Mérode Altarpiece A new interpretation

[MaziarMohajer]

Introduction

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The Mérode Altarpiece, attributed to Robert Campin, has been widely analyzed for its religious symbolism, particularly its depiction of the Annunciation. I will argue that, a closer examination reveals that it contains previously unnoticed and potentially sinister meanings that challenge conventional interpretations. In other words, this perspective suggests that the artist has incorporated non-Christian narratives and symbols into his work which have been overlooked by art analysts because they view it merely as a Christian painting. While the scholars claim that everything in this painting has a purpose and a meaning, they often fail to explain many aspects. In reality, many interpretations of symbols in the Mérode Altarpiece appear superficial, simply asserting that certain items represent Mary's virginity or purity. Furthermore, despite all of the complex iconological discussions, there is no unifying theme that connects all of the symbolic elements in the altar. I suggest that such a unified theme exists and consists of isolation, mensuration, and illicit sexual encounter.

"It is unsigned and undated but is attributed to early Netherlandish painter Robert Campin and an assistant. The three panels represent, from left to right, the donors kneeling in prayer in a garden, the moment of the Annunciation to Mary, which is set in a contemporary, domestic setting, and Saint Joseph, a carpenter with the tools of his trade." This is from Wikipedia.

I will analyze this artwork using three sources:

• Toledot Yeshu: A Jewish text presenting controversial and alternative narratives about Jesus and his family.

• Tristan and Isolde: A medieval romance, telling the story of an illicit love affair between Tristan and Isolde. Dr. Fomenko's book suggests that this story can be viewed as a reflection of the Holy Family's life. Other similar love stories are utilized for interpretation.

• Some Christian sources, mainly apocryphal.

I begin with the central panel. There is an alternative version, known as the Brussels version. It contains some clues that will be examined as well. Generally, I'll mention the official narrative and then present my alternative interpretation . In summary, the central panel shows the birth narrative of Jesus according to anti-Christian sources; Yeshu is the illegitimate son of a menstruating woman. Alternatively, it is about the love affairs between a young man and a married beauty. The husband's unsuccessful attempts to catch his wife and the offender are depicted in the other two panels. I will address the left and right panels later.

Central Panel
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It is generally believed that the central panel depicts the Annunciation. "The angel Gabriel is entering the room and preparing to inform the Virgin Mary that she will be the mother of Jesus." "The central panel of the Mérode Altarpiece does not show the Annunciation. The message has not yet passed from Gabriel to Mary, nor is she aware of the archangel's presence." I agree with this academic view that the altarpiece does not show the Annunciation, but for different reasons. We will take a close and different look at it.


Room:


"The central panel presents Mary in a modest living room. "We see Mariam is reading a book." According to Toledot Yeshu, the evil man enters Mary's study to carry out his evil intentions. This could be the reason why Mariam is depicted studying. This topic will be discussed further.


The Angel Gabriel:


"He is portrayed as a dynamic figure, having just arrived to deliver his momentous message. His cloak appears to trail behind him, suggesting movement, while the pages of a book on the table flutter in response to his entrance, indicating a sudden divine presence. Gabriel's hand is raised in a gesture of greeting and blessing as he kneels before Mary, signifying respect and reverence for her role in the divine plan. " Based on Toledot Yeshu, there is a young and attractive evil man with various names: Josef, Yohanan, Pendera, etc. Here, I use "the evil man" or "the lover" to refer to him. This character arrives unexpectedly while Mariam is alone, leading her to mistakenly believe he is her husband. At times, this encounter has elements of flirtation and seduction.


The books:

• "There are two books and one scroll. One of the books is held by Mary. The other is an open book over a velvet pouch placed unusually on the table rather than being stored on a shelf." To the right of the book pouch, we can see a scroll. According to art analysts, the book and the scroll on the table belong to Mary." Another book and a scroll lie on the table, suggesting that she is in need of a few reference works. The experts add, "The pages of the open book on the table flutter in response to the angel's entrance, indicating a sudden divine presence." And also, "The scroll is shown unfurling, which may suggest movement." Experts remain silent about the book pouch. I hold a different viewpoint. In my opinion, all of this suggests that the lover has just entered the room, filled with passion and excitement. He carries his belongings, which include a book and a pouch containing a scroll. After entering, he throws them on the table. This explains why the book's pages move and flutter. Similarly, this motion causes the scroll to fall out of the pouch. The handle of the pouch is in the direction of the lover's motion, which supports my theory. Please note that in the Brussels version, a similar bag is on the floor.

• Look at the open book carefully. The book has two thin pages opened in the middle. These two pages are moving apart and opening up. The stacked pages on the left and right are clearly thicker. I believe the reader will understand what the painter meant. If not, I will refer the reader to a reference that read and translated a page of this book. "The Gothic script of the open book is illegible except for several large initials that introduce important sections of text. For example, the blue incipit on the first moving page might signal the beginning of Matins, the first canonical hour of the day: Domine, labia mea aperies et os meum adnuntiabit laudem tuam ; Lord, open my lips: and my mouth shall declare thy praise."

There are love stories that provide more details. I mentioned Tristan and Isolde as one of the sources. In this love story, the first meeting of the lovers takes place on a ship. This is not related to what we see in the altar. However, in Vis and Ramin, which can be considered the Persian version of Tristan and Isolde, there is a different story. According to this epic, the lovers grow up together from a young age. In another Persian poem, Layla and Majnun, the young lovers, are schoolmates, similar to what is most likely shown in the painting. I know that my claims here need a separate analysis of Persian love stories, but for now it explains the presence of books and scroll.

The Virgin Mary and washing station:


"She is seated on the footstool of the bench, or on the floor. Her gown is red rather than the more typical blue. Red is used to denote humanity, as humans have blood. It is additionally used to remind us of Christ’s Passion. Mary is reading a book of hours with her hair unbound. The book is covered with a white cloth. Behind the table, hanging in a niche, we see a vessel for water and a towel. This is a washing station, which signifies the purity and virginity of Mary. The basin is a vessel that holds water. Vessels were also symbols of Mary, as she is destined to be the vessel holding Jesus. Together, the basin and towel are used for making us clean. " This is what the experts believe. The red cloth , the vessel, the towel, the pillow and the book cover are all related, so I discuss them together.

• Blood, washing with water, and cleaning: These items can indeed be interpreted as references to menstruation. According to Toledot Yeshu, this is how Mariam confesses to a Jewish sage telling the story of Yeshu's conception: "The woman (Mariam) said, once I went out at night to launder my shawls after menstruation, and I still was impure. Then, someone approached me, and I did not recognize him, and he r...ed me, and so I conceived this boy." (T Y p 148) The painter depicts this event using symbols. You can see the hanging shawl or towel, the vessel (used for washing), and the menstrual blood (red dress).Toledot Yeshu (T Y p 332) directly mentions Mariam's bloody garments following the sexual encounter. Let me explore the topic of menstruation in more detail because it is the key to understanding the other hidden meanings of this painting.

• The seated position: An important question is why Mariam is sitting on the floor rather than on a more elevated bench. Scholars say that "Mary's seated position is not merely a compositional choice but a profound statement about humility, purity, and devotion." It represents her modesty, they say. So, what about the artists who show the Virgin on the throne? Do they want to portray the arrogance of Mary? If the purpose is to show Mary's humility by depicting her in a sitting position, why does the painter bother to draw the bench? In my view, the painter wants to show that Mary avoids sitting on the bench for some reason. The reason is that she is a Niddah. She does not sit on the bench to avoid the so-called "Midras uncleanness" .It means pressure uncleanness ."This is a kind of ritual impurity in Judaism which is related only to objects that are used to bear weight or pressure such as beds, chairs and things analogous to them." I found the concept of Midras difficult to understand. So, I will quote some relevant passages from the book of Leviticus: "And every thing that she lieth upon in her impurity (menstruation) shall be unclean; every thing also that she sitteth upon shall be unclean. Every bed whereon she lieth all the days of her issue shall be unto her as the bed of her impurity; and every thing whereon she sitteth shall be unclean, as the uncleanness of her impurity." Briefly, Mary's decision to avoid sitting on the bench reflects the effort to maintain her ritual purity and avoid the implications associated with Midras uncleanness and transmitting impurity.

• The Pillow: "The pillow in the Mérode Altarpiece is more than just a decorative element; it plays a critical role in conveying themes of purity, humility, and domesticity within this significant work of art. In the context of the Mérode Altarpiece, the pillow signifies her humility and readiness to accept her role as the Mother of Christ. It serves as a subtle reminder of her earthly existence juxtaposed with her divine calling." This is the academic view and a very detailed one! However, it cannot answer a simple question: Why doesn't she lean on the pillow? The answer is that leaning on the midras transmits uncleanness, and Mariam avoids it.

• Book cover: In a similar way, we see that she avoids touching her book. The book is covered with a white cloth. Scholars say, "The white cloth represents Mary's humility and purity," or paradoxically, "The book is covered with a white cloth to keep her hands from getting it dirty." I would agree with the second opinion. However, it is not about getting the book dirty. It implies a state of impurity due to menstruation.

There are clues in the Christian texts on Mary's menstruation (The apocryphal and legendary life of Christ, pp 28, 32, 34, and 35).

• The uncleanness of the menstrual period in the Temple: By the time Mary reached fourteen, she was considered of marriageable age according to Jewish law. This raised concerns about her potential menstrual cycle, affecting her purity and defiling the sanctuary." And there was also held a council of the priests, saying, “Behold, Mary hath reached the age of fourteen years in the Temple of the Lord. What, then, shall we do with her, lest perchance she defile the sanctuary of the Lord?”.

• An indirect reference to the bloody towel: "There was a council of the priests, saying, “Let us make a veil for the Temple of the Lord.... And they cast lots among themselves what each virgin should do. And the true purple and the scarlet fell to the lot of Mary."

• A reference to the basin: "For in those days, when she first came into Galilee, Mary took the water-pot, and went out to draw water. Now whilst she stood near the fountain of Nazareth to fill her pitcher, behold, a voice, saying, “Hail, thou favored one, the Lord is with thee, blessed art thou among women.” Then she looked about right and left to see whence this voice came. And the angel of the Lord appeared unto her, saying, Blessed art thou, Mary...

• An indirect reference to the bloody wool around the finger, used to examine the vagina to determine if menstruation has stopped: "Mary, becoming afraid, went away to her own home and set down the water-pot; and taking the purple, she sat on her seat and spun it. And while Mary thus wrought the purple with her fingers, the doors of her bedchamber being shut, there entered a young man of ineffable beauty, the angel of the Lord." The apocryphal texts here talk about Hefsek taharah.

These passages not only support my hypothesis about the true meanings of the painting, Mary's mensuration, but also shed light on some obscure old Christian concepts. While I encourage the interested reader to read and compare the details, I end discussing this interesting topic here.


Earthenware vase filled with lilies:


What should we expect? According to art analysts, these artifacts signify Mary's purity and virginity, among other things. Let's examine this. Please note that in fact, an earthenware pitcher, with a spout and a handle, is depicted. It is positioned on a table between two characters. I think it serves as a metaphor for pouring and drinking. Inside, there are three lilies. Some enigmatic letters are inscribed in Latin and Hebrew on the pitcher. I found no reference to drinking in Toledot Yeshu. However, there are some clues in love stories and Christian sources, namely, love potion and the ordeal of bitter water. Lilies and letters will be explained in this context.

• Love potion: "A magical liquid that supposedly causes the drinker to develop feelings of love towards the person who served it. Tristan and Isolde ingest a love potion, causing them to fall madly in love. Although Isolde marries Mark, the spell forces her and Tristan to seek each other as lovers." A similar illicit love triangle can be seen between Mariam and the evil man in the presence of her husband Josef.

• The water of bitterness (ordeal of the bitter water): "This trial by ordeal is administered by a priest to a woman whose husband suspects her of adultery but lacks witnesses to substantiate his claims. The husband would bring his wife to the priest. The priest presents the woman before God, loosens her hair, and holds the bitter water in an earthenware vessel. The woman is required to drink the mixture. If she is guilty, it is believed that she would suffer physical consequences—specifically, her abdomen would swell, and her womb would miscarry. The components of the water of bitterness include holy water, dust, ink used for written curse and some kind of unknown bitter herbs."

• Christian Apocryphal References (The apocryphal and legendary life of Christ, pp 45 to 47): "The theme of purity and trials akin to the Ordeal of Bitter Water appears in the Protevangelium of James. In this text, Mary and Joseph undergo a similar test when Mary is accused of infidelity after becoming pregnant. They are subjected to a drink test reminiscent of the bitter water ordeal, which they pass, thus vindicating Mary."

In my opinion, love potion and bitter water are most likely, herbal remedies of some kind. They used to be taken to induce abortion or, on the positive side, to induce labor. The missing formula could have included lilies. We know that Mary had a difficult delivery and underwent a cesarean section.

Other items and oddities can be explained. In the painting, Mariam's loose hair corresponds to the situation that the priest presents the woman during the ordeal. The potion needed to be combined in an earthenware container. The enigmatic letters on the pitcher represent the written curse that dissolves in bitter water. The three lilies point to a love triangle. Similar to numerous depictions of Tristan and Isolde, the pitcher is positioned between two lovers.

Fading candle, Fireplace


The central panel shows a fading candle and a dark, flameless fireplace. These evoke a sense of gloom and coldness. The darkness is portrayed more vividly in the Brussels version. In contrast, according to Christian tradition, light during the Annunciation is a representation of divine intervention and presence. “There entered a young man of ineffable beauty, the angel of the Lord. And with great light he filled the chamber where she was, so that when Mary saw him, she exceeding feared and trembled. (The apocryphal and legendary life of Christ, P 35). Let’s analyze the fading candle.

• The fading candle: Based on experts’ opinions, “The candle on the table, just put out, with its wick still glowing and smoke curling upward, symbolizes the presence of the Holy Spirit and the sacred event of the Annunciation.” Nonetheless, it is clear that a fading candle cannot represent the Christian tradition. I showed that this scene shows the entrance of the evil man into Mary's room. According to Toledot Yeshu, this event always takes place during the dark times (either in the evening or at midnight). (T Y P 185) “He waited until her fiancé went to the synagogue, and she was left alone inside her house. This was at twilight, in the evening. He then walked quietly toward her and found an open door. He came into her house, and she was sitting alone. Beginning his evil deed, he extinguished her candle. And the wicked will be silent in darkness. And in the darkness, he walked toward her and hugged and kissed her and entered her. He was like a mute who will not open his mouth and she thought that he was her fiancé, since she did not recognize him." The text clearly refers to extinguishing the candle just as depicted in the painting. In the story of Tristan and Isolde, there is no specific mention of a candle as a significant element within the narrative. So, this time I analyze the painting with no specific reference. I have already mentioned that the fluttering pages show that the book was thrown by the lover in haste. We can assume that he extinguishes the candle as well. However, look at the smoke. It moves upwards and away from the beauty. So, what happens? She has been waiting for her lover to arrive. He enters and tosses his belongings on the table. Just then, she blows out the candle.

It is said that the Virgin Mary is depicted while deeply absorbed in reading the book. Based on Toledot Yeshu, she does not recognize the evil man due to the darkness. However, given that she has just extinguished the candle, look into her eyes. Isn’t she peeking at recently arriving lover? The painter has depicted a scene on multiple levels.

Rays of light:


“In most traditional depictions of the Annunciation, the Holy Spirit is represented as a dove. However, in the Mérode Altarpiece, this representation is notably altered. Instead of a dove, the Holy Spirit is symbolized by a small figure of the Christ Child descending towards Mary on seven rays of light emanating from a window.” I think there is a purpose in replacing the dove with the Christ Child riding the rays. We have observed that this artwork is largely inspired by Toledot Yeshu. Is there a comparable reference in that book? “The text recounts various miraculous acts attributed to Jesus, but frames these acts within a context of deceit and manipulation. One particularly striking episode describes Jesus performing miracles while riding on a ray of the sun, which symbolizes his alleged use of magic rather than divine power. “Yeshu performs miracles including riding "on a ray of the sun and hanging from it (T Y P 15). Yeshu rides the beams of light to deceive people.


Decorative element on towel rack:


There is a figure of a man with long hair and a beard, seemingly observing the scene with a displeased expression. It appears to be a carved wooden item. I couldn't find any reference that explains or even mentions it. To interpret it, we need to look at a chapter from the book Tristan and Isolde. Chapter 6 of Joseph Bedier's version is titled The Great Pine Tree. I do not mean to recount the entire chapter. Briefly,” A pine-tree stood tall with broad branches, sheltering a spring of water. On a moonlit night, the King hidden in the branches of the tree, observed his nephew Tristram and his wife Isolde. The lovers glimpsed the shadow of the King reflected in the fountain and realized they are being watched.“

The decorative figure is hidden in the background. Perhaps that is why no art critic has ever mentioned it. The bearded man inside the frame is the old husband, King Mark, a reflection of Josef. He watches his wife meeting her lover from above . If we observe closely, we will realize that the figure is observing the female character. The reason the towel holder includes a hinge system is that the figure can rotate toward the male character. The wooden towel rack represents the tree, and the frame depicts the branches. The artist has clearly painted the figure's shadow on the wall.

The love story features a spring or fountain. The painting depicts it as the vessel in the washing station. Keep in mind that according to certain Christian traditions, the Annunciation took place at a well or spring: Mary's Well" And she took the pitcher and went forth to draw water, and behold, a voice said: 'Hail Mary, full of grace, you are blessed among women.”

Several pairs of figures:

There are five pairs of creatures in the central panel.

• A pair is shown at the sides of the basin creating the spouts. In my view, they resemble dogs or bears. They are made of copper as components of the basin. Experts have not described them.

• Two pairs of animals can be seen on the farthest ends of the bench. The four creatures are commonly referred to as lions. I found few sources, however, that describe them accurately. "At each end, there is a dog and a lion, standing with their backs to each other. They appear fierce." According to experts, “The lions recall Jesus as the conquering Lion of the tribe of Judah” (Revelation 5:5). Or “The bench in front of the fireplace has a carving of a lion which references the throne of King Solomon.”

• The corbels of the fireplace are decorated with figures of a man and a woman. Scholars typically do not provide specific descriptions of these objects, but there is one source that has interpreted them in highly complex sentences. This paper is available to any interested reader. It says that the woman has "placed her hands and has gathered her gown between her legs." The hint can be understood by the reader.

• The basin's handle is connected to the vessel through a pair of human figures. No details are provided in any source.

As mentioned earlier, experts are generally silent about these figures. Only the lions on the bench are linked to the throne of King Solomon. There are fourteen lions on the throne. Is there a more comprehensive explanation that can link these figures and explain them all? Toledot Yeshu (T Y p 65) mentions a significant accusation against Jesus: He stole the ineffable name of God from the temple. To protect the name, sages implemented various protective measures. A pair of copper dogs or lions, generally suspended from two columns at the entrance to the Temple, served as the magical guardians. In order to prevent memorizing the sacred name, the dogs or lions were supposed to bark or roar at anyone attempting to enter the Temple.

The reader, now, can understand the hints. A pair of lions and two pairs of dogs are magical creatures, mentioned in different versions of Toledot Yeshu. They are made of copper similar to the creatures on the basin. They are positioned above two columns like two human characters. The fireplace could be a metaphor for the Second Temple which was later burnt down, and the human figure on the basin might represent Yeshu.

I think I have covered all items in the central panel. The disproportionally elongated bench with a reversible back is shown this way to illustrate that it can accommodate couples lying down. The circular window represents the fraud of Yeshu, who is seen riding the deceptive light that emerges from the center of the window frame rather than from a divine source. Rectangular windows will be addressed later when I discuss the left and right panels. It should be noted that experts suggest that the blue sky depicted in the artwork is a later addition and has been repainted. This suggests that the original work could represent a dark atmosphere similar to the Brussels version.

My theory suggests that all elements of the altar, both left and right as well as the central panel, can be unified under a single narrative. It differs from scholarly interpretations that attribute various elements to different sources and narratives. This approach suggests a story centered on themes of illegitimate coupling and the conception of Yeshu, or alternatively, a romantic tale involving a married beauty, her lover, and a jealous husband. Considering this, I will examine the left and then the right panel.

Left Panel
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Hortus conclusus:


Experts say, “The left panel features the donors, a man and his wife, kneeling in prayer within a Hortus conclusus (enclosed garden). The garden is surrounded by a high stone wall. “The enclosed garden represents purity and the sacredness of Mary's womb.” However, an issue arises. In the background, a door leading to the street is visible, which poses a problem as it is stated, “A walled garden is a common reference to Mary’s protected virginity; we can assume that is not the intention here as there is an open door onto the street. A garden was also a symbol of the gates of heaven, and in this painting, many interpret the open door as somewhat presumptuous, as it signaled the donor had access to the gates of heaven. Both of these interpretations are problematic.” Let me put these academic phrases in simpler terms: The garden, symbolizing a virgin and pure womb, is illustrated with an open door to the street. I believe the reader is smart enough to understand the sinister hidden concept, without going into details.

I have claimed that the central panel is heavily based on the book Toledot Yeshu. Let us examine the left panel from this perspective. We need to read an excerpt from the Huldreich version (T Y p 305), the scene in which the lover rescues Miriam, locked in by her jealous husband. “There was a man named Pappos ben Yehudah, and he had a wife whose name was Miriam, … She was of extraordinary beauty, … Her husband Pappos would not allow her to go outside his house, and closed the door for her sake, saying, "Lest the villains would whore with her...., the villain Yosef Pandera passed by her window and he was handsome, and seeing that no one was at her home, he raised his voice and shouted to her, "Miriam, Miriam, for how long will you be locked up?" She bent over the window and answered him, "Yosef, Yosef, save me!" Yosef went and fetched a ladder, and Miriam went out through the window. They both fled from Jerusalem to Bethlehem and they lived in Bethlehem for many days, and no one recognized them. And Yosef lay with Miriam and she conceived."

Certain Islamic sources state that Mary lived in isolation during the Annunciation: “The angel Gabriel visited her in a private prayer chamber to announce that she will bear a son. (Quran 19:16-21) and (3:37)

Obviously, the left panel shows that Mariam is locked and isolated (Isolde). The presence of a high stone wall with battlements and a gatehouse is indicative. Furthermore, there are three locks on the left panel , one for small door , one for larger door and one to the door opened to the central panel. The presence of walls and locks means that Mariam is confined in a castle similar to Saint Barbara. Understanding that Saint Barbara is a mirror image of Mary will reveal insights into a variety of stories, including love stories in Persian. The topic requires multiple written works, which will be presented in the future.

Man beside the gate:


The little man standing in the background is an enigmatic figure in the altar. A paper provides a thorough analysis of this character. “He was thought to be a self-portrait of the painter, a marriage-broker, or a varlet or servant.” Rejecting these assumptions, the author, relying on his shield, concludes that the little man is a professional messenger. His theory is not without flaws, one of them being the lack of a spear that a court messenger usually carries as a weapon. Finally, it is suggested that “ the city messenger is apparently meant to be the worldly counterpart of the heavenly messenger, the Archangel Gabriel.”

In the legend of Tristan and Isolde, messengers play a crucial role in advancing the plot and conveying information between characters. Perhaps that is why this character has been depicted this way.

However, as mentioned, the main theme of the left panel is the jealous husband who locks up his beautiful wife to prevent her from whoring with street people. We anticipate observing this character on the panel, being depicted as a man responsible for locking the door and as a fool who is unable to keep his wife imprisoned. It would be best to examine the painting without getting distracted by specific elements. The jealous husband is actually this little figure beside the gate (allegedly the messenger) who has failed to keep it locked. The supposed untouched womb is opened to the public. Josef is depicted in the right panel. Let's compare these two figures. They seem remarkably similar, especially without Josef's blue and large turban. I examined it in Photoshop and you can see that the little man on the left is the younger version of the carpenter on the right. The painter has used several tricks to conceal this and has achieved it skillfully. That is, by drawing a minor character in a relatively small painting, giving him a shield and unique attire, and finally, depicting Josef with a large blue turban. Both characters have displeased expressions and appear exhausted and retarded.

Donors:


”The donor and his wife are shown kneeling in prayer. The man looks through the open door into the Virgin's room with a rapt and attentive expression. His wife behind him is reserved and detached.” The open door presents an oddity; although it can be seen opening into the Virgin’s room from the left panel, no such door entrance is visible in the center panel.” The donors are depicted as large figures, while “Donors are usually represented smaller than or equal in size to the figures in sacred subjects. This kind of dominance is rare.” The male donor has a dagger which is odd. However, the main problem is the open door, allowing donors to witness the scene. Based on the Christian traditions, as I have already brought up the text, the Annunciation takes place within a closed chamber, symbolizing Mary’s purity and the sanctity.

Toledot Yeshu details how Mariam was deceived and had sexual intercourse with the evil man and subsequent events. (T Y p 50) The husband” understands what happened and, following the advice of his teacher, tries to catch Yosef with witnesses. (T Y p 222) “He left his wife, went to Rabbi and told him all that happened. Rabbi said to him we will not be able to judge him without witnesses. But you should know: Who once committed a transgression is likely to commit it again. Station ambushers for him, so that you catch him with witnesses; then we will bring him to court."

I have suggested that the central panel shows an illicit sexual act that is about to take place. These two individuals (shown as donors) are ambushers or witnesses who have been invited by the husband to observe the scene. This is the reason why the door, which has a key in the lock, is wide open. In addition, if one agrees with the academic viewpoint that the small figure in the background is a court messenger, his presence is also justified. According to Jewish law, at least two witnesses are required to validate accusations of adultery. The messenger is present, possibly to take the case to court. We know that the evil man did not visit Mariam again. The entire plan to catch the rapist with witnesses is a mockery of the Holy Family. Despite the irrationality of bringing observers to witness such a disgraceful event, the painter has chosen to depict the scene anyway.


Four birds on the wall:


The birds are arranged in the following order: A robin and a magpie on the gatehouse , and a goldfinch and a sparrow on the wall. According to an academician, these birds represent respectively, Child Christ riding on the rays, Gabriel, Mary, and Joseph. I do not disagree with this interpretation as it can be in line with my theory. However, interpreting the four birds as symbolic figures in the context of the Tristan and Isolde can be interesting. There is an episode where “The lovers flee into the forest until Mark later discovers them and takes pity on them. They make peace with Mark after Tristan agrees to return Iseult to Mark and leave the country. Tristan then travels to Brittany, where he marries Iseult of the White Hands.” So, the first bird can symbolize another character. The robin can represent Iseult of the White Hands who marries Tristan (or Gabriel). This married couple sits on the rooftop as they are in a different country, while Isolde (Mary) and King Mark (Josef) reside together on the pathway. The Gabriel character in Toledot Yeshu is depicted as the evil man who has a reputation for seducing women.

Plants:


There is a red rosebush growing against the high wall and the flowers are blooming in the flowery field in the front.

• The red rosebush: according to the analysts,” It signifies martyrdom and the suffering of Christ on the cross. In addition, it refers to Mary, her "charity" and her abiding love. Medieval literature is full of references to Mary as a rose.” It is known that the rose tree appears in the romance of Tristan and Isolde. “After their deaths a rose tree grows from Isolde's grave, while a vine emerges from Tristan's.” Dr. Fomenko believes the rose tree marks the location of Mary and Christ's second burial site. I am leaving this interesting yet lengthy topic here.

• Flowery mead: A piece of wild grass lies at the donors' feet. Art experts have identified three different types of plants.” Among the blossoms in the flowery mead of the foreground are forget-me-nots, violets, and daisies, symbols of Mary’s humility. The spring flowers recall the time of year when the Annunciation took place.” However, a botanical analysis has found nine plants. Why does the painter depict several types of plants in his artwork? Is it focusing on Mary's humility or the timing of the Annunciation? No, these plants symbolize various herbal medications. . Keep in mind that herbal medicine was previously mentioned during the discussion of the pitcher in the central panel. There are many other herbal remedies similar to love potion or water of bitterness found in various love stories. Different remedies are mentioned to boost fertility, halt menopause, terminate an undesired pregnancy, manage the pain of childbirth and so forth. Herbal medicine and its applications vary depending on culture and the environment. For example, in the Quran, Sura Mariam, ripe dates were utilized to alleviate the pain of childbirth. I have stated that my theory connects various elements across three sections. The vase in the middle panel is linked to the meadow of flowers in the left panel.

Christian elements can be identified in both the left and center panels. In the left, this is the kneeling position of the witnesses. In the central panel, the Christian element is a pair of wings on the male figure's back. This is why the painter has depicted them in their largest possible size. If they were not present, the painting's hidden meanings would be revealed easily. There is no such element in the right panel, making it more perplexing to researchers. I proceed to discuss the right panel and its unanswered questions.

Right Panel

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“Saint Joseph is depicted in the right panel as an old man at work, boring holes into a wooden plank and surrounded by carpentry tools. His workspace appears to be on the second floor. We see two mousetraps , a finished one is displayed on a window shutter, and another one is on the table. There are shutters open against the ceiling, with plenty of nails and a cityscape in the background. Notably, an unusual feature is that, although Mary and Joseph did not marry until after the Annunciation, they are apparently living together and sharing the same space.” This is the accepted viewpoint on the right panel.


Joseph:


Experts say that” Robert Campin has given new dignity and importance to Joseph, he often in the Middle Ages was represented as a menial, an exhausted old man, or a fool. However, Someone familiar with carpentry is uncertain about Joseph's skills. While describing how the old man is working on a piece of wood he says ” It looks to me like he needs to seriously upgrade his work-holding capabilities. In fact, I don’t see any clamping devices anywhere in the picture.” In other words, the old carpenter can not construct the wooden items properly due to lack of skill and absence of clamping device. So, when we discuss the items he is working on them and knowing the hidden story, we begin to view Josef as a fool who cannot stop his wife from whoring with street people. in addition, Josef here is shown as tired and somehow retarded, resembling the small figure on the left panel as I previously pointed out.


Mousetraps:


These are the most puzzling items in the whole altar. Scholars have tried to find the mousetrap in Christian scriptures and then explain the painting. I think it has been a very difficult task to do in the pre-digital era. They finally have come up with a passage from St. Augustine's Ascension sermons. “The Devil exulted when Christ died, and by that very death of Christ the Devil was overcome: he took food, as it were, from a trap. … The cross of our Lord became a trap for the Devil; the death of the Lord was the food by which he was ensnared.” While it has been emphasized that the trap here means a mousetrap, scholars seem to have failed to find the exact word.

Based on my hypothesis, in general, the central panel depicts illicit sexual encounter between an intruder and the female character. The left panel illustrates the husband's failed attempt to bring in two witnesses and take the adultery case to court. The right panel completes the whole story. Focused on a single theme, I'll examine the mousetraps and explain why one is placed on the shutter. Some undisclosed items of the central panel will be addressed too.

I recommend reading an article written by Meyer Schapiro, a well-known art historian. Considering his background, he likely knew the secret symbols of the altar. He discusses sexual symbols in the altar and then mentions that “In popular magic and folklore, the mouse is a creature of most concentrated erotic and diabolical meaning. It is the womb, the unchaste female, the prostitute, the devil.” However, he draws no conclusions. Let's set aside the pretentious language and inflated words. Two mousetraps are set to capture two individuals: the male and female characters of the central panel, the the evil man and the prostitute. This is also related to the presence of the jealous husband in the left panel. He has locked up his wife and has made mousetraps ,placing them near the windows. I will explain more.

I previously mentioned that in the Huldreich version of Toledot Yeshu, Mariam, who is locked up by her husband, meets her lover and then flees through a window. Notably, the Slavic version implies that the evil man (here referred to as Yosef) accesses Mariam’s chamber via a window (T Y p 329)” It came to pass at midnight when people fell asleep, that Yosef the wicked went quietly to Miriam's window, since the wicked one knew the place where she slept. He knocked on the window, and Miriam heard, and she said, who is it that is knocking? The wicked one said in a whisper, "I am Yohanan your groom, and Miriam was very frightened…and the wicked one answered, "Open to me, my sister.”

The husband is symbolically setting up two mousetraps to catch his wife and her lover as they meet or pass through the window. Is there any better explanation for mousetraps? Experts say that Joseph has placed the mousetrap on the shutter to sell it. They also say that Joseph’s room is on the second floor. Who can sell items from a second-floor window? What an absurd viewpoint.


Windows and shutters:


Two large windows have nailed shutters that are secured to the ceiling, each with a hinged holdback. There is another large window with a half-open, vertically hinged shutter on the right side of the two windows. This is located behind the wainscot chair. There must be an additional window on the left side , unseen by the viewers. Only a tiny section of its shutter is visible. Therefore, we can assume that Joseph's room is larger than what is shown. Generally, experts do not comment on the windows and shutters.

I have discussed the symbolic interpretations of mousetraps. I would argue that Joseph's room is, in fact, a large trap for anyone trying to get through the windows. To start with, please note that the shutters are not adequately fastened to the ceiling. The holdbacks are connected with hinges. At the opposite end they are slightly pointed to hold the weight of the wooden shutter. So, they can swing down rapidly with a minimal trigger. Each shutter contains numerous nails, likely to increase its weight and make it more lethal. Keep it in mind that Josef is a fool and his stupidity is evident in his carpentry plans. Therefore, don't expect to see an actual, functional tarp here. Two questions arise: Why does Josef set traps in his own room? Furthermore, through which window could the lover arrive?

To answer this, I should return to the central panel. The reader might argue that in the main room, depicting Mary’s chamber, no one can enter or exit through the windows. Indeed, the artist has intentionally represented the windows in this way. The circular windows feature a kind of grid. The rectangular ones are too small. They are excessively equipped with shutters, a lattice screen and a lock. In the left margin, the artist has painted a small part of the entrance. We are unsure if the door is open or shut. Everything here is meant to form a puzzle.

I have found an interesting paper that discusses the " treatment of light and shade" in the central panel. "This seems to have had a peculiar fascination for our artist. We can see this immediately in his treatment of the reflections on the polished bronze surfaces of the laver and the candlestick ,both of which reflect a window not shown in the painting, probably that of the studio in which the artist was working." Accordingly, there is a source of light from the front and left that illuminates some areas of the room. Observing the shadows created by the vessel and the towel, along with the reflections on the vessel and the candlestick, it becomes evident that the light approaches nearly parallel to the ground. Consequently, it is evening, which in photography is currently referred to as the golden hour. Also, based on the reflections, we understand that this source of light is not just one window, as the paper suggests. We can see two long vertical reflections on the vessel and three on the candlestick. One or two shorter reflections are scattered on the upper rim of the vessel. Where does the light come from? Does the light come from the painter's studio? Well, that is a far- fetched answer.

The light reflected on the polished objects comes from the windows in Mary's room. Naturally, these windows are not visible to the viewer, as they are located on the fourth wall of the room, on the side where Gabriel is standing. These are probably the windows through which he enters the room. We know that in the context of the altarpiece, Mary is shown living in Joseph's home, which is, in reality, non-Christian. Mary’s room can be on another floor, but let’s suppose that the workshop and living room are on the same floor. Are there any clues to link these two rooms?

The aforementioned reflections on polished items correspond to the windows in the workshop. So, the workshop is located in the left corner of Mary’s room. Three reflections appear on the candlestick; one is slimmer than the other two, coming from the partially opened window in the workshop. Reflections on the vessel originate from three or even four windows.

Therefore, the rightmost window in the workshop can be accessed by the intruder to enter, without activating the trap or shutter. Beneath this window, there is a narrow passage between Josef’s chair and what appears to be a wooden door. The chair is larger than usual and there is a reason to paint it in this way. The intruder can sneak behind it, concealing himself from the old man. The wooden door may be connected to the entrance in the main panel.

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Other items:


Carpentry tools: I could agree with the experts. “These tools are seen as references to the instruments of Christ's Passion.” So, the father foster is making torture tools. Interestingly, there is a tiny stone on the table. This might refer to the stoning of Yeshu. Some items such as nails are used to create heavy shutters. In general, the instruments belong to a disorganized and unskillful person. The object Joseph is working on is most likely a mouse cage. He is drilling holes in a wooden item, which is the wall of a mouse cage. This fits perfectly with the rest of the symbols.

Conclusion


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The enigmatic Mérode Altarpiece is decoded. The central panel shows an illicit sexual encounter between a young woman and an intruder. The left and right panels illustrate the husband's attempts to catch his wife and the intruder. The panels are largely influenced by Toledot Yeshu with fewer elements from romantic stories like Tristan and Isolde. Other relevant topics include:

• The life of Saint Barbara

• Other paintings such as Woman Bathing and Werl Triptych

• Love stories in Persian literature.

Reference

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I used AI to find general and broadly accepted interpretations. More "scientific" articles are hyperlinked. The best-quality images I found come from this source. I have utilized two books the most.

• Toledot Yeshu: The Life Story of Jesus: Two Volumes and Database abbreviated as T Y

• The apocryphal and legendary life of Christ

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