Arnoul le Fin, identified as Giovanni Arnolfini. He belonged to respected merchant families in Lucca, northern Italy. Now located in the town of Bruges, the groom is at a most solemn moment, making his marriage vows. He raises his right hand as if he were swearing an oath of fidelity and loyalty to his wife before God and witnesses. Giovanna Cenami, who like her husband, came from the well healed merchant class in Lucca. The style of her dress and stance suggests that she was pregnant, but the artists's depiction is simply stylistic. Arnolfini is attired in the fashion of the Burgundian Court of his day. The rich furs and fine fabrics indicate the expensive nature of his costume and tell us that his status is that of a man of wealth. The outer garment, called a Tabard, is made of silk velvet and lined with fur. Under the Tabard the bridegroom wears a tunic, possibly made of damask. The message is clear...Arnoul le Fin's clothes portray oppulence. The bride is dressed in a gown of fine green wool, trimmed with white fur. The ends of the sleeves are finished with decorative shapes and the overlapping layers create an ornate effect. Although seemingly pregnant, it is clear from other van Eyck works that her stance is purely stylistic. Chains and rings of gold adorn her neck and left hand. Her headress is a white linen veil folded five times and her hair put in fashionable horns. The chandelier is conspicuously placed and would have been seen as a very expensive item. Usually wooden, this one is made of brass, its production a difficult and costly process in those days. Its intricate design shines like gold, an unashamed proclamation of wealth. The single candle has two interpretations; firstly it is the bridal candle presented by the groom during the marriage ceremony and secondly it stands for the omnipresent light of God. By standing near the open window the groom indicates that in the marriage he will represent the couple to the outside world. The expensive glass of the upper half is another expression of wealth. Oranges on the sill and chest can equate to the apple in the Garden of Eden and so symbolise the Tree of Knowledge. More likely, however, is that here it is another symbol of wealth as the rich only could afford such exotic imported fruit. The bride's shadow falls on the bed and iconographically is a symbol of domesticity. The bed is draped elaborately making it the most costly and prestigious object in the room. Hence the room containing the bed is also that used for receiving and impressing guests. Draped in red cloth is the bench at the far wall. Only rich people could afford to cover their furniture in such a manner. Click for an enlargement of the mirror, shoes and headboard detail. Click for an enlargement of the mirror, shoes and headboard detail. Click for an enlargement of the mirror, shoes and headboard detail. Like the discarded over-shoes, the little dog also symbolises fidelity.
The Arnolfini Wedding
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