
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Wood, Wendy. "A new identification of the sitter in Jan van Eyck's
Tymotheus portrait".
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Meiss, Millard. "'Nicholas Albergati' and the Chronology of Jan van Eyck's Portraits".
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Eyck's works and those of the Early Netherlandish painters in general, the painting's
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generals, these have been discounted as the sitter is not wearing military clothing.
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The larger middle inscription is in French, using a 12th-century script. It reads "
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were probably completed in 1431 or in the early months of the following year.
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Eyck, the head is large in relation to the torso. He is dressed in typically
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Finished in the year of our Lord 1432 on the 10th day of October by Jan van
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Eyck's panel, the scroll is inscribed on the outside with fictive writing.
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tradition and pioneered the manipulation of oil paint. Oil allowed smooth
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1445. Here, Philip is captured in a similar but inverted pose. As in van
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From the first two inscriptions, the panel is generally accepted as a
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Eyck's works were often purchased by collectors from that region.
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1341:. University Park, PA: Pennsylvania State University Press, 1989
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Paviot, Jacques. "The Sitter for Jan van Eyck's 'Leal Sovvenir".
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Petrus Christus: His Place in Fifteenth-Century Flemish painting
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The top lettering is in chalk white and Greek script that reads
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peasant". Dhanens describes him as having an honest expression.
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borrowed the illusionistic carving on the parapet for his 1446
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century. Near-contemporary copper reproductions are known from
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identified the lettering "TYΜ.ωΘΕΟC" with the Greek musician
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Tombstone of the soldier Tiberius Julius Pancuius. See also
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Although the inscription on the parapet does not contain a
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The painting was widely copied and imitated during the 15th
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as "Timotheos", a proper name. Campbell points out that van
185:, particularly stone memorials. The parapet gives the work
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193:, a sense of the "fragility of life or of memory itself".
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Van Eyck and the Founders of Early Netherlandish Painting
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Eyck's sometimes erratic spelling and unusual spacing.
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Small 1432 portrait of a man by Jan van Eyck in London
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is one of the earliest surviving examples of secular
408:". Dhanens suggests the inscription can be read as "
1912:Christ on the Cross with the Virgin and Saint John
1154:Bauman, Guy. "Early Flemish Portraits 1425–1525".
855:Although the dual portraits of the donors in his
601:, and traced with greys, blacks, blues, and some
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592:of the reverse reveals traces of short vertical
80:'s circle that his court painter portrayed him.
1311:Journal of the Warburg and Courtauld Institutes
1300:Journal of the Warburg and Courtauld Institutes
682:The painting is first recorded in the notes of
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1355:Hubert and John Van Eyck, their life and work
1191:The Fifteenth-Century Netherlandish Paintings
126:, London, where it is on permanent display.
28:, oil on oak, 33.3 cm × 18.9 cm.
1411:
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1285:. 1999. London: Harvey Miller Publishers.
236:fashion, with a red robe and a green wool
1610:Virgin and Child with Canon van der Paele
1510:Portrait of Giovanni di Nicolao Arnolfini
961:, forty years his junior." Kemperdick, 20
1298:. "Who Is Jan van Eyck's 'Tymotheos'?".
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1670:Crucifixion and Last Judgement Diptych
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1444:Portrait of a Man with a Blue Chaperon
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1242:. London: National Gallery, 2011.
1193:. London: National Gallery, 1998.
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1226:Jan van Eyck, The Play of Realism
675:Eyck is also heavily indebted to
83:The man sits before an imitation
1872:Portrait of a Man with Carnation
1780:Portrait of Isabella of Portugal
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1384:National Gallery catalogue entry
1228:. London: Reaktion Books, 1991.
1211:. New York: Tabard Press, 1980.
699:"very weak". Both are now lost.
584:interior borders, forming inner
530:("Society of the Green Hat") at
1827:Madonna of Nicolas van Maelbeke
1357:. London: J. Lane Company, 1908
1327:. London: Phaidon Press, 2004.
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1846:The Three Marys at the Tomb
1594:Madonna of Chancellor Rolin
1132:. Retrieved 18 October 2014
627:Portrait of Marco Barbarigo
362:was interpreted in 1857 by
287:Staatliche Museen zu Berlin
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1502:Portrait of Jan de Leeuw
1325:The Northern Renaissance
951:Hans Holbein the Younger
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660:Portrait of a Carthusian
528:Compagnie du Chapel Vert
508:St. Donatian's Cathedral
392:God", as written in the
1756:Study for a Crucifixion
1631:Madonna at the Fountain
605:over a red-lake glaze.
489:, a Greek musician and
1970:15th-century portraits
1238:Jones, Susan Frances.
949:Kemperdick notes that
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171:Fayum mummy portraits
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1240:Van Eyck to Gossaert
1203:Dhanens, Elisabeth.
590:Infrared photography
487:Timotheus of Miletus
447:and an associate of
109:Timotheus of Miletus
1268:Burlington Magazine
621:Follower of Jan van
516:Henry the Navigator
62:Early Netherlandish
1639:Madonna of Jan Vos
1481:Arnolfini Portrait
1205:Hubert and Jan van
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1793:Saint Christopher
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479:Loyal Remembrance
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213:Philip the Good
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120:Philip the Good
113:Gilles Binchois
101:"Leal Souvenir"
89:classical Greek
78:Philip the Good
75:Burgundian duke
41:(also known as
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1806:Woman Bathing
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1429:List of works
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475:LEAL SOVVENIR
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441:Saint Timothy
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135:Léal Souvenir
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53:) is a small
52:
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46:
45:
40:
39:
38:Léal Souvenir
31:
27:
26:Léal Souvenir
23:
19:
1923:
1910:
1907:(after 1434)
1902:
1889:
1870:
1857:
1853: 1420s
1844:
1830:(after 1440)
1825:
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1804:
1791:
1778:
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1733:
1707:
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1592:
1582:(Washington)
1580:Annunciation
1579:
1565:
1553:Annunciation
1552:
1521:
1508:
1500:
1487:
1479:
1471:
1463:
1456:
1455:
1442:
1420:Jan van Eyck
1361:
1354:
1338:
1324:
1310:
1299:
1282:
1267:
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1239:
1225:
1204:
1190:
1173:
1155:
1137:
1126:Jan van Eyck
1120:
1097:
1092:Borchert, 36
1078:Panofsky, 81
1074:
1069:Dhanens, 184
1053:
1044:
1035:
1026:
1001:
996:Panofsky, 88
966:
945:
940:Panofsky, 82
882:Dhanens, 182
866:
856:
851:
834:Borchert, 22
830:
825:Jones, 10–11
821:
812:
763:
758:Panofsky, 80
734:
701:
681:
676:
658:
640:
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582:
570:
550:
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502:, by 1430 a
482:
478:
472:
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409:
381:
371:
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347:
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319:
316:
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276:
259:Portrait of
258:
243:
227:
211:Portrait of
210:
183:funerary art
177:The decayed
176:
155:
134:
133:
117:
100:
96:
82:
66:Jan van Eyck
49:
48:
43:
42:
37:
36:
35:
25:
18:
1919: 1435
1891:Crucifixion
1866: 1432
1813: 1434
1800: 1460
1763: 1440
1750: 1432
1717: 1420
1712:("Hand G",
1701:manuscripts
1699:Illuminated
1690: 1437
1642:(1441–1443)
1517: 1438
1496: 1435
1451: 1430
1048:Paviot, 215
1039:Paviot, 214
959:Anne Lovell
783:Paviot, 212
633:1449–1450.
603:ultramarine
491:dithyrambic
429:Reformation
360:"TYΜ.ωΘΕΟC"
350:"TYΜ.ωΘΕΟC"
151:translucent
147:Renaissance
139:portraiture
130:Description
70:Renaissance
1959:Categories
1650:Polyptychs
1141:Weale, 109
1101:Bauman, 35
1005:Meiss, 144
984:Meiss, 137
870:Meiss, 138
846:Pächt, 110
767:Bauman, 37
722:References
692:provenance
613:Provenance
543:posthumous
514:merchant,
493:poet born
449:Saint Paul
234:Burgundian
55:oil-on-oak
1945:(brother)
1838:Contested
1436:Portraits
970:Upton, 27
816:Smith, 61
807:Smith, 42
795:Wood, 650
742:on the e.
740:diacritic
599:vermilion
586:mouldings
579:Condition
410:Time Deum
376:majuscule
97:Timotheus
44:Timotheus
1883:Workshop
1727:Drawings
1555:(Madrid)
1364:, volume
1317:58, 1995
1313:, volume
1306:12, 1949
1302:, volume
1270:, volume
1174:Van Eyck
1158:, volume
712:J. Weale
637:, London
594:hatching
572:bastarda
559:legalese
512:Lucchese
433:Athenian
416:family.
384:(in the
238:chaperon
205:Copy of
197:Portrait
187:gravitas
64:painter
32:, London
1936:Related
1368:60, No.
1274:94, No.
1162:43, No.
1148:Sources
647:Bergamo
532:Tournai
520:Jean de
445:Ephesus
312:Flemish
244:Unlike
179:parapet
161:Parapet
143:realism
85:parapet
60:by the
1928:(1442)
1875:(1435)
1738:(1437)
1661:(with
1634:(1439)
1613:(1436)
1605:(1436)
1597:(1435)
1526:(1439)
1505:(1436)
1484:(1434)
1476:(1433)
1468:(1432)
1460:(1432)
1370:
1366:
1345:
1331:
1315:
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710:
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625:Eyck,
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522:
437:Syrian
414:Vilain
390:
386:uncial
368:
356:sign.
343:
303:
295:
285:1435.
266:
250:
230:
222:
1545:works
727:Notes
651:Turin
504:canon
481:, or
379:omega
354:sigma
257:1435
93:Latin
1772:Lost
1343:ISBN
1329:ISBN
1287:ISBN
1258:ISBN
1244:ISBN
1230:ISBN
1213:ISBN
1209:Eyck
1195:ISBN
1178:ISBN
957:and
663:. A
649:and
555:Eyck
524:Croÿ
435:and
1128:".
506:at
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1747:c.
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1622:c.
1585:c.
1571:c.
1558:c.
1514:c.
1493:c.
1448:c.
1323:.
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1189:.
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1106:^
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1062:^
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708:H.
704:W.
665:c.
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216:,
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406:N
402:Γ
398:N
382:ω
372:C
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