Three Female Witnesses

This is one of three oil sketches Rubens made in preparation for an altarpiece for St Bavo’s Cathedral, Ghent. This scene appeared on the left panel, while the central panel depicts Saint Bavo being received as a monk by saints Amand and Floribert. The two women wearing gold crowns are Saints Gertrude and Begga, the sisters of Saint Bavo. Judging by her closeness and familiarity, the woman in the white headdress is probably a companion of the sisters, possibly Saint Bavo’s daughter.The trio stand on a ledge, their bodies positioned towards the scene in the central panel. Gertrude and Begga followed their brother’s example by relinquishing their privileged lifestyles to become nuns. Gertrude is shown clutching her long gold necklace in order to remove and discard it. The opulence of the sisters' embroidered gowns and gold jewellery draws our attention, the thick impasto applied by Rubens using quick, short brushstrokes giving the impression of light reflecting off of these luxurious materials. These details are more clearly defined than those in the rest of the panel. This is especially noticeable with the figures in the background on the staircase, who have been depicted as hazy blocks of colour rather than clearly defined forms. The group of people crouching in the foreground are an extension of the scene in the central panel, where a man donates Saint Bavo’s riches to the poor, and gaze towards it.Despite the sketchy quality of some of these figures, lots of small details bring the chaotic and crowded scene to life. A little dog jumps up by Saint Begga’s feet, while in the foreground a baby clings to the head of its breastfeeding mother, a chubby finger stuck in its mouth and a worried expression pointed in the direction of the man behind them. A young child next to the woman holds out a tunic, ready to catch the coins that are being handed out. The man behind holds one of these coins in his hand, gazing at it with a look of awe on his face.Some pentimenti can be seen using X-radiography and infrared reflectography. The arm of the boy who clings to the pillar at the top of the composition was originally shorter, and the leg of the boy below him was originally further to the right.