Muscipula Diaboli The Symbolism of the Merode Altarpiece

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Art History
Introduction
The article selected for review is ‘Muscipula Diaboli, the Symbolism of the Mйarode Altarpiece.' The article was written in 1945 by Meyer Schapiro. Schapiro was a teacher, an art historian, and a critic. He lived in New York. Between the 1940s and 1960, he delivered many lectures which were attended by the popular artists of that time. He contributed a lot to the modern art and acted as a close advisor of artists like Robert Motherwell and Willem de Kooning. Merode Altarpiece, popularly known as the Master of Flemalle, is a fifteenth century and Flemish oil painting that was painted by Robert Campin. The painting’s name was coined from the aristocratic Merode family, who lived in Belgium. Meyer Schapiro wrote the article ‘Muscipula Diaboli, the Symbolism of the Mйarode Altarpiece’ to explain the different elements of the artwork.
Thesis Statement
Symbolism is a unique tool that many artists use in their artworks. In the Mйarode Altarpiece, the artist used a lot of symbolism. The author has used symbolism to explain the artwork and to show the major themes as seen from the Merode Altarpiece. The paper gives the summary of the article and the supporting themes from the article.
Article Summary
The Merode altarpiece is small in size and only measures four feet by two feet. It was designed in to be used as a private devotional tool by people in their homes. It is constructed using the triptych format and has three hinged panels. The left side panel represents the donor together with his wife, while the central panel, which is also the most important panel on the art, shows the Annunciation and the two characters it associates with, Archangel Gabriel and Mary. Finally, the right panel represents Joseph is his wood workshop. The author notes that the triptych is undated and unsigned. In the early twentieth century, Robert Campin was identified as its creator.
The author mentions that the most extraordinary characteristic of the painting is arguably its domestic setting. In the Christian story of salvation, the Annunciation is always the point. Its significance is marked by the early Renaissance and gothic paintings, which were traditionally placed in the church and against the golden background. The author noted that Campin, on the other hand, sets his scene is an urban setting and in a middle-class house.
Supporting Themes
The author has used thematic conc...