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In a work probably made for private devotion and today in Vienna's Kunsthistorisches Museum, Hugo van der Goes united two distinctly different themes, the Fall of Man and the Lamentation . This chapter focuses on the compositional and iconographic means by which Hugo van der Goes united these two disparate themes upon completing the diptych. It then focuses on the right panel as well, and in particular on Hugo's use of Mary Magdalen, a figure who seems to form a distinct link between the two panels. In particular, author turns to the analogous use of the Magdalen in late medieval theater, where she appeared in a manner that is surprisingly consistent with the Vienna diptych, and where, as author hopes to demonstrate, she enhanced viewers' interactions with Passion scenes in ways that enlighten our understanding of Hugo's paired panels. Keywords:Hugo Van Der Goes; Kunsthistorisches Museum; Lamentation ; late medieval theater; Mary Magdalen; panels; the Fall of Man ; Vienna Diptych
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