{"id":48712,"date":"2021-08-01T12:57:28","date_gmt":"2021-08-01T10:57:28","guid":{"rendered":"http:\/\/topa.be\/st-andries\/beschrijving\/sak-the-minters-altar\/"},"modified":"2021-08-02T18:33:27","modified_gmt":"2021-08-02T16:33:27","slug":"muntersaltaar","status":"publish","type":"page","link":"https:\/\/topa.be\/en\/st-andries\/beschrijving\/muntersaltaar\/","title":{"rendered":"SAK The Minters’ Altar"},"content":{"rendered":"\t\t
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Antwerp's St Andrew's Church, a revelation.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The minters' altar of saint Eligius<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Once St Andrews\u2019 had been consecrated (1529), it was taken for natural that the Mint \u2013 situated on the corner of Oever and Kloosterstraat since 1470 \u2013 should change the location of its altar. The minters\u2019 altar moved from the St Walburga Church, close to the Steen, to the new parish church right around the corner (of Muntstraat). The minters were a significant professional category in this new parish community, as is apparent from the list of benefactors and church wardens, and from at least 27 gravestones for mint personnel. None of these gravestones survive today.<\/p>\n

Along with seven other altars, the new minters\u2019 altar was consecrated in 1530, with Eloy (Eligius) as its patron saint. At the time, the altar stood against the eastern wall of the northern transept, until it was almost entirely destroyed by protestant iconoclasts in 1566. Immediately after Antwerp had been liberated in 1585, the minters had a new altar raised, and crowned it with a statue of St Eligius. Afterwards, they commissioned an altar screen with a triptych by Maerten de Vos (1532-1603), one of the best-known painters of Antwerp at the time. The artwork, which signed and dated in the lower left corner, was inaugurated in 1601. In its closed state, the outer panels in grisaille become visible; in addition, two grisaille panels (fixed against the wall) can be seen. These last panels depict Avarice and Generosity, and are sometimes attributed to Hendrick van Balen (first quarter of the 17th<\/sup> century).<\/p>\n

The original altar equipment includes the 17th<\/sup>-century set of an altar cross and four chandeliers in driven brass, embellished with the weapon of the ducal Mint.<\/p>\n

Joseph II abolished the Corporation of the Minters of Brabant in 1786. Two years later, the French State confiscated the colourful triptych by De Vos. Though the church wardens tried to recover the wonderful altarpiece after the Concordat of 1801, the painting eventually ended up elsewhere: at the Royal Museum of Fine Arts Antwerp \u2013 that is, in its subterranean archive, away from the public eye. The grisailles, the predella and the extra side panels remained in the church. A revised reconstruction of the altarpiece with the addition of contemporary accents was made in 2001, exactly 400 years after the altarpiece was originally realized, and on the occasion of the introduction of the Euro as European currency on 1 January 2002.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Iconography<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(E<\/strong>) Left predella panel:
\n<\/strong>Eligius,<\/em> Master of the Mint, Receives the King in the Mint Studio<\/em><\/strong><\/h4>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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St. Andrew's Church, St. Eligius Minter's Altar: left predella panel 'Cointmaster Eloy receives the king in the mint workshop' (grisaille), belonging to the 1601 triptych by Maarten de Vos (1532-1603).<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The predella consists of two panels in grisaille, each depicting a representative moment in the life of St Eligius (7th<\/sup> century). On the right, king Chlothar II and his retinue enter the studio of Bobbon, Eligius\u2019 teacher. The young Eligius offers a cup to his sovereign. Bobbon stands behind the youth and lifts his cap in greeting. In the back left, two men are at work at a long table. On the far left, a workmate melts precious metal in a tall chimney; next to him, we see two blacksmiths at work. This is a vivid depiction of a minter\u2019s studio anno 1601.<\/p>\n

St Eligius embodies ability and honesty: though he is a silver<\/em>smith, he is \u2018pure gold\u2019 when it comes down to it. Hence, he was named mint master to the Frankish kings. While Eligius could undoubtedly have \u2018capitalized\u2019 greatly on his status as mint master, he chose a different path and became a priest and missionary. He was the first visitor known by name to come to Antwerp by ship. In fact, Eligius\u2019s life story is the first one to mention the name \u2018Andoverpia\u2019; therefore, Eligius is considered to be Antwerp\u2019s first historical figure. Later, he became the patron saint of minters, who recognized themselves in St Eloy\u2019s professional example.<\/p>\n

In addition, the triptych depicts four biblical scenes that deal with money: these provide the viewer with a meditation on money.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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(A) Middle panel: The Emperor\u2019s Tax<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u201c<\/em>The legal experts and chief priests were watching Jesus closely and sent spies who pretended to be sincere. They wanted to trap him in his words so they could hand him over to the jurisdiction and authority of the governor.<\/em>\u00a0They asked him, \u201cTeacher, we know that you are correct in what you say and teach. You don\u2019t show favoritism but teach God\u2019s way as it really is. Does the Law allow people to pay taxes to Caesar or not?\u201d<\/em> Since Jesus recognized their deception, he said to them,<\/em>\u00a0\u201cShow me a coin.\u00a0Whose image and inscription does it have on it?\u201d<\/em> \u201cCaesar\u2019s,\u201d they replied.<\/em> He said to them,\u00a0\u201cGive to Caesar what belongs to Caesar and to God what belongs to God.\u201d<\/em>\u00a0They couldn\u2019t trap him in his words in front of the people. Astonished by his answer, they were speechless.\u201d<\/em><\/p>\n

Christ is at the centre, answering the question of those pretending to be pious. Although their question seems to originate in respect for the law, it is in fact a trick question. When Jesus answers affirmatively, he does not conform to Jewish expectations about the Messiah: for the latter, surely, was also supposed to promote the national rights of the Jewish people against the Roman occupiers. Should Jesus have answered negatively, then they could have accused him before the governor Pilate of being a rebel. The Jews who had hoped to trap Jesus, are therefore very surprised by his quick-witted answer: citizens have duties to God as well as to the state, so don\u2019t abuse religion for politics, and vice versa.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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(B) Left panel: The Temple Tax <\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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[not included in the reconstruction]<\/em><\/p>\n

Peter retrieves a coin from a fish\u2019s jaws to pay taxes for Christ and for himself (Mt. 17:24-27). This confirms the middle panel\u2019s message, to some extent.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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(C<\/strong>) Right panel: <\/strong>A Poor Widow\u2019s Contribution
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[not included in the reconstruction]<\/em><\/p>\n

Christ tells his disciples that the poor widow\u2019s contribution is of greater value than that of the rich. A gift\u2019s intended value is not merely derived from its absolute worth; in fact, it is at least equally dependent on its relative worth, that is, on the proportion of the gift to the giver\u2019s entire property.<\/p>\n

The side panels \u2018highlight\u2019 (in grisaille, that is) the dilemma: Generosity versus Avarice.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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(H) Right panel: Avarice <\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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This panel sits to the left of the middle panel \u2013 which, in iconographic terms, is the place of lesser \u2018honour\u2019. In the background, the rich owner of a sizeable stone house is pouring coins from a bag into a big pot, which he wants to bury. He hoards his money, paying no heed to the shabby figures milling about at their poor wooden hut; in despair, one of them has his head buried in his hands.<\/p>\n

The background illustrates with great clarity that one\u2019s behaviour on earth will be given an eternal dimension. Avarice will be punished with an isolated, hellish existence: in the presence of Christ (dressed in 17th<\/sup> century fashion), the rich miser is thrown into a smoking pit.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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(G) Left panel: Charity<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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This panel sits to the right of the middle scene \u2013 the iconographic equivalent to \u2018pride of place\u2019. Two men take coins from a chest and give these to a poor, half-naked man. At his side, a benefactor offers a garment to a woman and child. In the centre, Jesus (dressed identically as in the other side panel) points out heaven to a kneeling man \u2013 alluding to the rich youth who asked what he should do \u201cto have eternal life?\u201d (Mt. 19:16).<\/p>\n

In contrast to Avarice, Generosity is rewarded with the perspective of heaven. Surrounded by a heavenly retinue, Christ is sitting on a rainbow as the triumphant judge of the Final Judgement. He welcomes all who sought God\u2019s goodness during their lives on earth. Seek, and ye shall find.<\/p>\n

As an expression of love, generosity is given \u2018flesh\u2019 as attention for the dead: money may be used to honour your loved ones, amongst others. In fact, masses at this altar were dedicated, in the very first place, to the guild\u2019s deceased.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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(D)<\/strong> Closed outer wings:
\n<\/strong>Abraham Buys the Field Machpelah at Hebron<\/em><\/strong><\/span><\/h4>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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[not included in the reconstruction]<\/em><\/p>\n

Abraham weighs 400 shekels of gold, the price for a field with a cave, which will serve as burial ground for his wife Sarah (Gen. 23).<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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(F<\/strong>) Right predella panel:
\n<\/strong>Bishop Eloy and the Reliquaries of Four Martyr Saints:
\nQuentin of Amiens, Crispin, Crispinian and Piatus of Tournai<\/em><\/strong><\/span><\/h4>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\"\"<\/a>
St. Andrew’s Church, St. Eligius Minters’ Altar: right predella panel ‘Bishop Elijah and the Reliquaries of Saints Quintinus, Crispinus, Crispianus and Piatus’ (grisaille), belonging to the 1601 triptych by Maarten de Vos (1532-1603).<\/figcaption><\/figure><\/p>\n

Dressed in his episcopal vestments, Eligius bends forward to bless a skeleton that has just been dug up from a deep pit and is being placed in a stone sarcophagus. Three groups of men are scattered across the painting; each group carries a reliquary to church on their shoulders.<\/p>\n

In this situation, the craftsmanship of patron saint Eligius embodies care for the deceased \u2013 and particularly for the veneration of saints.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Art to meditate \u2026 on money<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Although the minters may originally have intended to enhance their own prestige with a respectable work of art, this work in fact encourages the viewer to reflect on money as well. The artwork\u2019s iconography speaks about paying taxes to the benefit of the community, about the intentional value of a donation, about spending money for the care of the deceased, and about generosity versus avarice. The 2001 reconstruction aimed to highlight this message with several additions, suggesting three questions for reflection:<\/p>\n