Эlcobbola talk 15:26, 29 July 2013 (UTC), Thanks guys for putting so much effort and thought into this. [18][a 2] Those on the wing panels are taken from texts referring directly to the two saints. [35], The annunciation dominates any other theme on the outer wings of Northern 15th-century polyptychs. [41], Light plays a central role in all panels, to an extent almost comparable to van Eyck's Madonna in the Church. (i.e., three-dimensional features) allows an author of a derivative to add something original. That the frames are so richly decorated with Latin inscriptions indicates that the donor, whose identity is lost, was highly educated and cultured. [2] An ebony surround was added to the inner frames for protection in the 1840s. Will update the FAC. Anyway, all of these words to say I need some feedback. It came up at review, so after thinking about it, I'm thinking about putting the frames section back with the description and moving the iconography down lower (as it is in the, Use the freely licensed version (II) as the lead image - the colors are slightly yellower and the photo is not quite as sharp as the current lead, so this may not be as good (perhaps the image can be cleaned up - I rotated it and cropped it but did not adjust levels, etc. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. They appear to stand in either the aisles[25] or ambulatories,[2] and a few bays to the fore compared to the central panel. [4] The figures are illuminated by light from the left, a device van Eyck often used to imply the presence of God. [7] The arms of the canopied throne and the arches to either side contain carved or sculptured figures, including tiny representations of Isaac, and David and Goliath,[20] although art historian Antje Maria Neuner reads this carving as showing Jephthah sacrificing his daughter. [29], A lance rests against the shoulder of a youthful-looking St. I'm still a little concerned with. Only problem: it has faint watermarks. They are decorative, similar to margins in medieval manuscripts, and set the context for the imagery; van Eyck would have expected the viewer to contemplate text and imagery in unison. Be careful with wording, as three dimensional (i.e., having length, width and height - however slight) is the actual legal consideration, not “flat” (i.e., generally being level on the horizon). I think an argument could be made that the view of the frame in the current lead image (I) is the same view anyone would get of the frame if they took a good photo of the 2-D painting. [31] Michael is dressed in elaborately jewelled and coloured armour, his left arm holding his helmet,[22] while his right hand rests on the shoulder of the donor as he is presented to Mary.

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