. The early Flemish painters; notices of their lives and works . CHAP, m.] JOHN VAN EYCK. 97 This grand altar-piece is exactly similar inspirit and composition to the Agnus Dei of St. is finished in the style and manner which charac-terised John Van Eyck in 1432; and, though it hasbeen damaged by repeated moving and repairs, is stilla fine example of Flemish art. The scene is laid in amediaeval court, of which the centre is a spire, in thepointed style of Sanct Lorenz of Nuremberg,—thepurest form, perhaps, in which that architecture hasbeen exhibited,—the filmy tracery of wh
. The early Flemish painters; notices of their lives and works . CHAP, m.] JOHN VAN EYCK. 97 This grand altar-piece is exactly similar inspirit and composition to the Agnus Dei of St. is finished in the style and manner which charac-terised John Van Eyck in 1432; and, though it hasbeen damaged by repeated moving and repairs, is stilla fine example of Flemish art. The scene is laid in amediaeval court, of which the centre is a spire, in thepointed style of Sanct Lorenz of Nuremberg,—thepurest form, perhaps, in which that architecture hasbeen exhibited,—the filmy tracery of whose numerousspindles darts into the air with wondrous elegance, inall the glory of profuse and chosen ornament. Thisgraceful spire forms a tabernacle, covering the seaton which the Saviour rests; whilst the Virgin and the Evangelist, sit on each side in the attitudeand vestments consecrated to them. The Lamb reposesat the Saviours feet, and the symbols of the fourEvangelists are on his chair, from beneath which thecrystal stream of the spring of gr
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Keywords: ., bookcentury1800, bookdecade1870, booksubjectpainting, bookyear187
