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108 Section 3. BERLIN. Emp. Frederick Museum:
are now exhibited side by side; comp. the survey at the entrance.
The four lower panels (at the back, 512, 513, 516, 517) depict judges,
crusaders, hermits, and pilgrims moving in procession to the Foun¬
tain of Life (central panel, a copy by Coxie, No. 524); the former
backs of these panels (left wall) bear portraits of Jodocus Vydts
and his wife (519, 522) and their patron saints, SS. John the Evan¬
gelist and John the Baptist (518, 523; in stone colour). Two other
panels (514, 515) represent respectively a group of singing angels
and St. Cecilia attended by angelic musicians; on the former backs
(right wall, 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 nai've and careful realism and by the
brilliancy of the colouring. A photographic reproduction of the whole
altar in its original condition is exhibited on the window wall.
Cabinet 70. Early Netherlandish Schools of the 15th Cen¬
tury. To the left: 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 part of
which, representing the Last Supper, is in St. Peter's at Louvain.
532 a. Aelbert van Ouwater, Raising of Lazarus (the only authenti¬
cated work by this founder of the Dutch school). — Rear-wall: left
and right, *1645, 1645a. Simon Marmion, two altar-wings with
the exploits of St. Bertinus, from the convent of St. Omer; Jan
van Eyck, **523a. Portrait of Giovanni Arnolfini, *525f. Cruci¬
fixion, with the Madonna and St. John, 525 g. Knight of the Golden
Fleece; 532. Petrus Cristus, Half-length portrait of a woman;
*538a. Master of Flemalle, Crucifixion; 529. Hans Memling, Vir¬
gin and Child. — 538b. Flemish Master (about 1480), Death of Mary.
— Right wall: 523 b. Jan van Eyck (Petrus Cristus ?), Madonna
with a Carthusian; below, 529 c. Hans Memling, Portrait of an old
man; 526a. Flemish Master (about 1450), Pieta; *545d. Rogier
van der Weyden, Portrait of a lady; 1631. Geertgen tot Sint Jans,
St. John the Baptist; Jan van Eyck, **525a. Man with carnations,
a fine work, showing on a smaller scale much of the finished exe¬
cution and powerful general effect of the Ghent altar-piece (see ab¬
ove), *525 c. Virgin and Child in a church; above, 537. Master of
Flemalle, Portrait of a young man; 549a. Rogier van der Weyden,
Madonna; *1617. Jean Fouquet, Estienne Chevalier with his patron
St. Stephen (the other wing of the altar-piece is in the Antwerp
Gallery); 528b. Hans Memling, Madonna; 537a. Master of Fle¬
malle, Portrait.
Cabinet 68. Netherlandish Schools of the 15th and 16th
Centuries. To the left, Petrus Cristus, 529 a. Altar-wing (above,
Annunciation; below, Nativity), 529 b. Last Judgment; **535. Rogier