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"Edwin Hall's accessible study--firmly grounded in Roman and canon law, theology, literature, and the social history of the period--offers a compelling new interpretation of this wonderful painting. Instead of depicting the sacrament of marriage, Hall argues, the painting commemorates the alliance between two wealthy and important Italian mercantile families, a ceremonious betrothal that reflects the social conventions of the time." exactly. The research and lack of hysterical jumping to unsupported conclusion found elsewhere in regards to this painting is refreshing.
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Altarpiece Annunciation Antoninus Arnolfini double portrait Arnolfini Portrait Arsenal Boccaccio artist Bedaux betrothal Bibliotheque Boccaccio bride Bruges Brussels canon law Cenami church clandestine marriage Codex Manesse contemporary context contract couple couple's Decameron Decretales of Gregory Decretum depicted dextrarum iunctio disguised symbolism documents dowry Early Netherlandish Painting ecclesiastical example Eyck's fides fifteenth century figure Flemish fourteenth century future marriage Ghent Giovanni Giovanni Arnolfini Gratian groom hung bed iconography inscription interpretation Italian Jan van Eyck joining of right Latin London double portrait London panel manuscript marriage ceremony marriage rite married matrimonium medieval Merode miniature mirror modern Molin and Mutembe Museum National Gallery notary nozze oath ordo painter Panofsky Panofsky's Paris pattens Petrus Christus Photo picture Plate praesenti present priest reference Reimerswaal riage right hands ring ceremony ritual Robert Campin Roman law sacramental Saint Seidel solemn sponsalia spouses Summa traditio tradition viewer Virgin wedding woman words of consent