Marriage Between Arnolfini And His Wife

The mirror on the center of the rear wall, is exquisitely decorated with miniature medallions illustrating the crucifixion and other stories form the passion of Christ, reveals more details of the room. Two visitors standing in the open doorway are visible behind the viewer, as in the window along with the wooden beams of the ceiling. In the mirror, in the center of the picture we see the couple holding hands. Which really appears the man formally holds the limp hand of his wife in the palm of his own. The formality of the pose is also illustrated by the mans raised hand. Which in turn suggests the man is taking an oath, And the arranged robe of the woman. Now we can understand why the two people are in the doorway, it is safe to believe that they are the witnesses to the marriage of Arnolfini and his wife. But there is more
This symbolizes what is usually called a “left handed marriage” which means a union of unequal’s, in which the woman was obliged to forfeit all the usual right of property and inheritance. Which is like us today as a morganatic marriage which is entered by a European royal prince and a commoner. This is most likely the cause of the two witnesses are present to validate the financial contract drawn up at the time of marriage. If the couple are in fact Giovanni di Nicolao Arnolfini and his wife Giovanna Cenami, there is no question of it being a marriage between unequal’s, as Giovanna was equally well connected. But in 1997 it was established that their marriage did not take place until 1447 - about thirteen years after the date of the painting, and six years after Jan van Eyck's death. However, his brother Michele appears to have entered a marriage, around the time of the painting. Other art historians think the painting might represent the wedding of Giovanni di Nicolao Arnolfini and his first wife Costanza