That the work of the younger brother was not insignificant is distinctly stated in the text of the inscription: "The painter, Hubert van Eyck, greater than whom none is to be found, began [the work]; the bulk was completed by his brother Jan, second to him in art, relying on the request of Jodoc Vydt. This verse invites you to contemplate that which was completed on May 6, 1432." This translation from the Latin is chosen from three versions. The other renderings seem to be given by those who would translate the word pondus as work, and thus give the younger brother credit for no more than finishing an incomplete picture. The text has, however, been translated by several learned scholars, who are entirely free from the taint of partisanship, and it is now generally agreed that the translation given here is the correct one.
There is yet another possibility which the absence of the palmetto points to—namely, that the picture was practically finished before Jan's visit to Portugal, save some very minor details, which were completed in 1432, The presence of the other exotics points to this view being correct, for it would obviously be unlikely that Jan should omit the palmetto from all these five landscapes after his careful studies of his favourite plant. The other exotics, not being a result of the journey, may very well have been painted before 1429. Collaboration in this work is further proved by the portraits of the two brothers.
OUR ILLUSTRATIONS
The supreme masterpiece of the brothers van Eyck, the work which, in the history of Flemish art, has played the part that was allotted to Masaccio's frescoes at the Carmine, Florence, in the art of Italy, is the gigantic polyptych painted for the chapel of the Vydt family in the Cathedral of St. John (now St. Bavo) in Ghent, and known from the subject of the chief panel as the Adoration of the Lamb. In its original form this altar-piece, which is now divided between St. Bavo Cathedral and the museums of Berlin and Brussels, was composed of twelve interior panels and a predella (which has unfortunately been destroyed). Including the backs of the shutters, which, like the panels themselves, are covered with the most minute and exquisite painting, the painted surface extends to over 1,000 square feet. The centre panel alone, from which the whole altar-piece takes its name, measures 7¼ feet in width by 4½ feet in height.
Horizontally the whole altar-piece is divided into three portions. The central panel of the middle tier is occupied by the Adoration of the Lamb. Like the rest of the picture, it is treated in a decorative spirit, the grouping of the figures, the architecture, and the foliage being almost geometrically arranged and balanced. In a very beautiful and peaceful landscape is set up, on a green mound in the centre, an altar, upon which stands the Lamb of God. Its breast is pierced in the customary manner, the sacred blood flowing into a chalice at its feet. Immediately around the altar fourteen angels, symbolical, probably, of the stations of the Passion of Christ, kneel in adoration. The two in front of the altar offer incense, while emblems of the Passion are held by others. The cross is held on the left, and the pillar of the scourging stands on the right. In the foreground, also in the centre and below the altar, is the Fountain of Life, which divides two groups of worshippers: on the left are the Jewish prophets and patriarchs of the Old Testament, whilst the crowd on the right is composed of Popes, Bishops, priests, monks, and laymen. In the background, emerging from the luxuriant forest immediately behind the altar, two processions slowly wend their way. The group on the right is composed of holy women, foremost of whom come St. Agnes with a lamb, St. Catherine, and others. The Procession on the left again includes Popes, Bishops, and monks. These are said to be the confessors. Above all hovers the Holy Ghost in the form of the dove.
The painting of these figures is most exquisite. The draperies are soft and pleasing; the colour is deep and rich; while the faces are remarkable for their character and variety of expression. The jewels and ornaments worn by some of the Popes and Bishops are drawn with loving care, and the enrichments of the vestments betray a patience and skill that create wonder. In the distance, above the trees, are seen cities with many towers and churches, behind which are hills in the remote distance. The foreground of the beautiful, soft, spring-like grass is profusely enriched by the growth of innumerable flowers and shrubs, all of which are painted with consummate skill and truth. The whole picture makes a profound effect by its sumptuous splendour, and by the masterly disposal of light and shade.
The two panels on the left are the Just Judges and Christ's Warriors. In the Judges the whole lower half of the picture is taken up by figures on horses. Behind a cliff in the middle distance is seen a forest and some buildings of elaborate architecture, which may represent tribunals. The bridles and trappings of the horses are richly jewelled, and altogether the best is made of the opportunity of rendering with goldsmith-like precision all manner of gorgeous materials, costly and beautifully emblazoned banners, and armour and trappings of beautiful design. Tradition has it that two of the Judges are portraits of the painters, the one in a black garment with a red rosary, who is turning towards the spectator, being the younger brother Jan. To strengthen the theory that this figure was painted by Jan after Hubert's death, Mr. Weale suggests that the black habit and red rosary denote mourning, probably for his brother Hubert.