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91-518: It is considered one of the most original and complex paintings in Western art, because of its beauty, complex iconography, geometric orthogonal perspective, and expansion of the picture space with the use of a mirror. According to Ernst Gombrich "in its own way it was as new and revolutionary as Donatello 's or Masaccio 's work in Italy. A simple corner of the real world had suddenly been fixed on to

182-609: A rectangle . Later, they came to mean a right triangle . In the 12th century, the post-classical Latin word orthogonalis came to mean a right angle or something related to a right angle. In mathematics , orthogonality is the generalization of the geometric notion of perpendicularity to the linear algebra of bilinear forms . Two elements u and v of a vector space with bilinear form B {\displaystyle B} are orthogonal when B ( u , v ) = 0 {\displaystyle B(\mathbf {u} ,\mathbf {v} )=0} . Depending on

273-551: A twill -woven ground or pattern. A damask weave is one of the five basic weaving techniques—the others being tabby , twill , Lampas , and tapestry —of the early Middle Ages Byzantine and Middle Eastern weaving centers. Damask was named after the city Damascus, Syria a large trading center on the Silk Road . In China, draw looms with a large number of heddles were developed to weave damasks with complicated patterns. The Chinese may have produced damasks as early as

364-472: A , g , and n ) versions of 802.11 Wi-Fi ; WiMAX ; ITU-T G.hn , DVB-T , the terrestrial digital TV broadcast system used in most of the world outside North America; and DMT (Discrete Multi Tone), the standard form of ADSL . In OFDM, the subcarrier frequencies are chosen so that the subcarriers are orthogonal to each other, meaning that crosstalk between the subchannels is eliminated and intercarrier guard bands are not required. This greatly simplifies

455-554: A German visitor saw it in the Alcazar Palace in Madrid . Now it had verses from Ovid painted on the frame: "See that you promise: what harm is there in promises? In promises anyone can be rich." It is very likely that Velázquez knew the painting, which may have influenced his Las Meninas , which shows a room in the same palace. In 1700 the painting appeared in an inventory after the death of Carlos II with shutters and

546-789: A Spanish career courtier of the Habsburgs (himself the subject of a fine portrait by Michael Sittow in the National Gallery of Art ). He lived most of his life in the Netherlands, and may have known the Arnolfinis in their later years. By 1516 he had given the portrait to Margaret of Austria , Habsburg Regent of the Netherlands, when it shows up as the first item in an inventory of her paintings, made in her presence at Mechelen . The item says (in French): "a large picture which

637-433: A chance discovery published in 1997 established that they were married in 1447, thirteen years after the date on the painting and six years after van Eyck's death. It is now believed that the subject is either Giovanni di Arrigo or his cousin, Giovanni di Nicolao Arnolfini, and a wife of either one of them. This is either an undocumented first wife of Giovanni di Arrigo or a second wife of Giovanni di Nicolao, or, according to

728-411: A contemporary interior. It is indeed tempting to call this the first genre painting – a painting of everyday life – of modern times". Jan van Eyck's characteristic Early Netherlandish style depicts the scene with a high level of detail. The painting is generally in very good condition, though with small losses of original paint and damage, which have mostly been retouched. Infrared reflectograms of

819-520: A contract between an already married couple giving the wife the authority to act on her husband's behalf in business dealings. Carroll identifies Arnolfini's raised right hand as a gesture of oath-taking known as " fidem levare ", and his joining hands with his wife as a gesture of consent known as " fides manualis ". Although many viewers assume the wife to be pregnant, this is not believed to be so. Art historians point to numerous paintings of female virgin saints similarly dressed, and believe that this look

910-413: A hat of plaited straw dyed black, as often worn in the summer at the time. His tabard was more purple than it appears now (as the pigments have faded over time) and may be intended to be silk velvet (another very expensive item). Underneath he wears a doublet of patterned material, probably silk damask . Her dress has elaborate dagging (cloth folded and sewn together, then cut and frayed decoratively) on

1001-406: A husband promising a gift to his bride on the morning after their wedding night. He has also suggested that the painting may have been a present from the artist to his friend. In 2016, French physician Jean-Philippe Postel, in his book L'Affaire Arnolfini , agreed with Koster that the woman is dead, but he suggested that she is appearing to the man as a spectre, asking him to pray for her soul. It

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1092-445: A hypothetical unsuccessful pregnancy would have been left recorded in a portrait is questionable, although if it is indeed Costanza Trenta, as Koster proposed, and she died in childbirth, then the oblique reference to pregnancy gains strength. Moreover, the beauty ideal embodied in contemporary female portraits and clothing rest in the first place on the high valuation on the ability of women to bear children. Harbison maintains her gesture

1183-459: A marriage. Margaret D. Carroll argues that the painting is a portrait of a married couple that alludes also to the husband's grant of legal authority to his wife. Carroll also proposes that the portrait was meant to affirm Giovanni Arnolfini's good character as a merchant and aspiring member of the Burgundian court. She argues that the painting depicts a couple, already married, now formalizing

1274-522: A mono signal, equivalent to a stereo signal in which both channels carry identical (in-phase) signals. Damask Damask ( /ˈdæməsk/ ; Arabic : دمشق) is a woven, reversible patterned fabric . Damasks are woven by periodically reversing the action of the warp and weft threads. The pattern is most commonly created with a warp-faced satin weave and the ground with a weft-faced or sateen weave. Yarns used to create damasks include silk , wool , linen , cotton , and synthetic fibers , but damask

1365-450: A mother with a new baby received visitors. The window has six interior wooden shutters, but only the top opening has glass, with clear bulls-eye pieces set in blue, red and green stained glass. The two figures are very richly dressed; despite the season both their outer garments, his tabard and her dress, are trimmed and fully lined with fur. The furs may be the especially expensive sable for him and ermine or miniver for her. He wears

1456-656: A number of depictions of the Annunciation set in richly detailed interiors, a tradition for which the Arnolfini Portrait and the Mérode Altarpiece by Robert Campin represent the start (in terms of surviving works at least). Since then, there has been considerable scholarly argument among art historians on the occasion represented. Edwin Hall considers that the painting depicts a betrothal , not

1547-520: A panel as if by magic... For the first time in history the artist became the perfect eye-witness in the truest sense of the term". The portrait has been considered by Erwin Panofsky and some other art historians as a unique form of marriage contract, recorded as a painting. Signed and dated by van Eyck in 1434, it is, with the Ghent Altarpiece by the same artist and his brother Hubert ,

1638-654: A recent proposal, Giovanni di Nicolao's first wife Costanza Trenta, who had died perhaps in childbirth by February 1433. In the latter case, this would make the painting partly an unusual memorial portrait, showing one living and one dead person. Details such as the snuffed candle above the woman, the scenes after Christ's death on her side of the background roundel, and the black garb of the man, support this view. Both Giovanni di Arrigo and Giovanni di Nicolao Arnolfini were Italian merchants, originally from Lucca , but resident in Bruges since at least 1419. The man in this painting

1729-401: A subsequent legal arrangement, a mandate, by which the husband "hands over" to his wife the legal authority to conduct business on her own or his behalf (similar to a power of attorney ). The claim is not that the painting had any legal force, but that van Eyck played upon the imagery of legal contract as a pictorial conceit. While the two figures in the mirror could be thought of as witnesses to

1820-487: A time axis determined by a rapidity of motion is hyperbolic-orthogonal to a space axis of simultaneous events, also determined by the rapidity. The theory features relativity of simultaneity . In quantum mechanics , a sufficient (but not necessary) condition that two eigenstates of a Hermitian operator , ψ m {\displaystyle \psi _{m}} and ψ n {\displaystyle \psi _{n}} , are orthogonal

1911-632: A visual play on a common metaphor: he lives on, she is dead. The cherries present on the tree outside the window may symbolize love . The oranges which lie on the window sill and chest may symbolize the purity and innocence that reigned in the Garden of Eden before the Fall of Man. They were uncommon and a sign of wealth in the Netherlands , but in Italy were a symbol of fecundity in marriage. More simply,

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2002-448: Is time-division multiple access (TDMA), where the orthogonal basis functions are nonoverlapping rectangular pulses ("time slots"). Another scheme is orthogonal frequency-division multiplexing (OFDM), which refers to the use, by a single transmitter, of a set of frequency multiplexed signals with the exact minimum frequency spacing needed to make them orthogonal so that they do not interfere with each other. Well known examples include (

2093-464: Is a strategy allowing the deprotection of functional groups independently of each other. In supramolecular chemistry the notion of orthogonality refers to the possibility of two or more supramolecular, often non-covalent , interactions being compatible; reversibly forming without interference from the other. In analytical chemistry , analyses are "orthogonal" if they make a measurement or identification in completely different ways, thus increasing

2184-456: Is best shown in cotton and linen. Over time, damask has become a broader term for woven fabrics with a reversible pattern, not just silks. There are a few types of damask: true, single, compound, and twill. True damask is made entirely of silk. Single damask has only one set of warps and wefts and thus is made of up to two colors. Compound damask has more than one set of warps and wefts and can include more than two colors. Twill damasks include

2275-430: Is called Hernoul le Fin with his wife in a chamber, which was given to Madame by Don Diego, whose arms are on the cover of the said picture; done by the painter Johannes." A note in the margin says "It is necessary to put on a lock to close it: which Madame has ordered to be done." In a 1523–4 Mechelen inventory, a similar description is given, although this time the name of the subject is given as "Arnoult Fin". In 1530

2366-417: Is called an orthogonal map. In philosophy , two topics, authors, or pieces of writing are said to be "orthogonal" to each other when they do not substantively cover what could be considered potentially overlapping or competing claims. Thus, texts in philosophy can either support and complement one another, they can offer competing explanations or systems, or they can be orthogonal to each other in cases where

2457-416: Is easier to verify designs that neither cause side effects nor depend on them. An instruction set is said to be orthogonal if it lacks redundancy (i.e., there is only a single instruction that can be used to accomplish a given task) and is designed such that instructions can use any register in any addressing mode . This terminology results from considering an instruction as a vector whose components are

2548-541: Is further used as proof that the female subject was painted posthumously. In January 2018 the woman's dress was the subject of the BBC Four programme A Stitch in Time with fashion historian Amber Butchart . The provenance of the painting begins in 1435 when it was dated by van Eyck and presumably owned by the sitter(s). At some point before 1516 it came into the possession of Don Diego de Guevara (d. Brussels 1520),

2639-429: Is merely an indication of the extreme desire of the couple shown for fertility and progeny. There is a carved figure as a finial on the bedpost, probably of Saint Margaret , patron saint of pregnancy and childbirth, who was invoked to assist women in labor and to cure infertility, or possibly representing Saint Martha , the patroness of housewives. From the bedpost hangs a brush, symbolic of domestic duties. Furthermore,

2730-561: Is perpendicular to line B"), orthogonal is commonly used without to (e.g., "orthogonal lines A and B"). Orthogonality is also used with various meanings that are often weakly related or not related at all with the mathematical meanings. The word comes from the Ancient Greek ὀρθός ( orthós ), meaning "upright", and γωνία ( gōnía ), meaning "angle". The Ancient Greek ὀρθογώνιον ( orthogṓnion ) and Classical Latin orthogonium originally denoted

2821-493: Is possibly the candle used in traditional Flemish marriage customs. Lit in full daylight, like the sanctuary lamp in a church, the candle may allude to the presence of the Holy Ghost or the ever-present eye of God . Alternatively, Margaret Koster posits that the painting is a memorial portrait , as the single lit candle on Giovanni's side contrasts with the burnt-out candle whose wax stub can just be seen on his wife's side, in

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2912-413: Is said to be morganatic if a man marries a woman of unequal rank. However, the subjects originally thought by most scholars to be represented in this painting, Giovanni Arnolfini and Giovanna Cenami, were of equal status and rank in the courtly system, so the theory would not hold true. On the opposite side of the debate are scholars like Margaret Carroll. She suggests that the painting deploys the imagery of

3003-524: Is that they correspond to different eigenvalues. This means, in Dirac notation , that ⟨ ψ m | ψ n ⟩ = 0 {\displaystyle \langle \psi _{m}|\psi _{n}\rangle =0} if ψ m {\displaystyle \psi _{m}} and ψ n {\displaystyle \psi _{n}} correspond to different eigenvalues. This follows from

3094-533: Is the subject of a further portrait by van Eyck in the Gemäldegalerie, Berlin , leading to speculation he was a friend of the artist. In 1934, Erwin Panofsky published an article entitled Jan van Eyck's 'Arnolfini' Portrait in the Burlington Magazine , arguing that the elaborate signature on the back wall, and other factors, showed that it was painted as a legal record of the occasion of

3185-438: Is thought that the couple are already married because of the woman's headdress. A non-married woman would have her hair down, according to Margaret Carroll. The placement of the two figures suggests conventional 15th century views of marriage and gender roles – the woman stands near the bed and well into the room, symbolic of her role as the caretaker of the house and solidifying her in a domestic role, whereas Giovanni stands near

3276-654: The Tang dynasty (618–907). Damasks became scarce after the 9th century outside Islamic Spain , but were revived in some places in the 13th century. Trade logs between The British East India Company and China often demonstrate an ongoing trade of Chinese silks, especially damask. Damask is documented as being the heaviest Chinese silk. The word damask first appeared in a Western European language in mid-14th century French records. Shortly after its appearance in French language, damasks were being woven on draw looms in Italy. From

3367-591: The web site of the Thyssen-Bornemisza Museum states that "Mondrian ... dedicated his entire oeuvre to the investigation of the balance between orthogonal lines and primary colours." Archived 2009-01-31 at the Wayback Machine Orthogonality in programming language design is the ability to use various language features in arbitrary combinations with consistent results. This usage was introduced by Van Wijngaarden in

3458-448: The 14th to 16th century, most damasks were woven in one colour with a glossy warp-faced satin pattern against a duller ground. Two-colour damasks had contrasting colour warps and wefts and polychrome damasks added gold and other metallic threads or additional colours as supplemental brocading wefts. Medieval damasks were usually woven in silk, but weavers also produced wool and linen damasks. In daily nomadic life this form of weaving

3549-525: The 19th century, the invention of the Jacquard loom which was automated with a system of punched cards, made weaving damask faster and cheaper. Modern damasks are woven on computerized Jacquard looms. Damask weaves are commonly produced in monochromatic (single-colour) weaves in silk, linen or synthetic fibres such as rayon and feature patterns of flowers, fruit and other designs. The long floats of satin-woven warp and weft threads cause soft highlights on

3640-590: The Good who sent his court painter Jan van Eyck to portray Arnolfini Double. The relation possibly began with a tapestry order including the images of Notre Dame Cathedral in return of a good payment. The view in the mirror shows two figures just inside the door that the couple are facing. The second figure, wearing red, is presumably the artist although, unlike Velázquez in Las Meninas , he does not seem to be painting. Scholars have made this assumption based on

3731-535: The National Gallery by van Eyck, Portrait of a Man (Leal Souvenir) , has a legalistic form of signature. Margaret Koster 's new suggestion, discussed above and below, that the portrait is a memorial one, of a wife already dead for a year or so, would displace these theories. Art historian Maximiliaan Martens has suggested that the painting was meant as a gift for the Arnolfini family in Italy. It had

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3822-599: The Spanish. Hay offered the painting to the Prince Regent, later George IV of the United Kingdom, via Sir Thomas Lawrence . The Prince had it on approval for two years at Carlton House before eventually returning it in 1818. Around 1828, Hay gave it to a friend to look after, not seeing it or the friend for the next thirteen years, until he arranged for it to be included in a public exhibition in 1841. It

3913-572: The appearance of figures wearing red head-dresses in some other van Eyck works (e.g., the Portrait of a Man (Self Portrait?) and the figure in the background of the Madonna with Chancellor Rolin ). The dog is an early form of the breed now known as the Affenpinscher . The painting is signed, inscribed and dated on the wall above the mirror: " Johannes de eyck fuit hic 1434 " ("Jan van Eyck

4004-530: The back of the room show tiny scenes from the Passion of Christ and may represent God's promise of salvation for the figures reflected on the mirror's convex surface. Furthering the Memorial theory, all the scenes on the wife's side are of Christ's death and resurrection. Those on the husband's side concern Christ's life. The mirror itself may represent the eye of God observing the wedding vows. A spotless mirror

4095-487: The back, in a wooden frame with scenes of The Passion painted behind glass, is shown larger than such mirrors could actually be made at this date – another discreet departure from realism by van Eyck. There is also no sign of a fireplace (including in the mirror), nor anywhere obvious to put one. Even the oranges casually placed to the left are a sign of wealth; they were very expensive in Burgundy and may have been one of

4186-612: The bilinear form, the vector space may contain null vectors , non-zero self-orthogonal vectors, in which case perpendicularity is replaced with hyperbolic orthogonality . In the case of function spaces , families of functions are used to form an orthogonal basis , such as in the contexts of orthogonal polynomials , orthogonal functions , and combinatorics . In optics , polarization states are said to be orthogonal when they propagate independently of each other, as in vertical and horizontal linear polarization or right- and left-handed circular polarization . In special relativity ,

4277-415: The brush and the rock crystal prayer-beads (a popular engagement present from the future bridegroom) appearing together on either side of the mirror may also allude to the dual Christian injunctions ora et labora (pray and work). According to Jan Baptist Bedaux, the broom could also symbolize proverbial chastity; it "sweeps out impurities". The small medallions set into the frame of the convex mirror at

4368-434: The couple's desire to have a child. Unlike the couple, he looks out to meet the gaze of the viewer. The dog could be simply a lap dog , a gift from husband to wife. Many wealthy women in the court had lap dogs as companions, reflecting the wealth of the couple and their position in courtly life. The dog appears to be a Griffon terrier , or perhaps an Affenpinscher . The green of the woman's dress symbolizes hope , possibly

4459-418: The design of Algol 68 : The number of independent primitive concepts has been minimized in order that the language be easy to describe, to learn, and to implement. On the other hand, these concepts have been applied “orthogonally” in order to maximize the expressive power of the language while trying to avoid deleterious superfluities. Orthogonality is a system design property which guarantees that modifying

4550-400: The design of both the transmitter and the receiver. In conventional FDM, a separate filter for each subchannel is required. When performing statistical analysis, independent variables that affect a particular dependent variable are said to be orthogonal if they are uncorrelated, since the covariance forms an inner product. In this case the same results are obtained for the effect of any of

4641-461: The early 16th century inventories of Margaret of Austria . They suggested that the painting showed portraits of Giovanni [di Arrigo] Arnolfini and his wife. Four years later James Weale published a book in which he agreed with this analysis and identified Giovanni's wife as Jeanne (or Giovanna) Cenami. For the next century most art historians accepted that the painting was a double portrait of Giovanni di Arrigo Arnolfini and his wife Jeanne Cenami, but

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4732-426: The effects of both direct and diffuse light by showing the light from the window on the left reflected by various surfaces. It has been suggested that he used a magnifying glass in order to paint the minute details such as the individual highlights on each of the amber beads hanging beside the mirror. The illusionism of the painting was remarkable for its time, in part for the rendering of detail, but particularly for

4823-420: The explanatory variables and model residuals. In taxonomy , an orthogonal classification is one in which no item is a member of more than one group, that is, the classifications are mutually exclusive. In chemistry and biochemistry, an orthogonal interaction occurs when there are two pairs of substances and each substance can interact with their respective partner, but does not interact with either substance of

4914-858: The fact that Schrödinger's equation is a Sturm–Liouville equation (in Schrödinger's formulation) or that observables are given by Hermitian operators (in Heisenberg's formulation). In art, the perspective (imaginary) lines pointing to the vanishing point are referred to as "orthogonal lines". The term "orthogonal line" often has a quite different meaning in the literature of modern art criticism. Many works by painters such as Piet Mondrian and Burgoyne Diller are noted for their exclusive use of "orthogonal lines" — not, however, with reference to perspective, but rather referring to lines that are straight and exclusively horizontal or vertical, forming right angles where they intersect. For example, an essay at

5005-499: The floor as lower-class women would. They are part of the Burgundian court life and in that system she is his equal, not his lowly subordinate. The symbolism behind the action of the couple's joined hands has also been debated among scholars. Many point to this gesture as proof of the painting's purpose. Is it a marriage contract or something else? Panofsky interprets the gesture as an act of fides, Latin for "marital oath". He calls

5096-449: The fruit could be a sign of the couple's wealth, since oranges were very expensive imports. The male subject's over-shoes, called pattens , were a covering for indoor footwear that were made as protection from the outdoor elements. The idea that he has taken his off may imply that he would no longer stray, hinting at his fidelity towards his wife, potentially signifying that, for religious reasons, he would not remarry after her death. This

5187-543: The geometric sense discussed above, both as observed data (i.e., vectors) and as random variables (i.e., density functions). One econometric formalism that is alternative to the maximum likelihood framework, the Generalized Method of Moments , relies on orthogonality conditions. In particular, the Ordinary Least Squares estimator may be easily derived from an orthogonality condition between

5278-411: The hope of becoming a mother. Its intense brightness also indicates wealth, since dyeing fabric such a shade was difficult and expensive. Her white cap could signify purity or her status as married. Behind the pair, the curtains of the marriage bed have been opened; the red curtains might allude to the physical act of love. The single candle in the left-front holder of the ornate six-branched chandelier

5369-454: The independent variables upon the dependent variable, regardless of whether one models the effects of the variables individually with simple regression or simultaneously with multiple regression . If correlation is present, the factors are not orthogonal and different results are obtained by the two methods. This usage arises from the fact that if centered by subtracting the expected value (the mean), uncorrelated variables are orthogonal in

5460-448: The instruction fields. One field identifies the registers to be operated upon and another specifies the addressing mode. An orthogonal instruction set uniquely encodes all combinations of registers and addressing modes. In telecommunications , multiple access schemes are orthogonal when an ideal receiver can completely reject arbitrarily strong unwanted signals from the desired signal using different basis functions . One such scheme

5551-416: The items dealt in by Arnolfini. Further signs of luxury are the elaborate bed-hangings and the carvings on the chair and bench against the back wall (to the right, partly hidden by the bed), also the small Oriental carpet on the floor by the bed; many owners of such expensive objects placed them on tables, as they still do in the Netherlands . There existed a friendship between Giovanni Arnolfini and Philip

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5642-428: The left and right stereo channels in a single groove. The V-shaped groove in the vinyl has walls that are 90 degrees to each other, with variations in each wall separately encoding one of the two analogue channels that make up the stereo signal. The cartridge senses the motion of the stylus following the groove in two orthogonal directions: 45 degrees from vertical to either side. A pure horizontal motion corresponds to

5733-472: The longer drying time of oil paint, compared to tempera, to blend colours by painting wet-in-wet to achieve subtle variations in light and shade to heighten the illusion of three-dimensional forms. The wet-in-wet (wet-on-wet), technique, also known as alla prima , was highly utilized by Renaissance painters including Jan van Eyck. The medium of oil paint also permitted van Eyck to capture surface appearance and distinguish textures precisely. He also rendered

5824-425: The man's clothing correspond to those favoured by Duke Philip of Burgundy". The interior of the room has other signs of wealth; the brass chandelier is large and elaborate by contemporary standards, and would have been very expensive. It would probably have had a mechanism with pulley and chains above, to lower it for managing the candles (possibly omitted from the painting for lack of room). The convex mirror at

5915-485: The marriage of the couple, complete with witnesses and a witness signature. Panofsky also argues that the many details of domestic items in the painting each have a disguised symbolism attached to their appearance. While Panofsky's claim that the painting formed a kind of certificate of marriage is not accepted by all art historians, his analysis of the symbolic function of the details is broadly agreed, and has been applied to many other Early Netherlandish paintings, especially

6006-471: The middle ground between Panofsky and Bedaux in their debate about "disguised symbolism" and realism. Harbison argues that "Jan van Eyck is there as storyteller ... [who] must have been able to understand that, within the context of people's lives, objects could have multiple associations", and that there are many possible purposes for the portrait and ways it can be interpreted. He maintains that this portrait cannot be fully interpreted until scholars accept

6097-533: The notion that objects can have multiple associations. Harbison urges the notion that one needs to conduct a multivalent reading of the painting that includes references to the secular and sexual context of the Burgundian court, as well as religious and sacramental references to marriage. Lorne Campbell in the National Gallery Catalogue sees no need to find a special meaning in the painting: "... there seems little reason to believe that

6188-481: The oath-taking, the artist himself provides (witty) authentication with his notarial signature on the wall. Jan Baptist Bedaux agrees somewhat with Panofsky that this is a marriage contract portrait in his 1986 article "The reality of symbols: the question of disguised symbolism in Jan van Eyck's Arnolfini Portrait." However, he disagrees with Panofsky's idea of items in the portrait having hidden meanings. Bedaux argues, "if

6279-515: The oldest very famous panel painting to have been executed in oils rather than in tempera . The painting was bought by the National Gallery in London in 1842. Van Eyck used the technique of applying several layers of thin translucent glazes to create a painting with an intensity of both tone and colour. The glowing colours also help to highlight the realism, and to show the material wealth and opulence of Arnolfini's world. Van Eyck took advantage of

6370-400: The open window, symbolic of his role in the outside world. Arnolfini looks directly out at the viewer; his wife gazes obediently at her husband. His hand is vertically raised, representing his commanding position of authority, whilst she has her hand in a lower, horizontal, more submissive pose. However, her gaze at her husband can also show her equality to him because she is not looking down at

6461-481: The other pair. For example, DNA has two orthogonal pairs: cytosine and guanine form a base-pair, and adenine and thymine form another base-pair, but other base-pair combinations are strongly disfavored. As a chemical example, tetrazine reacts with transcyclooctene and azide reacts with cyclooctyne without any cross-reaction, so these are mutually orthogonal reactions, and so, can be performed simultaneously and selectively. In organic synthesis , orthogonal protection

6552-607: The painting hung in the room where he convalesced in Brussels. He fell in love with it, and persuaded the owner to sell. More relevant to the real facts is no doubt Hay's presence at the Battle of Vitoria (1813) in Spain, where a large coach loaded by King Joseph Bonaparte with easily portable artworks from the royal collections was first plundered by British troops, before what was left was recovered by their commanders and returned to

6643-521: The painting show many small alterations, or pentimenti , in the underdrawing : to both faces, to the mirror, and to other elements. The couple is shown in an upstairs room with a chest and a bed in it during early summer as indicated by the fruits on the cherry tree outside the window. The room probably functioned as a reception room, as it was the fashion in France and Burgundy where beds in reception rooms were used for seating, except, for example, when

6734-409: The painting was inherited by Margaret's niece Mary of Hungary , who in 1556 went to live in Spain. It is clearly described in an inventory taken after her death in 1558, when it was inherited by Philip II of Spain . A painting of two of his young daughters, Infantas Isabella Clara Eugenia and Catalina Micaela of Spain ( Prado ), commissioned by Philip clearly copies the pose of the figures. In 1599

6825-409: The portrait has any significant narrative content. Only the unnecessary lighted candle and the strange signature provoke speculation." He suggests that the double portrait was very possibly made to commemorate a marriage, but not a legal record and cites examples of miniatures from manuscripts showing similarly elaborate inscriptions on walls as a normal form of decoration at the time. Another portrait in

6916-401: The prone to error device or method. The failure mode of an orthogonally redundant back-up device or method does not intersect with and is completely different from the failure mode of the device or method in need of redundancy to safeguard the total system against catastrophic failure. In neuroscience , a sensory map in the brain which has overlapping stimulus coding (e.g. location and quality)

7007-428: The purpose of showing the prosperity and wealth of the couple depicted. He feels this might explain oddities in the painting, for example why the couple are standing in typical winter clothing while a cherry tree is in fruit outside, and why the phrase " Johannes de eyck fuit hic 1434 " is featured so large in the centre of the painting. Herman Colenbrander has proposed that the painting may depict an old German custom of

7098-420: The reliability of the measurement. Orthogonal testing thus can be viewed as "cross-checking" of results, and the "cross" notion corresponds to the etymologic origin of orthogonality . Orthogonal testing is often required as a part of a new drug application . In the field of system reliability orthogonal redundancy is that form of redundancy where the form of backup device or method is completely different from

7189-462: The representation of the couple " qui desponsari videbantur per fidem " which means, "who were contracting their marriage by marital oath". The man is grasping the woman's right hand with his left, which is the basis for the controversy. Some scholars like Jan Baptist Bedaux and Peter Schabacker argue that if this painting does show a marriage ceremony, then the use of the left hand points to the marriage being morganatic and not clandestine . A marriage

7280-456: The scope, content, and purpose of the pieces of writing are entirely unrelated. In board games such as chess which feature a grid of squares, 'orthogonal' is used to mean "in the same row/'rank' or column/'file'". This is the counterpart to squares which are "diagonally adjacent". In the ancient Chinese board game Go a player can capture the stones of an opponent by occupying all orthogonally adjacent points. Stereo vinyl records encode both

7371-508: The sleeves, and a long train. Her blue underdress is also trimmed with white fur. Although the woman's plain gold necklace and the rings that both wear are the only jewellery visible, both outfits would have been enormously expensive, and appreciated as such by a contemporary viewer. There may be an element of restraint in their clothes (especially the man) befitting their merchant status – portraits of aristocrats tend to show gold chains and more decorated cloth, although "the restrained colours of

7462-427: The symbols are disguised to such an extent that they do not clash with reality as conceived at the time ... there will be no means of proving that the painter actually intended such symbolism." He also conjectures that if these disguised symbols were normal parts of the marriage ritual, then one could not say for sure whether the items were part of a "disguised symbolism" or just social reality. Craig Harbison takes

7553-591: The technical effect produced by a component of a system neither creates nor propagates side effects to other components of the system. Typically this is achieved through the separation of concerns and encapsulation , and it is essential for feasible and compact designs of complex systems. The emergent behavior of a system consisting of components should be controlled strictly by formal definitions of its logic and not by side effects resulting from poor integration, i.e., non-orthogonal design of modules and interfaces. Orthogonality reduces testing and development time because it

7644-413: The use of light to evoke space in an interior, for "its utterly convincing depiction of a room, as well of the people who inhabit it". Whatever meaning is given to the scene and its details, and there has been much debate on this, according to Craig Harbison the painting "is the only fifteenth-century Northern panel to survive in which the artist's contemporaries are shown engaged in some sort of action in

7735-462: The verses from Ovid . The painting survived the fire in the Alcazar which destroyed some of the Spanish royal collection, and by 1794 had been moved to the "Palacio Nuevo", the present Royal Palace of Madrid . In 1816 the painting was in London, in the possession of Colonel James Hay , a Scottish soldier. He claimed that after he was seriously wounded at the Battle of Waterloo the previous year,

7826-493: Was also an established symbol of Mary, referring to the Holy Virgin's Immaculate Conception and purity. The mirror reflects two figures in the doorway, one of whom may be the painter himself. In Panofsky's controversial view, the figures are shown to prove that the two witnesses required to make a wedding legal were present, and Van Eyck's signature on the wall acts as some form of actual documentation of an event at which he

7917-445: Was bought the following year (1842) by the recently formed National Gallery, London for £600, as inventory number 186, where it remains. By then the shutters had gone, along with the original frame. Orthogonality#Art In mathematics , orthogonality is the generalization of the geometric notion of perpendicularity . Whereas perpendicular is typically followed by to when relating two lines to one another (e.g., "line A

8008-471: Was fashionable for women's dresses at the time. Fashion would have been important to Arnolfini, especially since he was a cloth merchant. The more cloth a person wore, the more wealthy he or she was assumed to be. Another indication that the woman is not pregnant is that Giovanna Cenami (the identification of the woman according to most earlier scholars) died childless, as did Costanza Trenta (a possible identification according to recent archival evidence); whether

8099-440: Was generally employed by women, specifically in occupations such as carpet-making. Women collected raw material from pasture animals and dyes from local flora, such as berries, insects, or grasses, to use in production. Each woman would create a specialized pattern sequence and color scheme that aligned with her personal identity and ethnic group. These techniques were passed down generationally from mother to daughter.   In

8190-419: Was here 1434"). The inscription looks as if it were painted in large letters on the wall, as was done with proverbs and other phrases at this period. Other surviving van Eyck signatures are painted in trompe-l'œil on the wooden frame of his paintings, so that they appear to have been carved in the wood. In their book published in 1857, Crowe and Cavalcaselle were the first to link the double portrait with

8281-459: Was himself present. According to one author "The painting is often referenced for its immaculate depiction of non-Euclidean geometry ", referring to the image on the convex mirror. Assuming a spherical mirror , the distortion has been correctly portrayed, except for the leftmost part of the window frame, the near edge of the table, and the hem of the dress. The little dog may symbolize fidelity (fido), loyalty , or alternatively lust , signifying

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