Picture Gallery. BERLIN. Section 3. 81
Saloon II. Netherlandish Schools of the 15-16th centuries.
To the left: Roger van der Weyden, *534b. Winged altar-piece
with scenes from the life of John the Baptist: *535. Winged altar-
piece presented by Peeter Bladelin for the church at Middelburg,
with the Adoration of the Holy Child, the Tiburtine Sibyl before
Augustus, and the Star in the East; a master-piece, 'remarkable for
the finish of the parts, the delicacy of the touch, and the gloss of
the colours'; 534a. Travelling altar of Charles V., with scenes from
the Life of Christ.
The main wall is occupied by six **Panels (Nos. 512-517) of
the famous Altar-piece of the Lamb, by Hubert and Jan van
Eyck, painted for the church of St. Bavon at Ghent and finished
in 1432. The central portion of the altar-piece, representing the
Adoration of the Mystic Lamb, surmounted by figures of God the
Father, the Virgin Mary, and John the Baptist, is still in St. Bavon;
two other panels (Adam and Eve) are in the Museum at Brussels.
The remaining six panels were purchased by Mr. Solly for 4000/.
The panels which had paintings on both sides have lately been
divided into two plates, which are now exhibited side by side. The
four lower panels (512, 513, 516, 517) depict judges, crusaders,
hermits, and pilgrims moving in procession to the Fountain of Life
(central panel, a copy by Coxie, No. 524): the former backs of these
panels bear portraits of Jodocus Vvdts and his wife (519. 522) and
their patron saints, SS. John the Evangelist and John the Baptist
(518, 523; in stone colour). Two upper panels (514, 515) represent
respectivelv a group of singing angels and St. Cecilia attended by
angelic musicians; on the former backs (520, 521) the Archangel
Gabriel and the Madonna.
'There is not to be found', say Crowe and Cavalcaselle, 'in the
whole Flemish school a picture in which human figures are grouped,
designed, or painted with so much perfection as in this of the mystic
Lamb. Nor is it possible to find a more complete or better distributed
composition, more natural attitudes, or more dignified expression'. The
beholder is charmed both by the naive and careful realism and by the
brilliancy of the colouring.
Dierick Bouts, -533. Elijah in the desert, *539. Feast of the
Passover. These with two other panels in the Munich Gallery form
the inner wings of an altar-piece. The central panel, representing
the Last Supper, is in the Church of St. Peter at Louvain. 529.
Hans Mending, Madonna enthroned; no number, -Hugo van da-
Goes, Nativity of Christ: 534. R. van der Weyden, Descent from
the Cross (copy of the original in the Escorial). — To the right: 561.
Quiuteii Massyx, Madonna enthroned (a masterpiece of colouring):
641. Jean Betlegambe, Last Judgment: 5s6a. Mali use, Portrait;
*1617. Jean Fotitjuet, Estienne Chevalier with his patron saint (the
other wing of the altar-piece is in the Antwerp Gallery). — 585a. Sir
Anthony Mo re, Two clerics (1544; a youthful work). — 574b. Qui idea,
Baedeker's Berlin. 6