Unique and rarely seen lace on show
From the 23rd of June up until the 30th of September four exceptional Benediction veils in Brussels lace will be on show in the Fashion and Lace Museum in Brussels. Three of those four veils are on loan from the collection of the Art & History Museum.
These blessing veils or benediction veils are relatively rare: only about 15 exeamples are known in te world. Dating from 1700 to 1750, they all have similar dimensions, are of very high quality, they all tell a story using similar iconography. None of these veils show signs of wear which implies they were not very often used.
How, where and when these veils were used is still subject to debate.
Our Lady of Sorrow, circa 1700
The central composition of this veil is Our Lady of Sorrows. The Virgin Mary is depicted seated, at the centre of the image, her heart pierced with seven swords. These symbolise the seven sorrows of Mary during her life:
1. Simeon, who took Jesus in his arms in the Temple and said, “and a sword will pierce your own soul, too...”, in reference to the pain and death of Jesus.
2. The flight into Egypt because King Herod wanted to kill Jesus.
3. Jesus could not be found but he was in the Temple in Jerusalem with the doctors of the law.
4. Mary who met Jesus carrying his cross on his way to crucifixion.
5. Mary crying before her crucified son, the Stabat Mater.
6. Mary holding her dead son in her lap, the Pietà or Mater dolorosa.
Since the Middle Ages, the commemoration of Our Lady of the Seven Sorrows has formed part of the liturgical calendar and is a religious celebration. In the old Low Countries, Our Lady of the Seven Sorrows was a subject of great devotion and many churches and chapels are dedicated to her.
At Mary’s feet, the nails from Christ’s cross, the crown of thorns and the I.N.R.I. plaque can be clearly seen.
Around the medallion framing Mary, four angels carry the instruments of the Passion. The angel on the top left carries the ladder and the tunic of Jesus. The angel on the top right carries the scourging pillar on which is placed the cockerel, which evokes the Peter’s denial. In his left hand, this angel also holds the whip and the sword.
The angel at the bottom left holds a lance, sponge and lamp. The angel at the bottom right carries the Holy Cross
In the upper corners, angels blow trumpets in honour of the Virgin with Child. Mary wears a magnificent dress and crown and holds a sceptre in her hand. Seated on her left, Jesus shows her the terrestrial globe. He is depicted as the Salvator Mundi – the saviour of the world!
In a small Baroque temple, several characters are grouped together. On the left and right of the roof of this small temple, we can see two angels who accompany the major event which is taking place with drum rolls.
In his function as the father of sovereigns and kings, a seated Pope, wearing a tiara on his head, holds out a document to a richly dressed woman kneeling before him. This lady is accompanied by another lady who carries a cushion on which a crown is laid. A page with a feather headdress – an allegory of the American continent - carries the train of the lady who is kneeling. To the left of the Pope, a cardinal and a bishop carry the papal cross as a symbol of heavenly, terrestrial and ecclesiastical authority.
The rich lady is probably a depiction of Saint Begga of Andenne (620-693), the patron saint of all Beguines. Although she is predominantly recognised as the founder of the Beguinages, there is no historical certainty about this.
However, she was worshipped as such, especially from the 17th Century onwards, and many images and depictions of her appeared at this time. The document that the Pope is holding out to her is the founding charter of the order of the Beguines.
The Invention of the Holy Cross, 1720
The stylised butterflies in the top left and right corners symbolise the joy and lightness of Christ. In the middle, at the top, a crowned cross is held by two angels playing the trumpet. A rosary is wound around the arms of the cross and a date can be seen at the bottom: 1720.
The Rosary evokes the life, suffering and resurrection of Christ. This is precisely also the theme here. The central scene shows Saint Helena (248-329) who found the Cross of Christ. After converting to Christianity, in the same way as her son, the Emperor Constantine, Helena went on a pilgrimage to the Holy Land. During her search for Holy Places, Helena is said to have found the Cross of Christ, the nails from the Cross, the lance, the sponge, the INRI plaque and even the relics of the Magi.
Here, she is depicted kneeling in the same way as an empress with the Cross held tightly under her left arm. Objects from the passion can be seen to her left. Three pages dressed in an Oriental style stand behind her. These exotic figures and the palm tree are a reference to the Holy Land. The episode is said to have taken place in Jerusalem, which is why the Dome of the Rock is also integrated into the scene.
The man wearing secular clothing and holding a spade in his hand may be a reference to the Emperor Constantine, Helena’s son. He is wearing a sort of sash around his body and holds a hat/or crown in his hand. Another interpretation is that this man depicts the merchant or donor who paid for the lace.
It may also be Jean Baptiste Aurelius van Walhorn, who was the Mayor of Brussels from 1707 to 1724 and patron of the Beguinage. The sash may be a reference to this!
