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From Wikipedia, the free encyclopedia


Bavo
Saint Bavo with falcon and sword, by Geertgen tot Sint Jans, late 15th century
BornAllowin
622
Hesbaye, Kingdom of the Franks
Died653
Ghent, Kingdom of the Franks
Venerated inRoman Catholic Church
Eastern Orthodox Church
CanonizedPre-Congregation
FeastOctober 1
AttributesGreaves, other military or aristocratic garb, falcon, sword
PatronageGhent, Diocese of Ghent, Haarlem, Lauwe

Saint Bavo of Ghent (also known as Bavon, Allowin, Bavonius,[1] Baaf; AD 622–659) is a Roman Catholic and Eastern Orthodox saint. He was the son of Pepin of Landen and the brother of saints Begga and Gertrude of Nivelles.[citation needed]

YouTube Encyclopedic

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  • Van Eyck, Ghent Altarpiece (1 of 2)

Transcription

(music) ("In The Sky With Diamonds" by Scalding Lucy" Beth: We're going to have a look at the Ghent Altarpiece. Steven: It is absolutely breathtaking and it's really complicated. Beth: It is. It's made up of many, many panels. It's a polyptych and those panels are connected by hinges so they open and close. Steven: Which means that we see this set of paintings in two distinct ways. We either see it opened or closed. This is important because I think it would be closed much of the year and opened on peace days as a kind of revelation. Beth: This would have had an elaborate frame. Steven: There's some controversy about actually who painted it. This is generally ascribed to Jan Van Eyck. Some suggest that his brother Herbert may have [done] it. The frame was lost presumably during the iconoclasm, that is the attacks on Catholic art during the Reformation. Beth: And we also know that this painting is much coveted by the Nazis and was actually stored in a salt mine. We're lucky we still have it today. We have at the top some figures with scrolls and books. Those are prophets and sybils who predicted the coming of Christ, the coming of the Messiah. The moment that they predicted is actually unfolding right below them, and that is the scene of the Annunciation where the angel Gabriel is announcing to Mary that she is about to conceive Christ. Steven: Gabriel over on the left panel, Mary, three panels to the right, and then wonderfully empty space, not empty, in fact, this fabulous cityscape and then a kind of still life on the right middle panel, but nevertheless an unoccupied set of spaces that suggest the opportunity for Christ's arrival. Beth: And we have the usual trappings of the Annunciation. The angel Gabriel holds lilies, which are a symbol of Mary's purity, her seamlessness, her virginity. The angel Gabriel announces, and you can actually see words coming out of the angel's mouth in Latin; "Hail Mary, full of grace, blessed art thou among women." Mary on the other side with the dove above her head which represents the Holy Spirit, and words coming out of her mouth. Her reply to the angel Gabriel coming out backwards, right to left instead of left to right, and upside down, "Behold the handmaiden of the Lord." Backwards makes sense, right, because she's speaking back to the angel. It's very interesting that the words are also upside down. Steven: It makes us question who she's speaking to, doesn't it? Beth: Perhaps to God who's looking from above. Steven: Everything in this set of panels is very concrete and absolutely physical, and yet those words, because they're gold, but also because they're not attached to anything physically represented, are wonderfully [effurial] and speak to God. Beth: There is that tension between the writing which is a very medieval thing to do. It reinforces the flatness of the image, and yet there's a tension between that and as you said, the physicality of everything else; a sense of space, the objects that are depicted are incredibly real as the light reflects on them, that cityscape that goes out into a distance where we can see figures, shadows, buildings, birds or that still life on the right where we see the sunlight from the windows beautifully reflected, attention to detail that is very unique to the northern Renaissance. Steven: These artists were miniaturists and that attention to detail comes through even on this large scale, but we don't want to say that this is the kind of naturalism or realism that we would have seen develop at this very time in Italy because it's not. We're seeing a kind of awkward [unintelligible] perspective and the figures themselves look as if they might bump their heads if they actually stood up in this room. Beth: This space seems to rush back and also, we're not seeing an attention to the reality of the human body that we would have seen in the Italian Renaissance. We have a kind of drapery that seems to have a life of its own with lots of angular folds. It almost seems to hide the body underneath. We should say that the altar piece is 11 and a half feet high. It's really large. It's made for a private chapel in Saint Bavo's Cathedral in Ghent that belonged to the patrons who we see below. Steven: So we have four figures or two figures and then two sculptures, but that in and of itself raises a really interesting visual trickery. We take the figures who are dressed in red as real people, and then the sculptures in the middle carved of stone, but of course, this is all paint. Beth: The figures who are represented as sculptures are the two Saint Johns. I think they had particular relevance for the chapel and for the family. It's also interesting to look at the patrons because there's that thing that you always see in the northern Renaissance which is this amazing ability to represent different textures because of course, the artist are using oil paint. So that fur on his collar really seems like fur and his skin really seems like skin of an old man. Steven: And of course, oil paint will have a profound impact on the sense of this painting, but especially when we open it up. (music) ("In The Sky With Diamonds" by Scalding Lucy"

Vita

Bavo was born near Liège, to a Frankish noble family that gave him the name Allowin.[2] His father was  Pippin of Landen, the Mayor of the Palace of Austrasia, and his mother Itta of Metz.

The Conversion of St Bavo, Rubens, c. 1623

A wild young aristocrat of the  Brabant area, he contracted a beneficial marriage, and had a daughter. As a soldier he led an undisciplined and disorderly life. Shortly after the death of his wife, Bavo decided to reform after hearing a sermon preached by Saint Amand (c. 584 – 679) on the emptiness of material things.[1] On returning to his house he distributed his wealth to the poor, and then received the tonsure from Amand.[3]

For some time thereafter, Bavo joined Amand in the latter's missionary travels throughout France and Flanders. On one occasion, Bavo met a man whom he had sold into slavery years before. Wishing to atone for his earlier deed, Bavo had the man lead him by a chain to the town jail. Bavo built an abbey on his grounds and became a monk. He distributed his belongings to the poor and lived as a recluse, first in a hollow tree and later in a cell in the forest by the abbey.

His relics were housed at  the abbey in Ghent[4] (in present-day Belgium).

Veneration

Bavo is the patron saint of Ghent, Zellik, and Lauwe in Belgium, and Haarlem in the Netherlands. His feast in the Catholic Church and the Eastern Orthodox Church is October 1.

He is most often shown in Christian art as a knight with a sword and falcon. The most popular scene is the moment of his conversion, which has many stories attached to it. Because he is so often shown with a falcon, he came to be considered the patron saint of falconry. In medieval Ghent, taxes were paid on Bavo's feast day, and it is for this reason he is often shown holding a purse or money bag.

According to Rodulfus Glaber, the city of Bamberg is named after him, with Bamberg meaning "Mount of Bavo".

Legacy

Several churches are dedicated to him, including:

His picture is also part of the coat of arms of the Antwerp suburb Wilrijk. Rembrandt painted a Saint Bavo, dated between 1662 and 1665.[7]

Images

References

  1. ^ a b Tait, William (1840). Tait's Edinburgh Magazine. W. Tait. p. 298.
  2. ^ "Saint Bavo, Anchoret, Patron of Ghent. October 1. Rev. Alban Butler. 1866. Volume X: October. The Lives of the Saints". www.bartleby.com.
  3. ^ "CatholicSaints.Info » Blog Archive » A Garner of Saints – Saint Bavon".
  4. ^ McClintock, John; Strong, James (1889). "Bavo". Cyclopaedia of Biblical, Theological, and Ecclesiastical Literature. Vol. 11. New York: Harper & Brothers. p. 384. Retrieved 3 November 2023.
  5. ^ Saint-Bavo's Cathedral - Ghent Archived February 19, 2015, at the Wayback Machine
  6. ^ "HOME". bavo.
  7. ^ ""The Artist's Saint Bavo to be Shown for the First Time since its Recent Cleaning and Restoration". Getty Museum. June 3, 2009. Archived from the original on March 4, 2016. Retrieved December 2, 2014.
  • Attwater, Donald and Catherine Rachel John. The Penguin Dictionary of Saints. 3rd edition. New York: Penguin Books, 1993. ISBN 0-14-051312-4.

External links

This page was last edited on 22 March 2024, at 20:03
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