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Through the Sculpturisation of the Annunciation Diptych, does Jan van Eyck affectively Dehumanise the Virgin?
Ellen Scott
Introduction
The ‘Annunciation Diptych’, created between 1433-1435, remains a testament to both
the skill and oeuvre of Jan van Eyck.1 The technique, precision and intense realism
captured by van Eyck is undeniable. However, with his use of grisaille and the
sculpturisation of both the Virgin Mary and Archangel Gabriel, has van Eyck created an
artwork that is emotionally impenetrable? Could it be argued that similarities between the
Virgin and Gabriel effectively elevate Mary from human to deity; and through this
deification, are the Virgin Mary’s intrinsic and humanistic qualities lost? An emotional
barrier between stone and flesh, artwork and audience, is produced through van Eyck’s
Annunciation diptych.
Within the context of this essay the word ‘dehumanise’ will be utilised as a functional
descriptor. 2 Dehumanise is useful as a term compounding the removal or lack of
humanistic qualities and emotion from an otherwise detailed depiction of humanoid
statues. The Virgin and Gabriel are presented in this diptych as recognisably humanistic
but are also othered through their sculpturisation. The dichotomy presented here
requires consideration, regarding whether van Eyck has dehumanised the Virgin to such
an extent as to render the painting lacking cohesiveness, or whether a marbleised Mary
becomes the paragon of inspirational piety.
When discussing the connectedness between audience and artwork there are several
terms intrinsically linked to the study of emotions. The most common term used in folk
psychology to describe emotional connection is, arguably, ‘empathy’. Empathy is
summarised as feeling through someone else.3 For example, if an individual witnessed
the depiction of a weeping woman, this individual would not only visually see tears, but
an empathetic person would also experience these perceived emotions. Another
common word that will be utilised throughout this paper is ‘affect’. Here affect (and affect
theory), refers to the inborn nature of emotions all humans experience; the affect theorist
1 Mar Borobia, ‘Jan van Eyck’, Thyssen-Bornemisza Museo Nacional, [n.d.] <https://www.museothyssen.org/en/collection/artists/eyck-jan-van/annunciation-diptych> [accessed 23 April 2021]. 2 Dehumanise definition Cambridge Advanced Learner's Dictionary & Thesaurus, ‘Meaning of Dehumanize in English’, Cambridge Advanced Learner's Dictionary & Thesaurus (2021). 3 Overview of the term empathy in Nancy E. Snow, ‘Empathy’, American Philosophical Quarterly, 37, (2000) p. 66.
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would claim that individuals are connected by an affectual subconscious understanding
of others.4 Barbara Rosenwein and Riccardo Cristiani summarise, ‘affect theorists have
allotted to affects the realm of the irrational. They are, according to these scholars, the
pre-conscious, pre-emotional, pre-verbal forces in our lives.’5
Directly contrasting affect theory is social constructivism; the emphasis here is placed on
the effect that saturation of specific cultures potentially has on the variations in human
emotional experience. 6 There is a dichotomy present between universal affect and
culture specific constructions of emotion. Tension exists between these two fields of
thought, which respectively claim that emotional responses to stimuli are inherent and
socially constructed. Emphasis here lies in the differences between modern audience
interpretations of the ‘Annunciation Diptych’ compared to a medieval audience’s potential
response to the same visual.
This topic requires extensive grounding within empathetic theory and theological
discussions before a formal analysis of the ‘Annunciation Diptych’ can be completed. As
such, visual study will be conducted onwards of the section ‘Affect and the Annunciation
Diptych’.
Affectual Communication
There are several matters to consider when discussing affective impact and audience
response to artworks; firstly, an examination of the intended audience needs to be
critically engaged with. Van Eyck created artworks for patrons and audiences
contemporary to himself; their cultural concerns and proclivities are, arguably, where his
intentionality would lie. As an artist, van Eyck’s artwork is a product of the culture he was
saturated within. This poses a problem regarding accuracy of modern readings of his
artwork. Jan Plamper summarises, ‘History is sometimes said to be necrophiliac or
necromantic because, unlike anthropology and the life sciences, it deals exclusively with
the dead’.7 There is a level of assumption required when discussing emotive responses
from historic audiences. The use of models for ingrained human affective reactions,
4 Summation of various approaches to the scientific research into emotions by Barbara H. Rosenwein and Riccardo Cristiani, ‘The Science of Emotions’, What is the History of Emotions? (Cambridge: Polity Press 2018), pp. 8-25. 5 Ibid., p.11. 6 Ibid., pp.19-25. 7 Jan Plamper, The History of Emotions: An Introduction, trans. by Keith Tribe (Oxford: Oxford University Press 2015), p. 288.
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coupled with culturally constructed views of emotionality, will act as a baseline for this
paper.
A study from 2019, carried out by Chantal A. Miller and Ronald Hübner, explores the
accuracy of predictions made regarding other’s perceived connections to artworks.8 The
study analysed the aesthetic preferences of its participants with the prescribed artworks,
but also the accuracy of predictions made regarding the preferred tastes of the other
subjects. Findings indicated that ‘participants had a more individualized emotional
response to artworks, but were more homogenous, as a group, in their expectancies of
how other people would emotionally appraise the artworks.’9 The study demonstrates
that modern scholarship has the capacity to theorize as to the affective impact of art on
historical audiences. Further conclusions made in this study also suggested participants,
when judging the experience of others, first had to question whether they believed other
individuals would find the artwork beautiful.10
Furthering the implications of beauty as a key signifier for the accurate prediction of the
preferences of others, it is important to keep in mind the transient beauty ideals of
different cultures. However, there is evidence indicating that aesthetic experience
coincides with neural networks in the brain that match signifiers of moral judgement.11 If
aesthetic ideals of beauty and moral judgement both have the potential to contribute to
audience connectivity with artworks, where then does affect fit in this scenario? Affectivity
in modern terms concerns itself with initial, autonomous reactions to stimuli; in summary,
affect is emotion before precognition.12
However, the believed function of affect -affectus- in medieval Christian Europe, holds a
similar but separate meaning. Referred to by Augustine, from an earlier story by Aulus
Gellius, affect constitutes the first pang or impulse when faced with stimuli.13 Augustine
describes a sea voyage in which a large storm passes overhead; a philosopher states
he does not fall victim to passionate disturbances, however the crew witness his cheeks
whiten in fear. The philosopher argues this reaction is not passion by stating that, ‘the
8 Chantel A. Miller and Ronald Hübner, ‘Two Routes to Aesthetic Preference, One Route to Aesthetic Inference’, Psychology of Aesthetics, Creativity and the Arts, 14.2 (2019) pp. 237-249. 9 Ibid., p. 241. 10 Ibid., p. 244. 11 Summarisation: Christoph Redies, ‘Combining Universal Beauty and Cultural Context in a Unifying Model of Visual Aesthetic Experience’, Frontiers in Human Neuroscience, 9.218 (2015). 12 Plamper, p. 301. 13 Referenced: Damien Boquet and Piroska Nagy, ‘The Christianization of Emotion (Third to Fifth Centuries)’, Medieval Sensibilities: A History of Emotions in the Middle Ages (Cambridge: Polity Press 2018), pp.9-30 (p.23).
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first pang of emotion, from which in fact no man could escape, was in no way the same
as passion, which required consent.’ 14 Following then, passion -passio- is when an
individual makes an active choice to act upon the whims of affect. The works of Thomas
Aquinas also offer and explanation of the passions, Boquet and Nagy summarise his
views below:
Thomas Aquinas defined passions as motions of the sensitive appetite of the
soul: they responded to the external influences and were accompanied by
transformations within the body.15
Theological separation of impulse and action, ‘the mastery of the body and emotions was
emphasized’ within medieval Christian society. Control over emotion was paramount in
order to protect the soul.16 That is not to say that Christian teachings were entirely
passionless– the passionate love Christ had for humanity was so completely
immeasurable that his sacrifice and suffering instigated the purification of original sin.17
According to Christian doctrine it is human to suffer and ‘the fact that he suffered on the
cross as a man was the indispensable proof of his humanity.’18 Through a rejection of
carnal affect in conjunction with bodily suffering, purity of the soul could be achieved.19
The bodily suffering of Christ was utilised within the visual arts reminding common people
that suffering predicates virtue.
Christ’s humanity purified original sin: whereas empathetic understanding and
recognition of this suffering, allowed the possibility for an individual to also be purified.
Empathy as Susan Lanzoni writes is, ‘an identification with, or an understanding of, the
emotional life of another person’.20 The empathetic connection of common people with
the suffering of Christ had the potential to be activated through visual imagery. As the
viewer was purified through their empathetic suffering, they could be brought closer to
the love of God.
Affect and the Annunciation Diptych
14 Ibid., p. 23. 15 Ibid., p.185. 16 Ibid., p. 47. 17 Ibid., p. 10. 18 Ibid., p. 17. 19 Ibid., p. 46. 20 Susan Lanzoni, ‘Introduction: Empathy and the Sciences: Varieties of Empathy in Science, Art and History’, Science in Context, 25.3 (2012) p. 287.
5
Van Eyck’s ‘Annunciation Diptych’ (Figure 1) consists of a sculpturised Archangel Gabriel
and the Virgin facing each other in dialogue.21 The painted frames feature text from the
biblical annunciation scene. Above Gabriel the first spoken line appears as if it has been
chiseled into the stone frame, the text reads: “Hail, thou that are highly favoured, the
Lord is with thee.” Above the Virgin the last line of dialogue, “Behold the handmaiden of
the Lord; be it unto me according to thy word.”22 There are several framing devices
utilised within these panels; the outside panels are warm-umber marble frames, inside
these are a second set of painted, stylized, stone frames. Susie Nash comments on van
Eyck’s variation of painted stone:
The impossible is thus made possible here; a diptych made of richly polished
black stone, against which two figures also of stone, are carved fully in the round,
despite being insufficient depth for them to be set there, with a stone frame, and
all set in a marble block.23 Looking within these frames, the background depicts
either polished stone or mirrors, reflecting both the Virgin’s back and the
Archangel’s hand as he points towards Mary. This reflective surface is worth
mentioning as it presents itself as a possible physical- and symbolic-
manifestation of the Virgin’s purity, the speculum sine macula (perfect mirror).24
The Virgin and Archangel are of different realms: Gabriel a representation of the
heavenly and Mary the earthly, van Eyck has chosen to paint them in reflective dialogue.
They are both depicted in grisaille (in grey), they are both positioned atop hexagonal
plinths, they are both of similar stature and they both exist in-front of a reflective surface.
Although the painted figures have been stylistically marbleised into immobility, there is
still movement within the painting as the scene characters seem to burst from their
frames. Gabriel’s wing falls forward of the inside frame, whilst his back, as well as the
Virgin’s, cast shadows across the stone framing device. These similarities, particularly
when analysing the figure’s heights, could signal a position of equality: Gabriel is greeting
the Virgin at her level.
21 Jan van Eyck, The Annunciation Diptych, c.1433-1435, oil on panel, left wing (The Archangel Gabriel) 38.8 × 23.2 cm, right wing (The Virgin Mary) 39 x 24 cm, Museo Nacional Thyssen-Bornemisza, Madrid. 22 The Holy Bible Containing the Old and New Testemants, Authorised King James Version (Hendrickson Bibles 2004), Luke 1:26-38. 23 Susie Nash, ‘Moving Images’, Northern Renaissance Art (New York: Oxford University Press 2008) p. 245. 24 Refer to footnote 1, Borobia, ‘Jan van Eyck’.
6
The panels themselves are small and both similarly dimensioned (around 39 × 24cm),
suggesting that functionally the piece was intended for private lamentation. 25 Yet,
through the process of sculpturisation, the figures are othered, resembling statues that
resemble humans, rather than depicting humans themselves. The stone faces of the
Virgin and Archangel are neutrally devoid of emotion. Further, the annunciation scene
presented is sparsely populated, stripped back to its base elements; Gabriel points
towards Mary, she holds an open book, and the Holy Spirit above her head. Frank
Fehrenbach discusses the scene:
… with the protagonists’ smooth, white eyes, van Eyck takes from the painting in
terms of animation what he adds in terms of materiality. The diptych
demonstrates marvellously and painfully that something is missing, that the
sculptures are only about to unleash the dynamic impact of the sacred story, only
about to see, move, and speak.26
An annunciation scene is, arguably, not subject to the same functional empathy as a
descension from the cross would have been. However, critics have discussed the
physicality and humanity of the Virgin. Cistercian Baldwin of Ford spoke of the Virgin’s
physical appearance as follows: ‘The grace of her charm resides in the grace of her
complexion, where paleness and blush mingle.’27 The physicality of embodied emotions
were scrutinised within Christian theology. Boquet and Nagy comment on the
"mechanism of spirits and fluids" conceived as causing physical responses in the body -
such responses may have been exhibited as blushing when feeling embarrassed or
crying when feeling sad.28 Curious then that van Eyck has chosen to negate fleshliness
for stone, stripping the Virgin of her humanity and earthly ties. She is suggestively
presented as an equal to the heavenly. Erwin Panofsky talks about the alteration of
biblical scenes when depicted by van Eyck stating they, ‘Confront us with a
reconstruction rather than a mere representation of the visible.’29
25 Example of large altarpiece by Hubert and Jan van Eyck, The Ghent Altarpiece, c.1432, oil on panel, 340 × 460cm, Saint Bavo's Cathedral, Ghent. 26 Frank Fehrenbach, ‘Coming Alive: Some Remarks on the Rise of “Monochrome” Sculpture in the Renaissance’, Source: Notes in the History of Art, 30.3 (2011), p. 50. 27 Cited by Boquet and Nagy, p.93. Cistercian Baldwin of Ford, ‘Sermon 13 sur l’annociation (traité VII)’, (d.1190). 28 Boquet and Nagy, p. 137. 29 Erwin Panofsky, Early Netherlandish Painting, 1st edn. (Routledge, 1971), p.181.
7
Could the lack of fleshliness lead to a lack of affective embodiment of the Virgin? The
scene is still recognisably an annunciation; simply through recognition, could affectual
associations be conjured for the medieval audience? David Freedberg writes:
When we recall a scene from the Bible, for example, and recognise what the
scene represents, whether in whole or part, on the basis of accretions of
experience and emotions arise from our personal historical associations with
such a scene, or we may react viscerally and corporeally in ways that seem to
proceed memory.30
Freedberg’s interest lies in why certain artworks successfully retain their captivating
presence on audiences over hundreds of years, as opposed to others which are
forgotten. However, questions of hierarchy must be considered when examining the work
of Freedberg; there is an assumed universal importance placed on the artworks present
in the study.31 As scholarship evolves past previous assumptions regarding hierarchal
artistic placements within the discourse, there is scope to re-evaluate why specific
artworks have achieved status in the collective consciousness.
There is still worth to be found within the study of affectual recognition. It is plausible to
posit that medieval audiences would recognise the presented scene of the annunciation
and feel a superficial recognition connection. Further research is being made into the link
between affect and empathy and the human capacity to experience empathy for beings
that are other. Capacity for humans to empathise with animals (or even automata), is
showing outcomes that denote humanities ability to connect with otherness in an
intermediary level.32 This would suggest that simply depicting a recognisably humanoid
figure fosters an artwork- audience connection. Nonetheless, the lack of fleshliness,
emotional expression, and statuesque pose of the Virgin acts as potential barrier for the
fostering of affective embodiment with an audience.
Affective Embodiment
The ‘Annunciation Diptych’ is technically, highly proficient; the realism of the rendered
stone variety across both panels exquisite. However, this skilful display has the potential
30 David Freedberg, ‘Memory in Art: History and the Neuroscience of Response’, in The Memory Process, Neuroscientific and Humanistic Perspectives, ed. by Suzanne Nalbantian, Paul M. Matthews, and James L. McClelland (Cambridge, Mass.: The MIT Press, 2011), p. 338. 31 Plamper, p. 228. 32 Ibid., pp. 26-29.
8
to disguise a lack of emotive depth. It could be stated that the scene as depicted in stone
is intended as a realisation of the stillness of sculpture– as could have been the artists
intent– but the cost of this technique is a potential loss of affectual connection. A
medieval audience had the ability to recognise the scene as a reconstruction of the
annunciation, yet the artwork holds a quiet resistance to full affective embodiment. There
is a disturbance in connectivity between audience and artwork.
Bodily affect is currently being studied; conclusions drawn hypothesising that this form
of affection contributes to an intrinsic form of human connectivity. Not just interpersonally,
but also connectivity with other visual stimuli- including artworks. When studying
relational displays of emotion, Thomas Fuchs and Sabine C. Koch have posited:
The facial, gestural and postural expression of a feeling is part of the bodily
resonance that feeds back into feeling itself, but also induces processes of
interaffectivity: Our body is affected by the other’s expression, and we experience
the kinetics and intensity of his emotions through our own bodily kinaesthesia
and sensation.33
Although medieval audiences lacked modern scientific language to express affective
embodiment, there was still an awareness of bodily connection. Boquet and Nagy
address this awareness thusly, ‘The religious fervour that frequently shook the Western
world in the second half of the Middle Ages always involved both body and soul: their
total engagement was often signalled by strident emotions and gestures.’34 With this in
mind, the Archangel’s subtle gesture toward the Virgin has the capacity to elicit a
mirrored response from audiences. Yet the statuesque form distorts the humanity of the
Virgin, denying audiences the ability to foster a humanistic connection with her.
Focusing on the top two panels of ‘The Last Judgement Polyptych’ (Figure 2)35, painted
by Rogier van der Weyden, there is similar depiction of the annunciation scene to that
exhibited in van Eyck’s diptych. Correlations existing between the two annunciations are
apparent. They both depict the annunciation, the Archangel featured on the left panel
and the Virgin on the right, with the usual symbolism associated with the scene: Gabriel
33 Thomas Fuchs and Sabine C. Koch, ‘Embodied Affectivity: On Moving and Being Moved’, Frontiers in Psychology, 5.508 (2014) p. 5. 34 Boquet and Nagy, p. 185. 35 Rogier van der Weyden, The Last Judgement Polyptych, c.1445-1450, oil on panel, 220 x 548 cm when open, Hôtel-Dieu Museum, France.
9
points towards Mary, whilst she is painted in contemplation. The Virgin holds an open
book whilst the dove, an allusion to the Holy Spirit, is positioned above her head. Parallel
to each other, both scenes are also depicted using grisaille and sculpturisation
techniques. Our concern here is not how they visually mirror one-another, but how they
diverge.
Although the figures in van der Weyden's annunciation are depicted sculpturally, the
image maintains an implied degree of movement. When focusing on the left panel,
Gabriel’s movements can be traced within the image: movement is found within the
tumbling rolls of the scroll as it falls towards his feet, the sweeping back of both his hair
and robes, as-well-as in the bending of his knee. Although van der Weyden’s scene
depicts the sculptural, the implied movement exhibited in only the left panel provides a
larger degree of animation than that present in the entirety of van Eyck’s diptych.
Potential affective connection with the audience becomes a more likely possibility with
physical embodiment. There’s not only a witnessing of bodily movement, but also implied
muscle tension, a begging for the pose to be bodily replicated from witnessing audiences.
The implication of action triggers a ‘felt bodily response’36, the audience experience the
potential for action. It can be posited that through a higher degree of felt movement when
experiencing van der Weyden’s annunciation, the audience’s visual participation would
be more evocative affectively. Through this regard, the sculpturisation of van der
Weyden’s annunciation is potentially more humanistic.
Conclusion
Although there is no way to know for certain van Eyck’s intentions regarding audience
reception of the ‘Annunciation Diptych’, it does appear that he purposefully obscured
affective connection with this artwork. Although typically annunciations were not
depictions of heightened emotions, scenes could be imbued with affect. This is
evidenced in van der Weyden’s sculptured annunciation, specifically through the
implication of bodily movements. There is still further research needed regarding the lack
of positive affect featured within medieval Netherlandish art. Artists often displayed
suffering but seem reticent in their displays of openly positive emotions. Perhaps with
further examination, combining scholarship regarding the history of emotions and history
of art, this field can be studied more fully.
36 Freedberg, p. 348.
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The functionality of the diptych is implied with its size, existing as a space for private
lamentation rather than public experience. The monochromatic, humanoid figures are
frozen together, denying the audience real emotive connection. The work of van der
Weyden exists in the adverse; the bodily qualities transcending sculpturisation, coaxing
the audiences mirrored responses. Bob Boddice evaluates audience interactions with
objects as follows, ‘… the inescapable observation that emotions are sensed in a world
of interactions with other beings and objects.’37
Van Eyck’s sculpturisation others Mary, dehumanising her affectively from the audience,
furthered in the stillness of the bodily poses. The artist places the Virgin on the same
plinth as the Archangel, deifying her form, but denying her humanity. Through this denial,
van Eyck has inhibited audience connection, as such denying bodily lamentations on the
eventual purification of sin Christ’s sacrifice brings.
37 Rob Boddice, ‘Spaces, Places and Objects’, The History of Emotions (Manchester: Manchester University Press 2018), p.183.
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List of Artworks Figure 1
Jan van Eyck, The Annunciation Diptych, c.1433-1435, oil on panel, left wing (The
Archangel Gabriel) 38.8 x 23.2 cm, right wing (The Virgin Mary) 39 x 24 cm, Museo
Nacional Thyssen-Bornemisza, Madrid
12
Figure 2
Rogier van der Weyden, The Last Judgement Polyptych, c.1445-1450, oil on panel, 220
x 548 cm when open, Hôtel-Dieu Museum, France
13
Figure 3
Master of Flémalle, Robert Campin workshop, ‘The Flémalle Panels: Mercy Seat, c.
1428-1430, mixed media on oak, 148.7 x 61.0 x 1.1 cm, Städel Museum, Frankfurt
Bibliography
14
Baldwin of Ford, Cistercian, ‘Sermon 13 sur l’annociation (traité VII)’ Boddice, Rob, ‘Spaces, Places and Objects’, The History of Emotions (Manchester: Manchester University Press 2018), pp.168-189 Boquet, Damien and Nagy, Piroska, ‘The Christianization of Emotion (Third to Fifth Centuries)’, Medieval Sensibilities: A History of Emotions in the Middle Ages (Cambridge: Polity Press 2018) Borobia, Mar, ‘Jan van Eyck’, Thyssen-Bornemisza Museo Nacional, [n.d.] <https://www.museothyssen.org/en/collection/artists/eyck-jan-van/annunciation-diptych> [accessed 10 January 2021 Cambridge Advanced Learner's Dictionary & Thesaurus, ‘Meaning of Dehumanize in English’, Cambridge Advanced Learner's Dictionary & Thesaurus, (2021) <https://dictionary.cambridge.org/dictionary/english/dehumanize> [accessed 9 January 2021] Fehrenbach, Frank, ‘Coming Alive: Some Remarks on the Rise of “Monochrome” Sculpture in the Renaissance’, Source: Notes in the History of Art, 30.3 (2011), 47-55 Freedberg, David, ‘Memory in Art: History and the Neuroscience of Response’, in The Memory Process, Neuroscientific and Humanistic Perspectives, ed. by Suzanne Nalbantian, Paul M. Matthews, and James L. McClelland (Cambridge, Mass.: The MIT Press, 2011) Frere, Jean-Claude, Early Flemish Painting (Paris: Pierre Terrail 1997) Fuchs, Thomas and Koch, Sabine C., ‘Embodied Affectivity: On Moving and Being Moved’, Frontiers in Psychology, 5.508 (2014), 1-12 Lanzoni, Susan, ‘Introduction: Empathy and the Sciences: Varieties of Empathy in Science, Art and History’, Science in Context, 25.3 (2012), 287-300 Miller, Chantel A. and Hübner, Ronald, ‘Two Routes to Aesthetic Preference, One Route to Aesthetic Inference’, Psychology of Aesthetics, Creativity and the Arts, 14.2 (2019), 237-249 Nash, Susie ‘Moving Images’, Northern Renaissance Art (New York: Oxford University Press 2008), pp.229-254 Panofsky, Erwin, Early Netherlandish Painting, 1st edn. (Routledge, 1971) Plamper, Jan, The History of Emotions: An Introduction, trans. by Keith Tribe (Oxford: Oxford University Press 2015) Redies, Christoph, ‘Combining Universal Beauty and Cultural Context in a Unifying Model of Visual Aesthetic Experience’, Frontiers in Human Neuroscience, 9.218 (2015) Ridderbos, Bernhad, van Buren, Anne and van Veen, Henk, ‘Objects and Questions’, Early Netherlandish Paintings: Rediscovery, Reception and Research, trans. by Andrew McCormick and Anne van Buren (Amsterdam: Amsterdam University Press 2005), pp.4-170 Rosenwein, Barbara H. and Cristiani, Riccardo, ‘The Science of Emotions’, What is the History of Emotions? (Cambridge: Polity Press 2018), pp.8-25 Snow, Nancy E., ‘Empathy’, American Philosphical Quarterly, 37.1 (2000), 65-78
15
The Holy Bible Containing the Old and New Testemants, Authorised King James Version, (Hendrickson Bibles 2004), Luke 1:26-38