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Still, these two divisions are but accessory to the central subject which they complement, and which is thus arranged: In the middle, in front of a sort of ruined palace or columnar cow-shed without a roof, the Virgin kneels in prayer before the Babe; to the right the donor, the Chevalier Bladelin, is seen, also kneeling, and on the left Saint Joseph, holding a lighted taper, gazes down on Jesus.
To make the whole thing more than perfect, above the figure of Pierre Bladelin extends a wondrous landscape, cut across by the High Street of Middelburg, the town founded by this nobleman, a street bordered by castellated houses with battlements and church towers, and vanishing in a country scene lighted up by a clear sky, a blue spring day; above Saint Joseph a meadow and woods, sheep and shepherds, and three exquisite angels in robes, one of pinkish yellow, one of purple like a campanula, and one of greenish citron hue; three really ethereal beings, having no relationship with the pertly innocent pages invented by the Renaissance.
By her side the Chevalier Bladelin, dressed all in black, with his equine type of face, his shaven cheeks, his dignity, at once priestly and princely, is lost in contemplation, far away from the world; he is praying in good earnest.
In 1450 he visited Italy, where he painted the beautiful little altar-piece which is now in the Städel Institute at Frankfort, for Piero and Giovanni de'Medici. Another very fine example of his work is the triptych, now in the Berlin Museum, executed for Pierre Bladelin. In the centre is the Nativity, with a portrait of Bladelin kneeling, and angels.
It must be pointed out, however, that the illegitimate character of their birth did not stand in the way of many prominent men of the time, such as the Chancellor Rolin, the Dean of St. Donatian of Bruges, the great financier Pierre Bladelin, the Bishop of Tournai and many high officials. All these had, of course, received their letters of legitimation.
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