I’m continuing in a adusk allowance in Ghent’s Museum of Fine Arts, watching the accurate apology of one of the best arresting artworks of all time. In the new year, the Adoration of the Mystic Lamb will be alternate to St Bavo’s Cathedral actuality in Ghent (its home, off and on, for the accomplished six centuries) but in the meantime, anyone is acceptable to appear and attestant this assiduous apology action as it happens. Stripped of its addled layers of adorn and its amaranthine clumsy alterations, this medieval masterpiece has never looked so vibrant, so alive. For the aboriginal time in centuries, you’re seeing it the way the Van Eyck brothers corrective it. And what an amazing painting it is!
Standing alongside me is Helene Dubois. She aboriginal saw this painting as a schoolgirl, about 40 years ago. It aggressive her to become an art restorer. “Seeing it up abutting was an absurd experience,” she tells me. Now, bisected a lifetime later, she’s in allegation of this project, the acme of her life’s appointment so far. Talking to her, it’s bright this is an affecting assignment. So why does this painting affect such reverence, such devotion? Why do so abounding bodies get so aflame about the Adoration of the Mystic Lamb?
Ever back it was aboriginal unveiled in St Bavo’s Cathedral in 1432, the Adoration of the Mystic Lamb has been an amaranthine antecedent of allure – an attraction fuelled by the constant riddle of what on apple it ability mean. Six hundred years back its creation, advisers are still argument about the apologue of its imagery, but it’s about agreed that, broadly speaking, it’s a delineation of the apocalypse – the end of the apple as declared in the Book of Revelation. The capital console depicts Jesus Christ, adapted into the Lamb of God, amidst by all the bodies he’s absitively to save on Judgement Day. It’s an acumen into the medieval mind, a medieval appearance of heaven.
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