Goethe on one occasion gave as a subject for a prize exhibition the representation of Achilles in female garments at the coming of Odysseus. In one drawing Achilles glances at the helmet of the armed hero, his heart fires up at the sight, and in consequence of this emotion the pearl necklace is broken which he wears round the neck. A lad seeks for and picks up the pieces from the ground. Such is an example of admirable motive. Moreover, the artist finds he has to a more or less extent large spaces to fill in; he requires landscape as background, lighting, architectonic surrounding, and he has to introduce incidental figures and objects and so forth. All this material he should apply, in so far as it can be so adapted, as motives in the situation, and bring this external matter into unity with his subject in such a way that it is no longer insignificant. Two princes or patriarchs shake hands. If this is indicative of a peace treaty, and the seal upon the same, warriors, armed bands, and the like, preparations for a sacrifice to solemnize the pact, will be an obviously fitting environment. If such people happen to meet each other with a similar welcome on a journey, other motives will be necessary. To invent the same in a way that attaches real significance and individualization to the action, this it is which more than anything else will test the artistic insight of the painter so far as this aspect of his work is concerned. And in order to promote this not a few artists have also attached symbolical relations between background and the main action. In the composition, for example, of the Adoration of the three Kings, we not unfrequently find the holy Infant in His cradle beneath a ruined roof, around Him the walls of a building falling in decay, and in the background the commencement of a cathedral. The falling stone-work and the rising cathedral directly suggest the victory of the Christian church over paganism[316]. In the same way we find, not unfrequently, in pictures, more especially of the Van Eyck school, which depict the greeting of the angel Gabriel to Mary, flowering lilies like stamens. They indicate the maidenhood of the mother of God.