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Artwork Full of Religious Symbols and Unusual Elements, Like a Drooling Dragon, Will Be Exhibited to the Public for the First Time in Over 60 Years in London.
An enigmatic artwork, featuring a drooling dragon and religious figures, has just entered the collection of the National Gallery in London.
Despite its million-dollar value, around US$ 20 million, no one knows for sure who the author of the artwork is, where it was created, or even from which country the artist came. Still, the British institution decided to invest in the mysterious piece.
Artwork Acquired in Special Celebration
The artwork in question is called The Virgin and Child with Saints Louis and Margeret. It was purchased for US$ 20 million. According to the museum’s director, Gabriele Finaldi, the gallery had been eyeing the painting “for decades.”
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Last publicly exhibited in 1960, the artwork was presented to the public again.
The management’s expectation is that the new exhibition may help scholars and experts advance in identifying the artist and the origin of the painting.
Investigations on the Origin
The technical studies have already begun. One of the first tests conducted was dendrochronology, a technique used to date wood.
The analysis indicated that the Baltic oak panel used for the painting dates back to around 1483. This wood was widely used by artists from the Netherlands.
This detail is important because, by the end of the 15th century, French painters typically used local wood. The presence of Baltic oak suggests a connection to the Dutch region.
The oldest documentation regarding the altarpiece dates back to 1602.
That year, the piece was registered at the Premonstratensian Abbey of Drongen, in Ghent, Belgium. Experts still do not know if this was the original location of the artwork. However, the themes present in the painting indicate that it may have been.
Curious Symbols and Characters
The painting depicts the Virgin Mary and the infant Jesus accompanied by two angels, Saint Margaret, and Saint Louis.
A dragon with drool dripping also appears in the scene, with a canine appearance and exaggerated fangs. According to tradition, this dragon is, in fact, Satan.
He supposedly swallowed Saint Margaret, who appears in the image praying calmly as if nothing had happened.
Saint Louis, in the image, is depicted with a chain.
The model of the accessory was officially altered in 1516, which allows researchers to establish a maximum date for the creation of the painting.
Based on this and the visual style of the work, scholars estimate that it was created around 1510.
The depiction of the French king Louis IX as Saint Louis is significant, as he was important to the Premonstratensian order by allowing the use of the fleur-de-lis in his coat of arms. This symbolism reinforces the connection of the work with the abbey where it was found.
Mix of Styles and Influences
Although the author of the painting remains unknown, there are stylistic indications that suggest possible influences. The National Gallery states that the work showcases traits of the French painter Jean Hey. There are also similarities with Dutch artists such as Jan van Eyck and Hugo van der Goes.
The combination of styles led Emma Capron, the gallery’s curator, to describe the altarpiece as “extremely inventive.” She also pointed out several “iconographic peculiarities” present in the work.
Among them are the angels that appear with unusual musical instruments. One holds a songbook, which was previously thought to be a hymn by English composer Walter Frye. Now, experts identify the text as musical jargon. The other angel plays a mouth harp, a sound that, according to the gallery itself, does not align with the traditional image of celestial music.
Hidden Details and Eye-Catching Garments
In addition to the main elements, the painting is filled with symbolic references. There are details from the Old Testament engraved in the capitals of the columns. Objects associated with the crucifixion, such as nails scattered throughout the scene, also appear. A small goldfinch can also be seen, hidden among the elements.
Even with so many complex details, the center of the image remains the Virgin Mary and the infant Jesus. They are depicted wearing garments in a color described as “sportscar bright red,” according to Richard Whiddington from Artnet.
Work Has Challenged Experts for Decades
Historian Denys Sutton recognized the challenge that the work posed in the 1950s. He described the altarpiece as a “delightful item that challenges the ingenuity of scholars.” Now, more than 60 years later, the enigma remains.
With the new exhibition, the National Gallery hopes that the public and experts can gradually unravel the secrets of the painting. Until then, The Virgin and Child with Saints Louis and Margeret continues to intrigue with its blend of humor, devotion, and mystery.
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