DOI article:
Kępiński, Zdzisław: Jan van Eyck's "Tym. Wtheoc": portrait of Jean de Croy?
DOI Page / Citation link:https://doi.org/10.11588/diglit.27011#0047
JAN VAN EYCK — PORTRAIT OF JEAN DE CROY
29
expression is ąuite simple, although it has two connotations which de-
mand different contextual interpretation, significant to the painting.
In the modern transcription “Loyal souvenir” would mean: “true me-
mory”, but it can also be understood as “faithful memory”. In the first
case it States the reality accurately defined. and fixed in memory, or it
stresses the perseverance of memorized ideas. As the second reading sug-
gests the stress is shifted upon the assurance of firmness of memory to-
wards the addressed person whom the memory is devoted to.
The way of reading and of interpreting the inscription may be suggest-
ed by its form. The monumental character should be taken into account,
The inscription sounds as a publicly used device rather than a confession
or an intimate assurance. Its significance may be dependent on the former
words, on the verse placed above the device, the linę that consists of two
words “TYM. W0EOC”. Because of a little damage the finał letter cannot
be read accurately. However, there are only two possibilities; it can be
read either as “C” or “I”. In case of applying Latin transliteration we
should take both possibilities into consideration, dependently on the still
unknown context of inscription: 1° “Tum.” or “Tim.” — 2° “Otheos” or
“Otheoi”.
Those words still remain enigmatic. The critics’ polemics focus upon
them. And it seems that here lays the key to reveal the name of the
portrayed person.
The history of the painting does not bring any significant information
that could be helpful in the attempts of identifying its hero. If we tracę
the history of the painting as an object itself it was mentioned for the
first time in 1854.2
As far as the artistic history of the painting is concerned, attention
should be paid to the fact that there existed two of its copies, both were
in Italy in the mid of the nineteenth century.3 The existence of these co-
pies suggests that the original painting had replicas that were lacking the
signature of Jan van Eyck; it means that they were probably intended to
convey the image rather than the artistic values. As an image, it could
2 E. F. E[rnst] Ffoerster]. Deutsches Kunstblatt. 5, 1854, 19 October.
3 Mentioned by Martin Davies, The National Gallery London, (Les Primitifs
Flamands, Corpus), vol. II, Antwerpen 1954, p. 134: Two copies on copper are record-
ed: (1), in the Lochis Collection at Bergamo, as Pontormo; identified in Eastlake’s
note-book in the National Gallery, Part I for 1857; Lochis Catalogue (Descriptive and
Historical Catalogue of the Pictures in the National Gallery, Foreign Schools, 22nd
edition, London 1857), p. 247/8, Aggiunta, No CXLV. (2). . . owned by Count Bertolazo-
ne d’Arache at Turin, and then by his nephew and heir Count Castellani (Mandler’s
Diary in the National Gallery, 12 October, 1857; inścribed Palma vecchio on the back).
Not identifiable in the catalogue of the Arache (Castellani) Sale, Paris, 28. Febr. — 1.
March, 1859.
29
expression is ąuite simple, although it has two connotations which de-
mand different contextual interpretation, significant to the painting.
In the modern transcription “Loyal souvenir” would mean: “true me-
mory”, but it can also be understood as “faithful memory”. In the first
case it States the reality accurately defined. and fixed in memory, or it
stresses the perseverance of memorized ideas. As the second reading sug-
gests the stress is shifted upon the assurance of firmness of memory to-
wards the addressed person whom the memory is devoted to.
The way of reading and of interpreting the inscription may be suggest-
ed by its form. The monumental character should be taken into account,
The inscription sounds as a publicly used device rather than a confession
or an intimate assurance. Its significance may be dependent on the former
words, on the verse placed above the device, the linę that consists of two
words “TYM. W0EOC”. Because of a little damage the finał letter cannot
be read accurately. However, there are only two possibilities; it can be
read either as “C” or “I”. In case of applying Latin transliteration we
should take both possibilities into consideration, dependently on the still
unknown context of inscription: 1° “Tum.” or “Tim.” — 2° “Otheos” or
“Otheoi”.
Those words still remain enigmatic. The critics’ polemics focus upon
them. And it seems that here lays the key to reveal the name of the
portrayed person.
The history of the painting does not bring any significant information
that could be helpful in the attempts of identifying its hero. If we tracę
the history of the painting as an object itself it was mentioned for the
first time in 1854.2
As far as the artistic history of the painting is concerned, attention
should be paid to the fact that there existed two of its copies, both were
in Italy in the mid of the nineteenth century.3 The existence of these co-
pies suggests that the original painting had replicas that were lacking the
signature of Jan van Eyck; it means that they were probably intended to
convey the image rather than the artistic values. As an image, it could
2 E. F. E[rnst] Ffoerster]. Deutsches Kunstblatt. 5, 1854, 19 October.
3 Mentioned by Martin Davies, The National Gallery London, (Les Primitifs
Flamands, Corpus), vol. II, Antwerpen 1954, p. 134: Two copies on copper are record-
ed: (1), in the Lochis Collection at Bergamo, as Pontormo; identified in Eastlake’s
note-book in the National Gallery, Part I for 1857; Lochis Catalogue (Descriptive and
Historical Catalogue of the Pictures in the National Gallery, Foreign Schools, 22nd
edition, London 1857), p. 247/8, Aggiunta, No CXLV. (2). . . owned by Count Bertolazo-
ne d’Arache at Turin, and then by his nephew and heir Count Castellani (Mandler’s
Diary in the National Gallery, 12 October, 1857; inścribed Palma vecchio on the back).
Not identifiable in the catalogue of the Arache (Castellani) Sale, Paris, 28. Febr. — 1.
March, 1859.