Catharina verschijnt / huwelijk van Catharina / Catharina deelt haar mantel
Summary
Van links naar rechts: Catharina verschijnt voor een etend gezelschap dat aan tafel zit. Boven het haardvuur is de heilige zichtbaar in een stralenkrans.; Mystiek huwelijk tussen Catharina van Siena en Christus. Tussen het paar staat Maria. Op de achtergrond de getuigen: koning David met de harp, H. Dominicus met een lelietak, Johannes de evangelist en de heilige Paulus.; Catharina staat in een kerk voor een doopvont. Christus is gekleed als arme man, zonder kleren. Catharina deelt haar mantel met hem. In de marge een toelichting op de voorstellingen in het Latijn. Vierde prent uit een serie van twaalf met het leven en de wonderen van de H. Catharina van Siena.
David was a skilled musician and poet, and he played the harp to soothe King Saul when he was tormented by evil spirits. David's musical abilities and his role as a psalmist also led him to be associated with the worship of God and with the expression of devotion and praise. The image of David playing the harp remains a symbol of the connection between music, worship, and devotion in Western tradition.
The roots of the Flemish school are usually placed in Dijon, the capital of the dukes of Burgundy where Philip the Bold (reigned 1363–1404) established a tradition of art patronage. Philip the Good (reigned 1419–67) moved the Burgundian capital to Brugge (Bruges). The largest county in the Southern Netherlands was Flanders and the term Flanders is often used to refer to the whole of the Southern Netherlands. Flanders produced many famous artists of Northern Europe. Arts flourished in the County of Flanders and neighboring Brabant, Hainaut, Picardy, Artois, and Tournaisis, from the early 15th century until the 17th century. In the 15th century and up to 1520 Flaundry was a part of Early Netherlandish art with the center in Antwerp. It gradually became distinct from the art of the rest of the Low Countries, especially the modern Netherlands by the end of the 16th century, when the north and the south Netherlands were politically separated. During the last quarter of the 16th century, political unrest between the northern and southern parts of the Netherlands brought a decline in Flemish art. Many Flemish artists left the Southern Netherlands for Rome, Germany, or the Dutch Republic. After Twelve Year Truce, Flemish art revived.
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