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The Solution
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Let us now consider the liturgical north wall to the left of the altar
as the worshippers face it: here my arrangement of the Old Testament
tapestries is superimposed on Gmez de Moras drawing:
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Detail of Juan Gmez de Mora's south (liturgical west) wall of the chapel
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Furthermore, the three archways at ground level and the large grill
of the nuns coro alto would have severely limited the potential for such
decoration even if so desired. (For the same reason today, neo-Baroque
set designers like Franco Zeffirelligrand operas counterpart to Rubens
do not extend their illusion to the back wall of the Met or Covent
Garden.) But they could just as easily have been intended to hang above
the two side doors. The taller tapestry, Eternity, may in turn have hung as
a temporary altarpiece for the side altar erected in the empty space to the
right of the west door leading to the nuns cloister. But this is mere
speculation and has no bearing on the intended arrangement of the main
architectural tapestries that form the narrative cycle.
There is, to be sure, one woven detail that does not entirely
correspond to Rubenss scrupulously consistent lighting system for those
architectural tapestries. If the tapestry of David was indeed designed to
hang over the organand effectively separated by that organ from the
redesigned lower-level Abraham and Melchisedekthen admittedly its
lighting does not correspond to that of the latter (nor to its predecessor,
the upper-level Abraham and Melchisedek), which is clearly lit from the
right. The David is lit generally, but not strictly, from the left--but then it
was designed to hang alone, above the organ, and it represents a distinctly
different architectural element on high: a mystical window into heaven,
corresponding in its design to the central opening above the altar which
both frames and reveals the duet of putti bearing the monstrance.
Perhaps just as telling is the fact that that smaller altar tapestry
likewise does not entirely conform to the lighting of the surrounding
columned tapestries, as its interior frame is lit slightly from the right,
whereas both tiers of flanking tapestries are evenly lit from a central source
fanning outwards. Perhaps in both these smaller architectural inserts
Rubens was concerned less with applying the rational system of lighting
applied to the sacred architecture of two-storied columns and more with
setting then apart as distinct windows opening onto a realm of
supernatural light. In both cases, to be sure, the illusion poses no problem
of inconsistency to the viewer below, especially in the light of the fact that
the window frame of the David may on this high level be understood to be
lit as well from the actual large central fan window on the south (liturgical
west) wall. Rubens was practical. (Of course, if the size of the organ on
that wall precluded hanging any such tapestry there, then there is no
question to be answered: in that case, the David must have been designed
for somewhere else in the convent. But I prefer to give His Ancient
Majesty a preferred place in heaven and in the chapel, near both his fellow
musicians and the Spanish King, until further evidence proves otherwise.)
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Looking back over the past four decades, I confess that I never
expected to tackle again the problem of reconstructing Rubenss original
plan for his Eucharist tapestries. I owe this challenge and pleasure to the
new generation of scholars who have taken up the study of Rubenss
grandest religious epic, which has remained too long secluded in its
original home in Madrid. Thanks to the Getty--its sponsoring of
restoration of the Prado modelli and subsequent exhibitions devoted to
Rubenss Triumph of the Eucharist series--these magnificent tapestries
have finally begun to emerge from cloistered obscurity into the light of
greater appreciation and deserved admiration. Whether the tapestries
were in fact ever displayed in the convent chapel as Rubens originally
intended (and, if so, for how long), I have no doubt that soon enough,
through digital technology and the magic of virtual reality, we shall finally
be able to experience them in their intended context and arrangement as a
whole--in full splendor and spatial illusion. Non novum sed nove--not
something new, but seen in a new way.