as Michelangelo affirmed of Flemish art in general? Having recently seen the picture again, I can no longer deny it, as I formerly did on the strength of recollections many years old.
Another work of the master, which lends itself particularly to the analysis of endless detail, is the “Annunciation” in the Hermitage, at Petrograd. If the triptych of which this picture formed the right wing ever existed as a whole, it must have been a superb creation. Van Eyck here developed all the virtuosity of a master conscious of his power to overcome all difficulties. Of all his works it is the most hieratic and, at the same time, the most refined. He followed the iconographic rules of the past in using as a background for the apparition of the angel the ample space of a church and not the intimacy of a bedchamber, as he did in the altar-piece of the Lamb, where the scene is full of grace and tenderness. Here, on the contrary, the angel salutes Mary by a ceremonious bow; he is not represented with a spray of lilies and a narrow diadem; he carries a sceptre and a rich crown, and about his lips there is the stiff smile of the sculpture of Ægina. The splendour of the colours, the glitter of the pearls, the gold and the precious stones, surpass those of all the other angelic figures painted by Van Eyck. His coat is green and gold, his mantle of brocade is red and gold, his wings are covered with peacock feathers. The book of the Virgin and the cushion before her are executed with painstaking and minute care. In the church there is a profusion of anecdotal details. The tiles of the pavement are ornamented with the signs of the zodiac and scenes from the lives of Samson and of David. The wall of the apse is decorated with the figures of Isaac and of Jacob in the medallions between the arches, and that of Christ on the celestial globe between two seraphim in a window, besides other mural paintings representing the finding of the child Moses and the giving of the tables of the Law, all explained by legible inscriptions. Only the decoration of the wooden ceiling, though still discernible, remains indistinct.
This time unity and harmony are not lost in the accumulation of details. The twilight of the lofty edifice envelops all with mysterious shade, so that the eye can only with difficulty distinguish the anecdotal details.
