The Iconography of the FriedsamAnnunciation

Abstract

The Friedsam Annunciation is one of its museum's most important and at the same time most debated examples of fifteenth-century Flemish painting (Fig. 1).1 The major point of contention among scholars is the attribution: Hubert and Jan van Eyck and Petrus Christus are the leading contenders.2 The complex iconography of the work is, however, also important. The setting for the Annunciation is the portal of a church in a small, partly enclosed garden. The Annunciate stands in the doorway, the open doors behind her revealing part of the church's dimly lit interior. On a bench to her right is a vase of lilies partly concealed by the stone molding of the outer jamb. The floor on which she stands is covered with multicolored tiles decorated for the most part with geometric and floral patterns. The tile to the far left of the third row back, however, bears the letter “A,” and its counterpart on the right, only half visible, bears an “M.” The outer step of the building is also decorated with lettered tiles which form the phrase “REGINA CELI LET[ARE]” (Queen of Heaven, Rejoice). The angel stands outside the church to the left of the doorway.3