inspired by the mystic writings of the time, while the harmony and depth of colours, the gorgeous robes and jewels adorning the figures of God, the Virgin and the angels, the pompous cavalcade of knights and judges and the systematic grouping of the central scene, are an adequate expression of the love of ceremony and solemn luxury which characterized the Burgundian age. The whole picture appears as a sacred pageant in which the saints, the angels and the blessed take the place of nobles, ladies and clerics, as they were seen during the festivities and processions arranged at the ducal court. Illustration: THE ADORATION OF THE LAMB (SAINT BAVON, GHENT). Angels singing and playing. [_THE MYSTIC LAMB_] Considered as a purely religious picture, this work, like almost all the works of the school, stands in striking contrast to Italian fourteenth-century painting, especially as illustrated by the frescoes of Giotto. The latter are characterized by an extreme simplicity of outline and by vivid narrative power. In Padua, for instance, Giotto tells us the story of Christ as he saw it in his mystical vision, without any concern for accessories or detail. He clings to essentials, to the figures of Christ and his apostles, while scorning any subordinate object, such as trees, architecture, costumes, etc., which are only represented in a rude fashion when necessary to the story. It is characteristic of Hubert Van Eyck's work (since, according to all evidence, Hubert must be considered as the author of the general outlines of the picture, which was finished by his brother Jan after his death) that perhaps the least satisfactory figure of the Adoration of the Lamb is the Deity, while our attention is immediately captured by the group of angels surrounding Him, and still more by the procession of worshippers at the bottom of the picture. To put it briefly, whereas Giotto's art is at its best when dealing with the _divine_ side of the Christian drama, Van Eyck's genius stands foremost in the _human_ interpretation of the subject. His greatest creations are not the figures of the worshipped but of the worshippers, and we must seek for religious inspiration not so much in the direct vision of the Divinity as in the expression of devotion reflected on the faces of the adoring crowds. Illustration: THE ADORATION OF THE LAMB (SAINT BAVON, GHENT). The Annunciation (exterior of the shutters). _Hubert and Jan van Eyck._