re still at Ghent. The subject of the 'Adoration
of the Lamb' was taken from Revelations, where before the Lamb has
opened the seals of the book, St. John says:

And every creature which is in heaven, and on the earth, and under
the earth, and such as are in the sea, and all that are in them, heard
I saying, Blessing, and honour, and glory, and power, be unto him that
sitteth upon the throne, and unto the Lamb for ever and ever.

Hubert has figured this verse by assembling, as in one time and place,
representatives of Christendom. They who worship are the prophets,
apostles, popes, martyrs, and virgins. On each side of the central
panel the just judges, the soldiers of Christ, the hermits, and the
pilgrims, advance to join the throng around the Lamb. Most beautiful
of all is the crowd of virgin martyrs bearing palms, moving over the
green grass carpeted with flowers, to adore the Lamb of God, the
Redeemer of the World. Above, God the Father, the Virgin Mother, and
St. John the Baptist, with crowns of wonderful workmanship, are throned
amid choirs of singing and playing angels on either hand.

The picture does not illustrate the description of the Adoration of
the Lamb in the fifth chapter of Revelations so faithfully as the
picture of the 'Three Maries' illustrated St. Matthew. The Lamb has
not seven horns and seven eyes, and the four beasts and twenty-four
elders are not falling down before it and adoring. The Lamb is an
ordinary sheep, and the picture is a symbolic expression of the
Catholic faith, founded upon a biblical text, but not what could be
described as 'a Bible illustration.' People in the Middle Ages liked
to embody their faith in a visible form, and we are told that
theologians frequently drew up schemes of doctrine which painters did
their best to translate into pictures, and sculptors into sculpture.
Such works of art were for instruction rather than beauty, though some
also served well the purpose of decoration.

Josse Vyt, who ordered the picture, and whose portrait, with that of
his wife, is painted on the shutters, no doubt explained exactly what
he wanted, and Hubert sought to please him.[1] But although the design
of the central panel was old-fashioned and symbolic, Hubert was able
to do what he liked with the landscape, and with the individual figures.
They are real men and women with varieties of expression such as had
not been painted before, and the landscape is even more beautiful than
the