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Updated: June 15, 2025
When the wings of the Van Eycks' altar-piece of the 'Adoration of the Lamb' were opened on festivals, the subjects of the upper central picture were seen, consisting of the Triune God, a majestic figure, and at his side in stately calm the Virgin and the Baptist. On the inside of the wings were angels, at the two extremities Adam and Eve.
A similar interest in humanity as such, in the individual apart from the type, is noticeable in the pictures of the Van Eycks, of Memling, of Quentin Matsys, and Roger Van der Weyden, wherein all idea of beauty, of composition, of universal appeal is subordinated as it is in no other art in that of Holland no more than in that of Italy to the representation in the most definite, precise, and powerful way of some intensely human personality.
On the outer sides are excellently painted portraits of the founder of the Hospital, Nicolas Rolin, and his wife. This work has been classed with the Van Eycks' Adoration of the Lamb, and the Adoration of the Shepherds by Hugo Van der Goes, as crystallizing the finest expression of early northern painting.
Modern students say he did not, but that he picked up his way of painting in Italy. Certainly he and other Venetians and Italians about this time improved their technical methods as the Van Eycks had done, and this picture is an early example of that more brilliant fashion of painting. There is here a Flemish love of detail.
She was fitted to relish each detail, from the carillons to the carvings. She inspected all that was to be seen at Bruges, from the Palace of Justice to the Chapel of the Holy Blood. At Ghent, she went to the church of St. Bavon, where the Van Eycks have left the best part of their wonderful picture before the altar while the dust of Hubert and Margaret, rests in the crypt below.
Gossaert, called de Mabuse from his native town of Mabeuze, sometimes signing his name Joannes Malbodius, followed in the steps of the Van Eycks, particularly in his great picture of the 'Adoration of the Kings, which is at Castle Howard, the seat of the Earl of Carlisle. Mabuse was in England and painted the children of Henry VII, in a picture, which is at Hampton Court.
We have only to go to Ghent and Bruges to see how the genius and devout earnestness of the Van Eycks, Van der Heyden and Hemling raise their pictures above trifling absurdities. It is undeniable that with many of us the constant presentation to our eyes of the incidents of our Saviour's life, especially His passion, gives them more reality than even the most frequent reading of the Bible.
But to them grace was not God-given, and in their attempt to achieve it, their pictures became sentimental and postured, and the naive simplicity and everyday truth, so attractive in the works of the earlier school, perished. The influence of the Van Eycks had not been confined to Flanders. Artists in Germany had been profoundly affected.
A long interval elapsed between the Van Eycks and Quintin Matsys, and Rubens; but if Flemish art was slow of growth and was only developed after long pauses, it made up for its slowness and delays by the burst of triumph into which Flemish and Dutch art broke forth in Rubens and his school, in Rembrandt and Cuyp and Ruysdael.
The same leaven was working in him that in other times begat Rubens and Jordaens and the Van Eycks, and all their wondrous tribe, and in times more recent begat in the green country of the Ardennes, where the Meuse washes the old walls of Dijon, the great artist of the Patroclus, whose genius is too near us for us aright to measure its divinity.
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